Kurt-thee-Inducer

Space Flight FTL is a little somethun I made at the same time and as a companion track to Ludicrous Speed GO!, in which it was originally supposed to be a bridge, but I felt it switched up the vibe too much amid that song. So, here it is, on its own, the low key ear worm that it is.

A previously unrelease track, Amped Lightning is another John Wang banger featuring yours truly spit'n some hot fire over it! At least I feel this is one of my best vocal tracks after hearing it again after two decades. Sure, I'm probably not very impressive to real a hip-hop head, but I've never been down with the sound like the career lyricists I've worked with. Quite simply, I'm just happy with how well I got down, verbally, without any cringe. Well, maybe except for the opening line, which is a reference Wang hitting me up to work on a track after we both clocked out that day. I worked at Little Caesar's, and I worked at Sonic Drive-In. It was a day when everybody in town was hungry and both Wang and I were reeking with sweat and oil from our respective jobs when we finally sat down "in the studio" to smoke some weed and check out this beat he wanted me to rap over. I believe I only got the first verse written while smoking, before we called it night. Maybe, maybe not. We might've just smoked and listened to that track and I recorded my lyrics a different day. It's hard to say at this point in time. I do remember "Amped" is the name of the notebook I had written my lyrics in, but I'm not sure about where the "Lightning" part of the title came from. I surmise there was a lightning storm happening when I either finished or started writing my lyrics and was was influenced by that. Either way, this is a fun banger that displays my vocal talent for shifting from my regular voice to my distorted vocal, which is an original style based upon that I've never heard anybody ever do such a thing before or since. You know, because I'm a bad ass like that. B)

The only full track I got recorded with my nephew's dad, Ernie Vigil, and quite an experimental track at that! Rarely heard, this is one lyrical take, unedited, excepted for a bit of delay here and there. It's one of the first actual songs I ever had the honor to record, so I'm glad it at least has a pretty good sound quality. It was probably a couple of years after those lyrics were recorded was when I felt skilled enough as a producer to throw an instrumental behind it. I did my best to match the rhythm of Ernie's cadence and Native American party vibe. So get on up And party on down To show some love for the P-U-E-B-L-O

Another neo-classic from my 2005 era of producing one bouncy banger after another. This time I got more deep down with the sub-bass in places, because of course I did. The sample at the beginning is of Archbishop Ashe, RIP, and, along with my vocal samples, represent my then Christian beliefs. Nowadays, I consider myself a "True Believer," as I've always been a spiritual warrior, a demon slayer, and one doesn't need organized religion to be just that, or a good human being in general. Regardless, this is still a fun song with a decent message, so bounce along with me to Give Praise! 🔊🔉🔊🎵🎶💃🕺🎶🎵

"Sir, don't you think you should buckle up?" "Awe, buckle this!"

A smoldering dub focused on the sensual underlying rhythm driving the original Charon Security track by the incredibly talented, and beautiful cyberpunk siren, https://soundcloud.com/meganmcduffee. Listen to the original here Charon Security here to compare. https://soundcloud.com/meganmcduffee/charon-security

An up lifting, sensational, and immersive Trance track. Listening to this masterpiece will carry you into the clear freshness of the sky on a beautiful Sunday morning. Or, in my own words, this song is all about moving through the bowels of hell to rescue those who want out to be back in the fresh air of love and life. Check it out! ✊ #KurtTheeInducer #dubStationOneRecords #OneFitMusic #TheAirUpHere ✊

A hard hitting, bright, and uplifting techno-trance track with a classic NRG feeling to make you bounce and raise your hands. "Come on, y'all, rise up!"

What do you know about old school, 1990s, underground techno intensity? Let Kurt-thee-Inducer show you the way, and who runs this circus, with his "ImPossible Love Story (K.t.I.’s Story Of My Life Remix)" -- originally done by Jane Pick, one of today’s most massive underground EDM talents! Jane Pick’s original version is for the girls and this version is for the boys. So, whoever you are, hit play, and sing along, sing along to that bang out ending you are not expecting! You know what song this is. ;D #dubStationOne #JanePick #KtI #KurtTheeInducer #ElectroChemical #ImPossible #Love #StoryOfMyLife #Remix #TheBeatles #HeyJude #EDM #Techno #ProgressiveTrance #HardHouse #HardcoreHillstreetBlues #PraireTrance For Jane Pick, because she deserves a _real_ remix and not just a different version of her Impossible Love Story. Do not get me wrong, having multiple versions is always a good thing, but having a genuine, super fan made, built up from complete silence to a massive floor filling banger remix is even better! So, after nearly eighteen years of self-taught techno grooving, and nine months of incubation on this bad ass track, I, Curtis Lee Cancino, Kurt-thee-Inducer here by dedicate this remix (of an already great track) to everybody that has an impossible love story of their own to tell. #BroFist

My anthem for 2016: "Going Down Distraction"! I been sitting on this jam for the past three months, but it is time to release it. It is a pattern I made about half a year ago, then last November (2015), I asked my friend Ryan (La Reux da Cat) to mix it for me, and he came with this bad ass progression! Then I went in and did my studio dub-thing over it and voila, mega dance hit! There might be another version in the near future with Ryan playing some mean Korg keys over it. So stay tuned, and, until then, enjoy!

Brand new! Good for you! Put on your dancing shoe! Something for you to strut to down the street to: Up and Down (Melted Strutter) an evolution of my sound, and this sound is the virus! Partly because I recorded my backup vocal while sick, but mostly because it is a mesh of genres to create what I call “Hip Pop Tech Trance”. Up & Down is a remix of the Left Hand Healing sound. (A song found below.) I made the instrumental or Up & Down back October of 2014, but was unsure about whether I liked it or not. So I sat on it for roughly half a year before I decided to listen to it again. At that point, I liked what I heard and improved upon the master mix down with an extra couple of fill-ins and whatnot, then threw down the vocals, to produce this abstract track with a naughty vibe to it. Abstract sexy, if you will.... #ForMyLostLovelace Remember to Like, Comment, & Share. Enjoy!

A quick rap track with my friend https://soundcloud.com/john_wang from back in 2005 or '06-ish, I believe, that was made not long before he moved to Denver. As he says in his lyrics, "it's another "minute to make," as he was making little tracks like this with all of the artists he worked with. I threw in the samples, from the 1988 version of Akira, to help escalate the song as a whole.

I'm not sure when I made this track. It was at some point, anywhere, in 2008 through 2011 sometime. (Edit: Actually in 2012 I believe.) My original file got erased not long after I completed it, and I was never really happy with the volume of the vocals samples on this track, so I never released it. But, whenever I listen to this track the vocal samples do get stuck in my head, so maybe their volume is set at a good enough point. Eh? Well, the two main samples sound good, it's the "1, 2, 3, 4," sample that I think sounds lower than it should be. Either way, here's this banger that's sure to groove you. Another one of my previously unreleased favorites from out the dub Station One archive. Remember, "Go For It! Go For it!" (It's Time To Make Love)

(Updated!) As it turns out, the actual pattern that this track was created is from -- to the best of my memory -- sometime 2001 or possibly 2002, although I'm not sure. Regardless, this bad little ma'amma jamma of a track was created by the mighty John Wang (https://soundcloud.com/#john-wang-2) roughly two decades ago, when we our crew, Eff-Kay, was filtering through the rave scene. Plus, as a collective, we were finally starting to understand how to use sounds effects on my Roland MC-505, and distortion quickly became a favorite to experiment. While possibly being within the first ten patterns John Wang had made on my 505, this is also one for the first tracks he used distortion on. The distorted riff of "Break!" reminds me of something ATB or AK1200 would play. As for this particular (Hard Prairie Trance) mix, it is completely, and utterly brand new! While browsing my back catalog of potential tracks, I came upon this catchy little tune called "Break!" by John Wang. Me being me, I send Wang a message telling him about this really great old pattern of his. He said he'd like to hear it. So, I made a quick mix to show him. He dug it, and it gave me an idea of how to turn Break's pattern into an actual track. I love this mix, because it shows how I'm finally learning how to mix a dance track, and make it memorable. There are a couple of parts I would like to exploit more in this mix, but, when I did, it lost the integrity of what you now hear and feel. I'm at the point of my music making career where, if the music stops making me want to move, then it needs to be cut and remixed to retain that progressing feeling; to usher the unconscious foot tapping upon hitting the play button.

The title says it all. Listen, sail off, and enjoy! 🙌😄

Back in 2010, I found a group of fellow Shadowrun enthusiasts online, people that knew more about the actual tabletop RPG than I did, since my knowledge of Shadowrun stems exclusively from the SNES version of the game. I did eventually get to play the Genesis game, too, but I never got very far in it. Regardless, both versions have awesome music, and it's one of the things that made the atmosphere of the SNES version such a classic. Staying on point, back in 2010 when I found my fellow chummers online working to build a fan made Shadowrun MMO, an idea of incredible order for a group of dudes building it on their free time. Sad to say it never got finished despite roughly five years worth of development. During that time many people came and left the volunteer project. While I contributed in several capacities, like everybody else, this is my version of a title screen theme song, of which many were submitted. So, for what it's worth, this is the first time this track has been released publicly despite being made back in 2012, I think it was.

An unreleased '80s inspired banger from my busy 2004-2005 era and got lost in the abundance of stuff being made around that time. One of my favorites, for it's straight up dance vibe. The minimal riff is based off the Beverly Hills Cop theme. Although it's nothing like that, this track keeps things moving and grooving along. Enjoy!

Another previously unrelease neo-classic from out the dub Station One archives, Open Your Eyes was the first track I created with females vocals, supplied courteously from my friend Sheena years ago. The instrumental is one of the oldest things I made on my first (Roland) Groovebox, the mighty 505, back in 1999. It was a definite experiment, since I had no clue about anything concerning music way back then. The vocals were recorded in 2002, I think, when I got my first sampler, the SP-303, with a massive 8MB memory card for the time. All that being said, kick back, hit play, and enjoy the abstract and ethereal jam. And don't forget to open your eyes.

A slam'n neo-classic from the mighty La Reux Da Cat, Lareux #3 is far from his third track he'd made at this point in time, probably late 2003-ish when the original pattern was made, but that fact is lost to time. Who knows, made he'd mixed it not long after it was first made it and I finally it with a studio dubbing when I'd finally learned how to create and record such madness. This was back when I was in my element behind the boards and ripping sounds apart like mad professor, a true sound scientist, if I do say so myself. And, nowadays, with my new found knowledge of how to actually Master these old school closet bangers finally out dub Station One archive, well, they're starting to sound as fresh as tomorrow once again. So put on your party pants, if you wear such things, and hit that dance floor, or zone out to the massive sci-fi sounds blasting out our speakers,. Please listen at a reasonable volume. ;D

The subtext of this track is some bomb pussy, I think. But here is a side story about something else concerning a few ideas about what it means to at least one of my peeps.... It was 10-years ago today, on the birthday for my friend, Freestyle Steve, that this song is a partial tribute to. Back on July 16th, 2005 this jackhat named Preston got his ass kicked for being a drunken annoyance. I called him out, but Steve and my friend Alan jumped him. Alan "pinked" up Preston with a closed "blunt splitter" (pocket knife) in his hand. Not only that, but I hurt my foot on Preston's fat head when I kicked him too much after the fact. It is some tripe when you go to kick somebody's ass but your friends finally do it for you. Eh? Either way, this song was actually named after the quick "pink" sound heard through out the track. The Alan sample just helped to give it extra emphasis. Despite it's origin, this track is more about the Adventure of Captain Murphy for that Chick Mate. "Pink" indeed! Enjoy. :) (Updated July 30, 2021)

There seems to be a lot of death in the air these past few years, so here's a neo-classic banger from my 2005-06-ish to help you dance through these rough times. My own dad had pasted away last year, so this one's for him, and for anybody else that lost somebody recently. :')

Continuing on with our review of classic dub Station One bangers, we now are blessed with the Heaven’s Rain, off of my sixth album “The 45th Degree,” released in late 2005. An all time favorite, it is my hard hitting dub of an original hip hop track named “Enigmatic,” made by Supa Dave, of Ellipse Orbit, on my trusty MC-505, a year or two prior to this particular recording. Bass heavy, this track is a quick moving sonic storm forever dedicated to the fruits of the rainy season. Enjoy!

Here's a little something from my 2005 jungle set, called Crack-e Cricket. It's a tiny (sonic) tale of a cricket that did crack, LSD, 'shrooms, ecstasy, (or "E" as its known,) and probably some other substances, too, candy flippin', to get all cracked out. I'll let you decided what happened during its intense drug trip though....

The ninth track off my actual fifth album, Jungle! Jungle!, compiled back in 2005, Demon Slayer is who I was back then and still am to this day, if in a bit different way. More Solomon than damnation for those I take in hand. Making you pay in jewels, while you also build my temple. A true sound design, embedded in the subconscious, staring at you through the mask. Mine or yours? I scoff at that question. Can you perceive all that is vibrating the air around you? Here, birdie-birdie....

A simple intro I made back in 2005 or '06 that has that vibe, which I feel fits the transition between genres I have posted here on my page. Turn it up!

Another simply massive banger by La Reux Da Cat, Free Fall has this feeling that reminds of Michael Jackson's Thriller for some reason, specifically the famous zombie dance move. You know the one. When that, uh, "bright distorted" sound hits (for the first time at 3:02), that's the zombie dance move sound in my mind. Just a random factoid for anybody reading this. Other than that, as with a lot of songs back then, my friends would make a track then, when I found one that really peaked my interest, I've give it a phat studio dubbing, like with Free Fall here. Man, I really miss those studio days....

The story behind this track is that of basic humanness coming to the forefront, me thinks. One night while closing at work, John Wang (working somewhere else) hit me up and asked me if I wanted to work on a track. I said sure, and asked him if he cared if Boogs tagged along, since he and I worked at the same place. Wang was cool with that, so we all met at my place, in my mom's basement. (Which now makes me wonder when exactly this was recorded. Anywho, ...) Once we were "in the studio," it was evident that Wang was stressin' over something and his main output back then was music. He had this dope instrumental that he made on Fruity Loops at Freestyle Steve's that he wanted to throw to lyrics over. It was originally supposed to be he and I, but Boogs' massive skills and personality took my place, which is cool by me, since I was never happy with my lyrics, and rarely pleased with my actual performance. That being said, I was actually kinda sad not to spit over this track. So, since just I had to do _something_ besides be recording engineer, I added the phased sample the next day, based upon Wang and I thinking that "blue skies" was the most memorable part of the track, because of how Boogs' verse ends with those words, more than anything I surmise. Regardless, Boogs wanted it to be called Modern Babylon, which I feel honestly does fit its message better. So I've retro corrected that. In the end, this is one for Wang. The vibe of this track captures the mood of that night perfectly, with Boogs being the hella hungry emcee he was back then turning in a perform to accent Wang's way better than I could've ever hoped to. Overall, there are snatched of my lyrical contributions to the night found within each emcees presentation. Pure music, straight and simple, from three pro, each doing what they did best that night. :)

A nice hard progressive jungle track from 2005, that I made with my buddy, Ryan Rodriguez, aka Lareux da Cat. Enjoy! Update: It has been a while since I last listened to this track. As I was currently listening to it, I began to wonder if I wrote my "story" behind this track in the song's description. Obviously I did not before right now. :P Anyway, ... This track reminds me of a story about a humanity's deternimation to conquer Greater Outer Space. It begins with the building of a space ship, its crewing, and its eventual blast off! Pressure, then the lack there of. From there on out, the depths of space resound with in the hearts, the minds, the lone souls of the crew, now far from home. Their total and utter dependence was now upon the air tight machine that has become a spacefaring nation of its own. The crew stay busy to stay alive while traversing vacuum. Then, no interstellar trip would be complete without the venoious lull that the brilliant naked expance of Greater Outer Space that lay before them. Yet, a destination well set they plunge on to. It has steadily been growing in the neutron radar. continuous duties and everyday life aboard the self sustaining space ship keep the pace of sanity.... When, suddenly, the space ship crosses teh boundaries of a new planetary system. The same one they orginally set out for decades ago. Most of the original crew is alive and well, if not a bit more feeble boned and bleached by space radiation. Still, the excitement is enough for one of the original crew members to die before planet fall. Nonetheless, great huzzah with a slightly mournful if nostalgic regret greeted the cosmic pioneers as they set foot upon a new planet, a new colony, a new home. Their new home. "Care to name it?" The planetary conditions: brutal, murderous, but terra formible. More of the crew died during which. Yet, more people were born to replace those who died. And human life continued on outside of the Sol Star System. :D

Another neo-classic 8th Street, Ghetto Wizards Studio banger for you to put on your dancing shoes to! This time John Wang's leading the groove with the hard lyrical styles of Bennie Bluntz and Lil C, the Pit King, coming through, and with a guest appearance from Shylo, enhancing the chorus with her unique singing vibe. For me, Kurt-thee-Inducer, this track is a lesson in Mastering, as are most from the Ghetto Wizards Studio. Like most song from there, I didn't have anything to do with the recording process of this song, and the original track -- the only archive version I have of it on cd -- is or as a brick wall of a waveform. Even so, at least this track had some headroom, despite being squish af. (We Got Those was peaking left and right, which you can find below in my playlist.) The key for me, as a Mastering Engineer, is to hone in on the skill on display and carve that out of this almost lost file I have. Turn it up and sing along!

A major 8th Street anthem, We Got Those is one of those tracks that even the old school cats got down with. The gangsta instrumental is by the talented Ill Won, with https://soundcloud.com/bennie-bluntz and Lil C on vocals, and Ben's dad, Billy (Pops) Sotello, R.I.P., on the electric guitar, which he added sometime after this track was released. I was super surprised about a week ago (from when this sing was posted) to discover I actually had a copy of this version, with Pops guitar playing, as I still have the original recording (instrumental & vocals) but I never received a stem of Billy's guitar masterful magic. So being, I'm proud to have this rare, fully fleshed out track, even if the guitar is mixed in a bit lower that I'd prefer. Regardless, Pops did Ben right backing him up on this massive underground banger. Get it all, and then some, by giving a listen. :)

Inna Space is the first really hard studio dub I created, way back in 2003 or '04-ish. The problem before was I could never get a good enough recording of it to capture its incredible dynamic range while keeping its sound level up to par, too. Well, after years of figuring things out, this track now retains it's hard dance feeling, while also being acceptably loud in this 2023 Master. Enjoy, and don't forget to Like, Share, and Subscribe if you haven't already, And thank you for your support! ✊ I couldn't do it without you. 🙏

Destination: Stranger is another neo-classic from my 2004-ish era, and the only track from my 1st Electrochemical Set to get an actual studio dub (so far), even after all these year. One day, whenever I get a new MC-505 and a new whopping 4MB memory card (or two), I'll finally create the other, long over due studio dubs for all the others songs in that set, as well as 2nd onward.

There was a point that John Wang had got an MC-303 and started pushing sounds harder than before, which is really saying something. I don't remember exactly when this and a couple of other track were recorded at Supa Dave's place when we all had a day off at the same time. I was recording engineer, with Dave killing it with each take that day. I also can't remember if I already had Wang's instrumental(s) prerecorded in my portastudio or if we record it first then had Dave spit over them. Not that any of those details matter to the everlasting music, but they make for what I find most fun in life: being part of a creative team. On that tip, I believe J-Bird later supplied the DJ scratches.

A little heard neo-classic finally let out of the dub Station One archives, (People) Eff-Kay -- formerly named Eff-Kay People -- started off as a Fruity Loops beat Mikey made at Freestyle Steve's house, if my memory serves me correctly. And the lyrics may or may not have been recorded at Bennie Bluntz' 8th Street Ghetto Wizard Studio. However, the cheese factor here for me, personally, are samples from a 2000-2001 New Years party. These samples appear courteously of big Poet One, who was taping that wonderful evening at the Eff-Kay Mansion (as we affectionately called it). With Sheena leading the party crowd in cheering up the party as an "Eff-Kay Productionnnnn!" at the start of the song, and my boy, Syght, closing out this banger with his own enthusiasm, it may not be an anthem, yet, but it's set to set any party off! I'd like to add I wrote the chorus, which J-Bird thought was pretty cool, then Mikey had this beat, while (I'm pretty sure) we were all having a smoke session, and, well, after some studio magic, (People) Eff-Kay is the magical end result. A great musical collab with many elements to make it what it is. (And just like what Eff-Kay was like back in the day.)

One of the most massive tracks I've ever dub! The dynamics of this track are intense through and through, which help to showcase my new knowledge of how to Master such intense frequencies. Shatter your own looking glass of life with The 45th Degree!

My absolute favorite live mixed track ever! Another original banger by Supa Dave, The Heavenlies (Beyond Stratosphere) is from my 2004-ish era of production. I mixed this pattern off of my Roland D2 in a way that I normally don't, that is to say Live, as opposed to sequencing it out, and it only took me two tries to get this mixed the way I wanted it. It's easily another one of my Top 5 favorite tracks I've ever produced, too, which is a tie of a great many tracks. Anyway, check out The Heavenlies (Beyond Stratosphere), and enjoy the enfloating! :D

Another underground neo-classic trance banger, but this time it's my boi, Supa Dave, throwing down the mean sounds here! Well, he created the main pattern, which I later sequenced and added all the cool little crackly breakdown sounds to, dubbing how I do, because the dubbest, Kurt-thee-Inducer! Bounce to it, y'all! 🔊🔉🔊🎵🎶💃🕺🎶🎵🙌🎶✊🎵

Another throwback from roughly a decade ago. Make You Feel was recorded sometime at the end of 2003 or the beginning of 2004, I think, but I really have no clue. I was really busy music-wise back then. So much so that I actual put out several other rap tracks with my friends, despite on being a rapper. I'm featured exclusively on this abstract instrumental made by Bennie Bluntz, and it was mixed (live) by Supa Dave, both of Steel City's Chosen, as it was known as back then. The sweet DJ scratches were added by (the late great) J-Bird after hearing this track and liking it, much to my surprise. As alluded to above, this was mainly a peer pressure track for me, as I never cared much for rapping. (Still don't for the most part, but, like anybody, I can appreciate some swank wordplay. Including my own, when the mood strikes me.) Even so, this track only took four takes -- two mixing and two of me rapping -- for Make You Feel to be completed.(?) It took maybe a half-hour or so overall to mix & record, and it helped to push the growing hip hop party culture spilling out of Ben's 8th Street Ghetto Wizards Studio, as I like to call it. A fun fact: I helped to spawn that rock'n musical spot by complete accident. One lazy day at the so called Eff-Kay Mansion -- located on Joplin and Beech in the East Side of Pueblo, CO -- I was showing my peeps a DRK diss track I had made on my BOSS 303 Dr. Sample, one of my first foray's into recording vocals, and Ben happened to be home from a failed football career in college and heard that diss track. It had to be one of the hardest hip hop track I ever recorded, with hard distorted vocals over an equally hard "kill 'em" boom-bap rhythm that was overall equally tricked out with effects from the sampler, which it was all recorded on. I'm pretty sure it was that day put Ben on a musical career he never expected to be on. But a musical path was always in his calling as his pops was one hell of a Tejano musician himself. Anywho, enough ranting for now. But always remember that: I can make you feel bad/ I can make you feel good/ I can make you feel/ And that's about it.

A random track for a random time. :)

This is a random track I didn't know I had a copy of, but I'm glad I do, since it's a slam'n low key banger! While I'm not sure of the details, I think Wang made this track sometime back in 2003 or maybe even in '04, as it's from of one of my random 8th Street archives. Wang was making so many tracks left and right back then and, for me, this one got lost in the shuffle of them all, so I'm glad to bring it to light the dance floor with that peculiar and infectious John Wang style.

Uplift is another neo-classic from roughly 20-years, and it is one of the three song set -- "Ology" being part of it, on my page below; as well the classic, "Dope Pretenders," I believe it was -- which I recorded with the mighty John Wang, mixing it up like the mastermind he is, at Supa Dave's place, a little square apartment in northern P-town at the time. I remember after he began the first chorus, I went to push a button or turn a knob (for some reason now lost to time) and I accidentally hit the EFX switch right around as said "For the faces that are fake," and the feedback rang out crazy in that little apartment. Dave, being the pro he his, was unperturbed by the accidental dub. And, for what it's worth, I kind of wish that effect was replicated on each additional chorus. Regardless of studio accidents and experimental wishes, I feel this is one of those track I got to record where Dave is at his finest as a lyricist, representing the hip hop message at home, in the car, at work, in the party, and/or wherever. Always remember to Uplift.

An incredible Supa Dave banger, Illiad (Word Rock), was recorded at the height of the Ghetto Wizard Studio on 8th Street, right there in the living room, with a party in the dining room not ten feet away. This is Supa at his best. The original beat his is his, his lyrics are (always) on point, and then there's Boogs and I backing him up, too, just to make sure this song is ripping shit apart as you bob your head, shake your hips, and stomp along. Admitted, my vocal could probably be turned down a bit, but this particular version was mastered from an MP3, which was also the only version I have that has the delays at the end of each verse. I also added in that extra sound before Supa Dave's first verse. While the absolute silence there from before was excellent timing, I feel that sound helped to round out the song a bit more. Turn it up, and enjoy! "I heard ever word And began rock Not absurd with the rhythm But the aftershock" ---Booger Boo

This is one of my favorite tracks that I ever made. It has a swank vibe that's like good love'n, accentuated by the dubbing. That was done in my original live style as the track played back. Enjoy! (Note: After listening to this track, I am sorry if the highs get screechy here and there. I didn't noticed that problem before I posted this track, and I am working to fix it. End note.)

Man, mastering this one was tricky, with how low its overall sound was, and the bass drum being the loudest part of the entire song, this is probably the biggest bass cut I've had to perform on any song so far to help level it all out. The vocals are more than a bit wishy-washy in places, too, so getting them to sit comfortable on top of this old mix just wasn't happening how I'd like. But, that bit of mud also helps to give it that dirty, old school, underground hip hop appeal, which this track 100% has.

This was a fun one to Master, as I first had mix/mesh two versions of this track together to get this composited version. One version has the DJ scratches but sounds hollow overall. The other version is a beefier sounding version without the scratches, which led to an interesting dilemma. Recorded and released back in, I believe, 2003, World Full Of Lies is an underground anthem from the turn of the millennium that's still just as banger today as it was twenty-ish years ago. The DJ scratches were added, at a guess, a month or so later, and recorded over an inferior sounding cd version, me thinks, instead of alongside the master tracks. Why that is ... I'm not sue anymore. But, I surmise it was simply easier at the time to record the scratches over a stereo track. I doubt it was quicker to do so that way, or for the sake of saving memory however. The original project could have been out of tracks, or maybe it started glitching and wouldn't allow anything new to be recorded in that particular (original) project file. (Which, sadly, did happen from time to time back then, and it would even lead to the loss of, or lack of recording anything in any given file, and so compromises and workarounds were made and found.) I never kept any kind of studio log back in the day.... Or, no, I did, just not a very well organized or detailed one. That's one reason I post these neo-classic bangers, (and with my newfound mastering skill,) simply to preserve a funky young adulthood of a small group of Pueblo East Siders conscious to the world around us all. Sing along!

For me, this is the track that setoff 8th street, aka, Benny Blunt's "Ghetto Wizards Studio," as I called it. This track was recorded before it turned into a trap house. If fact, the musical talent had barely moved up out of the basement there, as Ben and co. was already creating some marvelous sounds of their own, which eventually developed into Steel City's Chosen, a loose knit but refined crew of Pueblo east side's finest emcees, and me. At some point, Boogs (or Booger Boo), feeling the hip hop vibe that he was and is still one with, had "moved into the studio," possibly sometime after this song was recorded. My timeline for back then is getting a little haze, as time wears on, but that's how I remember it. As a bit of evidence that this is the track that set it off, at 6:17-18, right after Boogs says "Bon ... Jovi!" you can hear us all cheering like jackasses for a second or two before the mic shuts off. Man, to think of all that happened after that moment.... #Greatness