This the type of day that makes swaths of Southern California feel downright heavenly. Awaken awash in sunshine, with a hint of autumnal crispness injecting energy into a Sunny Sunday. . .in short, a perfect day to blaze one to the first formal effort from notorious Bat Caver, Spinwell: Music for a Sunny Sunday Afternoon.
A hardwood floor reflects an emboldened sun on the cover, immediately setting the tone visually as track one (3582,Sound Imaging, 2001) breezes into an ill sample, foreshadowing the next hour’s journey:
“We have a fine program today. Today the orchestra is going to paint pictures for us; pictures in sound. But we have to listen very carefully. . .and use our imagination. . .”
The CD art is exceptional as well, a personal slice into the crates of Spinwell, featuring vinyl classics such as K-Otix, Dusty Fingers, Zero 7, etc). . .here’s a small shot:
As the album launches into the wonderfully sentimental, piano- & horn-laced Atmosphere track, God’s Bathroom Floor (1997), the compilation reaches full chill mode. Perusing through the uncharacteristically introspective liner notes from the reclusive, analytical mind of Spinwell, the listener is complemented by the processes of the track selection, which encapsulates the album’s intended mood precisely.
From the words of Spinwell:
Few things are higher on my list of preferences than a lazy sunny day on the weekend. If you really want to get specific, then it’s one starting with brunch with my wife, maybe the Sunday New York Times, and at some point opening up the blinds to let the sunlight shine through and reflect off the hardwood floors. The hardwood floors are critical. Because few things sound better than good music vibrating off toasty hardwood floors.
As the bass reflects of of said florrs, the smoke dissipates into the ethereal nature of the album. Quasimoto’s Boom Music (2000) gives way to the underground classic Pete Rock remix of Black Star’s Respiration (1999) featuring Black Thought. Mos Def delivers one of the ultimate introductory couplets on record:
“I push my pen and wrote this scribe/Like the morning wouldn’t find me alive”
Followed by an obscure but oft-sampled early funk record, On the Hill by Oliver Sain (1972) and segueing into the Brit Hop stylings of Emmanuel (Let’s Go Away, 2005), Spinwell ensures that his international palate is satisfied without compromising the overall feel of the record.
Ensuing tracks include artists such as Siah and Yeshua da poEd, France’s appropriately-named Mike, Thes-One and a YKI favorite, Asheru and Blue Black.
As the album reaches a climax with Common’s I Used to Love h.e.r. (1994), the tape segues perfectly into George Benson‘s The Changing World (1974), which actually is the source for the legendary Common track.
With a runtime of a little over 79 minutes, the beats keep coming and mix melts more and more into the Sunday malaise, just chilling and enjoying the Sun. Here’s hoping you do the same: