I left Tokyo early in the morning. Normally one can catch a bus from Shinjuku, but I waited too long to reserve a seat and had to find my way there by train. I pick up a rice ball and yummy looking lemon drink. It had a funky taste, something in between sour and fire. After downing half the can I looked and noticed that the funky lemon can of liquid was 7% alcohol.
I am getting more comfortable with the fuji now. The pxr3 and pxr4 are basically the same to program. I put in a garage program and a batch program. I even can choose which one I want at any given time easily. When garaging I just start the program and put it on hold. It heats up to 950 and sits until I tell it to run.
THE ROUGH GUIDE TO THE MUSIC OF NIGERIA AND GHANA(World Music Network import)For a while I niggled my compilation niggles. Sunny Ade old-timersknow, Tony Allen hipsters know, I've already recommended the albumswhence spring the E.T. Mensah, Eric Agyeman, Stephen Osita Osadebe,and A.B. Crentsil tracks at the end, and it's quite a reach fromhighlife and juju of varying vintages to Adewale Ayuba's fuji drummingand Allen's Afrobeat abstractions. Soon enough, though, I was struckby how naturally it all held together, with a fundamental sounddistinct from South Africa, Sahel, and the Congo nexus. Both rhythmsand voices are lighter, and however much these pop styles emphasizeshowmanship and innovation, talky singing and associative structuresimpart a folk feel throughout. Thus they suggest an innocence andarchaicism that need have nothing to do with their historical contextor cultural intent. It's sound. And as such pure delight. A
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