| | Kitsune-Boombox CD - Import Kitsune-Boombox Discography of CDs
The purveyors of London's BoomBox parties hooked up with Parisian label Kitsune for this exciting DJ mix project. It's the soundtrack of one of London's most popular and audacious party nights, where dressing to the nines is back in fashion and fun is the order of the evening. The unusual music/fashion axis shared by both entities is unquestionably at the heart of this solid bond. The music was chosen and mixed by DJ Jerry Bouthier. Kitsune. 2007. Kitsune-Boombox Songs | 1. | Don't Give Up [Jbag's Boomboxed Intro] - Siobhan Donaghy |
| 2. | Weak Generation |
| 3. | Fancy Footwork [Guns'n'bombs Remix] - Chromeo |
| 4. | Stupid Little Girls [Jbag's Boomboxed Remix] - S'Express |
| 5. | Musique [Jbag's Boomboxed Re-Edit] - Riot in Belgium |
| 6. | 1, 2, 3, 4 [Van She Tech Remix] |
| 7. | My Eyeball |
| 8. | Technologic [Digitalism Remix] - Daft Punk |
| 9. | Music from the Heart - Oliver Koletzki |
| 10. | Love - Simian Mobile Disco |
| 11. | Catch Me [Dub] |
| 12. | Wanna Make Out - Princess Superstar |
| 13. | Fire [Dub] - Young Punx |
| 14. | Circulate [Jbag's Boomboxed Re-Edit] - Rex the Dog |
| 15. | Pogo [Shinichi Osawa Dub] - Digitalism |
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Kitsune-Boombox Review
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AUTOBIOGRAPHY OF EUGENE SMILEY, Sr. I was born in New Orleans, Louisiana. As a child I was raised by grandparents in a small town in Brookhaven, Mississippi, and by more relatives in Kansas City, Missouri. In my family, music was a very important part of our family values. At an early age, I was very much involved in music. My Aunt Hazel and my Uncle Charles were my childhood mentors. I wanted to be just like them when I grew up. My father was a gospel singer and sang tenor for a gospel group called The Pilgram Travelers. They were the ones that followed their dreams and became successful and famous doing what they loved to do. I learned to play the piano when I was very young. I played piano for the youth church choir and, as I got older, I began to listen to blues and R&B music. My parents didn't like it but I did it any way. They had to face it. I was a part of my destiny. They didn't try to stop me but they told me that this kind of music was the devil's music, and I would suffer and pay a lot of dues. When they would leave me home alone, I'd play that devil music on the piano every chance I got. After graduating from Alexander High school in May 1960, I decided to make Kansas City my home. In October of 1968, I left Kansas City and move to Chicago. There I became a member of a young vocal group that later became known as "The Visitors". We recorded on the Dakar label under the management of Mr. Carl Davis. Our biggest seller was "Until You Came Along" (which was No. 1 on the R&B charts in 1968 and stayed in JET magazine for 9 months). We also had a great sell in "I'm In Danger". Those were the good times. It couldn't get any better than that. I thought I was on top of the world. My music career seemed to have taken off to a good start. I remember Carl Davis telling me that it don't last forever. You will be on top as long as someone is spending money on you to keep you on top. And that's the way the music business operates. Carl also told me that he would teach me everything need to know to become successful in this business. And he did. In 1974, after my recording contract expired, I decided to go on the road as a guitar player and vocalist. During this time I had the opportunity to play with such great as Al Green, Bobby Womack, Rufus Thomas, the late great Johnny Taylor, and the late great Mr. Albert King, just to mention a few. These were fun times. In 1976, I decided to return to Kansas City and finish college and raise my 7 kids. At this time in my life with the knowledge gained from my past experience and in addition to remembering my conversation ...
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A good tribute album often can be a benefit if the subject of the tribute is relatively obscure, serving as a chance to place a figure or style squarely in a new context. While Migrating Bird itself is like many other efforts -- a mix of the quite enjoyable and the well-meant but not always successful -- as a chance to showcase British folksinger Lal Waterson, who came to prominence in the 1960s as part of her family group, the Watersons, and then performed and released irregularly on her own and with others until her passing in the late '90s, it's a gentle treasure. It's also a good sampler of whatever the psych-folk scene can be called these days, ranging as it does from a near ...
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