2. Dangerous Minds: Richard Metzger is one of the greatest custodians of pop-culture ephemera and zeitgeist earthquakes, and Dangerous Minds is his online venue for all that’s great and fascinating and weird and essential. Dangerous Minds broke the Internet release of the backing tracks to the Rolling Stones’ “Gimme Shelter” earlier this year, causing a massive sensation. That’s just but one example of the good works Metzger bestows on the public…

3. Ashtar Command: Chris Holmes is, for lack of a better cliché, a renaissance man. He’s released his own innovative, unique music (under the guises of Ashtar Command and Sabalon Glitz, among many other monikers), and he’s been a secret weapon for everyone from Felix da Housecat to Smashing Pumpkins; he continues to throw amazing parties (he even served as handpicked opening DJ for Paul McCartney’s Coachella debut). Holmes also has the greatest taste in conspiracy theories, UFO intelligence, and generally everything cosmic, and his Ashtar Command website brings it all together.

4. Kelly Oxford’s Twitter: A lot of people’s Twitter accounts try to be funny; Kelly Oxford actually succeeds. She’s a Mommy blogger for those of us who could care less about Mommy blogs (she’s far too profane and insane to even compare to the middle-of-the-road types that garner innumberable hits). Oxford can be existentially hilarious (“Sometimes I think the moon is just the earth in the future and it’s there to warn us and we’re ignoring the warning. We’re so stupid.”) or just spectacularly rude (“Iggy Pop saw a photo of Madonna’s body and threw up”) in her 140-words-and-under-rants, and she’s just as much a target of her tweets as is, say, Kanye. Sarah Silverman, you got competition…

5. Madbury Club: Phillip Annand is a young dude who got his start on the Interwebs as an opinionated forum poster on Hypebeast.com. There, Annand developed his eye and taste for everything cool and sharp in streetwear, pop culture and beyond. Call him a tastemaker, call him an early adopter, call him whatever, but Annand is up on stuff probably before you are, yet he lets us know what’s up with humor and class. Respect…

6. Rob Da Bank on BBC Radio 1: Rob Da Bank is a DJ, but he’s more than just a DJ – he’s an everlasting gusher of new, incredible music. He unleashes his findings every week on the BBC, where chances are you’ll hear artists and songs everyone else is playing catch-up with a year later. He also runs the great U.K. music festival Bestival and runs a great boutique label, Sunday’s Best, which just recently released a completely nutty, great single from David Lynch. Da Bank also is funny as hell; really, he can do no wrong, and deserves your support.

7. Sleevage: Some designer types known as Soap Creative from what appears to be Australia and Los Angeles do this amazing blog devoted entirely to “music cover art – from the LPs of the ‘60s to the digital artworks of now.” It’s wildly addictive, spanning known faves to obscure oddities, all totally inspiring.

8. The World’s Best Ever: The World’s Best Ever is a self-described arts & culture website that updates constantly, with a fine emphasis on design, but mostly concerned with everything good. Their Sound Advice playlists feature the listening faves of everyone from alt-rock icon Greg Dulli to Surface To Air founder Gordon Hull.

9. The Flavor Bin: Bill McMullen (aka Billions McMillions) is a design/streetwear/artist genius; chances are you’ve worn his designs and have albums where he’s created the cover art. Colby Parker Jr. has probably edited some of your favorite films. Together, they are The Flavor Bin, podcasting like maniacs, doing crazy interviews with unexpected types (actor Idris Elba, photographer Terry Richardson) like some digital-ass Dick Cavetts for today. Word.

10. Brainpickings: Maria Popova is a one-woman Ted conference. She’s obsessed with all things media, tech, science and pop culture, combing the web for obscurities and miscellany that makes one view the world in a new way…

Cubic Zirconia release their debut album February 8th on LuckyMe.

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We all know nightclubs, with all but a few rare exceptions, are little more than stooges of liquor companies, in the same way that the large newspaper presses are oiled by the advertisements of the planet’s biggest polluters (that last bit came from Gustav Metzger). Nightclubs, these palaces of sanctioned pleasures, just don’t seem to offer the orgiastic experiences that the real queens of the night require, which is why, increasingly, if you want to find a place to let yourself go, you need to search a little further afield.

So with that over-elaborate opening gambit, cue Lover Fever – the .org in its website address, favoured by charities and humanitarian organizations, gives some indication as to their relation to commerce. To date, in carefully chosen venues, including a back-alley strip clubs and a tiled Victorian bathhouse, guests including Wolf + Lamb, Theo Parrish, Nicky Siano, Trusme, Danny Krivit and  Black Joy have graced the turntables. With Larry Heard scheduled for the December party, it’s only so long before these word-of-mouth events become known to more than just the glamorous, Dionysian initiates.

But back to the music, and the first weekend of the Jazz Festival has seen its fair share of fireworks already … Saturday night on the South Bank people had to make the difficult choice between Herbie Hancock at the Royal Festival Hall or Esperanza Spalding in the Queen Elizabeth Hall, although if you managed to get yourself a ticket to either you could probably count yourself lucky. Both, I’m reliably informed, were special occasions, and even if the Herbie Hancock sextet swerved occasionally into jazz-world territory (including Irish folk music), he gradually managed to get the crowd on side with classic material, covering ‘A Change Is Gonna Come’ and Headhunters-era material.  Meanwhile, over in the smaller venue, Esperanza Spalding seems to be putting the razzmatazz back into jazz, and supported by vocalist Gretchen Parlato, this gig was booked up weeks ago. It did not disappoint and the crowd on their way out of the venue seemed to have their mouths filled with superlatives when trying to describe what had just taken place before their very eyes.

The tempo was kept up on Sunday night over at the Barbican Centre with a K.O. double-header – Robert Glasper playing the first session and Terence Blanchard, the musical director behind many a Spike Lee joint, playing the second. Glasper brings some youthful swagger to any jazz festival and his latest joke is to come onto the stage body-popping. He’s a funny cat and his bass player, Derrick Hodge, plays a willing foil both throughout the jokes and for Glasper’s elaborate piano style. Covering anything from Herbie Hancock to Nirvana (didn’t’ the Bad Plus do that too?), Glasper’s gig went overtime to the chagrin of exactly zero persons in the audience, and even stretched to taking requests for the last song. For a forty-something trumpeter, and one who’s described himself as shy, Terence Blanchard is also a smart and forthright entertainer. We knew we’d get some politics in this set, what with his latest album ‘Choices’ featuring interviews with Dr. Cornell West and the album before that dedicated to Hurricane Katrina, so aside from jokes about not having Texas barbecues for eight years while Bush was in the White House, with Blanchard you sense that jazz is a powerful medium for saying things where words fail. Certainly with his young band, a fearsome drummer playing crashing cymbals, a dapper bass player and Blanchard’s experience, it was a glimpse into where jazz is headed.

Still to come this week, concerts from British jazz players, from the new guard – Soweto Kinch , Zed-U, Empirical,  Neil Cowley – to elder statesmen like Stan Tracey or Cleveland Watkiss, as well as interesting internationals like Louis Moholo-Moholo from the South African band, The Blue Notes, and pianist Geri Allen. Listen and learn.

She Keeps Bees
A Brooklyn two-piece fronted by the gorgeously piped frantics of Jessica Larrabee, a one-woman army of soul and skitter, She Keeps Bees are an American Band. For evidence, watch them channel Son House’s “Grinnin’ In Your Face” below.

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Glasser
It’s not new news that Cameron Mesirow is able to craft hypnotically tropical, Enya for the flowy clothes set gems of pop splendor; her debut EP was released well over a year ago. But at the Brooklyn Bowl on Friday, overcoming the cheers of drunken bowlers with aplomb, she jittered and flexed with ease and sounded great – something that Zola Jesus and How To Dress Well absolutely didn’t.

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Baths
Baths writes twee but hard-dancing beats a glimmer away from the primordial near-muck of LA’s Leaving Records’ roster – dusty, perpendicular song elements with some seriously rapid-fire MPC manipulation.

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Strife
Over twenty years young, this crew California straightedge-no-more hardcore ‘kids’ is still proselytizing for peace while fat kids kick your dick. Strife live was a blast from the all-too-near past.

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The Body
Championed by the widely-respected if not widely-read Aquarius Records, The Body is Rhode Island’s scientifically-precise answer to the question: can dissonance and audioviolence be lovely?

The Blow
The Blow is included in this list because it was hands down the best performance I was witness to all week. Khaela Maricich is a lion, and there’s no accurate way to describe the vice grip she had on the audience at the Music Hall of Williamsburg on Thursday. Just…

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Pepper Rabbit

Pepper Rabbit write some very pretty songs; heavily dynamic twinklepop anchored by Xander Singh’s interestingly-timbred and strong voice. If they can sound good at the Cake Shop with the amount of gear they use, they’ll probably sound just fine on your earbuds.

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Perhaps taking a too-measured approach to the premier day of CMJ 2010, I saw but seven bands. From Ludlow in the afternoon for a crack at randomness, to Webstaer Hall in the evening for friends and the MTV showcase, to the Brooklyn Bowl at night for MOG’s branded celebration with Screaming Females, DOM, and Yo La  Tengo.

First of all, a name you might be hearing about a lot whether deserving or not: Dominique Young Unique. A Tampa, Florida native daughter with machine gun delivery, frequent giant smiles, some detrimental wardrobe issues, and some seriously endearing knob-fiddlers, I left thinking what I had just seen was awful, and I’m pretty sure it was. It was also their first show of CMJ. Part of everyone’s problem with “everything” is counting chickens before they hatch, so perhaps she just needs some time.

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DOM sit on the roster of the not tiny EMI, and seem to have earned in a backhanded, confusing sort of way. Their recorded output sounds straight gauzy, but live it’s flexed-out garage as so many things are these days. Until the next song; they’re mid-videogame theme song one minute and Springsteen-preening all over the place the next. Very confusing and if not exciting at least intriguing.

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I hate to say it but I certainly am: the other five bands I saw (with the MASSIVE exception of Yo La Tengo, who did their thing oh just so) aren’t worth your time here. Seriously. Maybe tomorrow.

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While in 2010 you can still find railway arches playing home to car mechanics, increasingly these arches are being repurposed, and since they’re often out the way of residential homes, they double especially well as nightclubs.

In Old Street, for instance, you’ll find railway arches that have been converted into a gallery (the Black Rat Press), a trio of 5-a-side soccer pitches and the Cargo nightclub. In Central London, Heaven, a real rabbit-warren of a club, has lived under Charing Cross for the longest while. Head south, just over the river in Elephant & Castle, and you’ll find one of London’s top nightspots for a hot minute, Corsica Studios, also right under the railway line. Over in Vauxhall, more railway tunnels and a lot of debauched late-night clubs including the Lightbox. And down below London Bridge station, the complex of tunnels off  Tooley Street holds venues including the legendary SE One (now deceased), the Shunt Theatre (née Shunt Vaults), Cable, which has been promoting progressive dance music line-ups since it opened earlier this year, and how can we forget The Arches?

But there’s a new addition to the London Bridge arches complex. It’s called Counter Culture, and it’s not your average club. For 99 days, a group of not-yet-jaded bright young guns have taken over the venue and intend to put on “an unrivalled mixture of club nights, live shows, comedy, plays, cinema, and art installations; all put together with the enthusiasm and sense of adventure”. If that sounds like your kinda thing, you better make your way down there since, as they say, the clock is ticking – you’ve got until 1 January before they call it a day. 

Meanwhile, over in Clerkenwell, once home to London’s most infamous rookeries, pickpockets, receivers, counterfeiters, strippers and grippers, and now home to most of London’s graphic design agencies, is a new spot called The Secret Order. Opening last month, it has scheduled just 12 parties over the next year (presumably because that’s all the temporary licenses that the local council are prepared to grant it). The space is a double-arched ex-vaults, so not strictly a railway arch but forgive us this small indiscretion. Keep your ears to the ground, literally, for The Secret Order’s next events, hosted by some of London’s best warehouse promoters. And thank you British Railways for providing us with space to dance.

Weird that America’s foremost serious-metal theoretician would find College Music Journal’s annual New York music festival – which like clockwork brings in tens of thousands of frantic next-buzz seekers – depressing.  Actually, dude’s got a point. The CMJ Music Marathon, the event that has launched a thousand not-The-xx’s intro obscurity and maybe a dozen The xx’s into worldwide acclaim (or curiosity, at least) is like a condensed, confusing, tail-chasing SXSW set in the capital of the world (they say). Four days and nights of panels and screenings and shows, shows, shows, shoulder-to-shoulder with the whole of the blogerati. The upside of course is the same as the downside. You are guaranteed some lovely surprises.

In anticipation of next week’s proceedings, here are some of the goings-on we’re most excited about:

Gary Wilson & The Blind Dates

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GZA

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Dark Dark Dark

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Dale Earnhardt Jr Jr

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Serge & His Girls

diFara’s

It’s under the cover of all this commotion, and as an alternative to the glitz and glamma, that the MONIKER International Art Fair has entered the fray. Hosted at one of our favourite spots, the Village Underground, the festival kicks off today, 14 October, and presents work from the Black Rat Press (Lond0n), Choque Cultural (Sao Paolo), and New Image Art (LA) to name but three. You can expect to see work from Futura, Faith 47, Swoon, Shepard Fairey and some guy called Banksy, as well as project spaces from Dreamland Artist Club’s Steve Powers and professional taxidermist Polly Morgan. And, before you rush off down there, don’t forget to take your checkbook. Come on, that’s what art fairs are all about, doncha know?

Each artist on the roster hails from Los Angeles’ notorious “beat scene”—home to the acclaimed likes of Flying Lotus and the legendary Low End Theory club night; these are among the most innovative artists making bass-driven electronic music today—and the weirdest. As what links these artists is a tendency towards the fantastical, we asked each of them for their most surreal tour story. Be warned, as their answers may shock you—many of them feature nudity, synchronized Japanese aerobics, and other oddities. Read on…

FREE THE ROBOTS:

“I was supposed to play this festival, which was located somewhere in the middle of the forest in Northern California. I was late, so I went straight to the stage, only to discover that half the people in the crowd were buck naked on acid! I later found out that I’d been booked at a nudist colony: festivals can get pretty wild, but not knowing that beforehand took me by surprise. Groups of naked people dancing to my tunes was definitely a new thing for me.”

12th PLANET:

“Thinking back, the most bizarre thing I can think of happened while
I was on tour in Denmark five years ago. It was late at night, around 4:00 a.m., just after my show at Culture Box. I saw this naked guy wearing just a dog collar being walked down the street by a woman with a whip. I asked the promoter
‘What the hell is this?’ He replied, ‘I think that guy lost a bet on a
football match!’”

GASLAMP KILLER:

“My first show in Paris was in 2008 at the Social Club, with the infamous Solo & Uncle O. When I arrived at the club, they told me they had a surprise for me, and they would give it to me right before my set.

A few hours went by… Once it was time for me to perform, I noticed a gorgeous woman smoking backstage; I had not noticed her earlier. The next thing I knew, they’d announced me, and I walked onto the stage to start my show. Within five minutes, the woman I noticed backstage started to strip in front of the turntables, giving me and the whole crowd one hell of a show! I got so distracted that I let the record play out while she was doing her thing! I had to tell them to cut her show short so I could focus on my set! Gotta love the FRENCH!”

TEEBS:

“I’d only been on one official tour before this one: when that tour ended with a show in San Diego, the ridiculous sound guy wouldn’t let me move the mixer to center stage at the venue. Instead, I had to perform on the other side of the room entirely—away from the lights, away from the visuals and far away from the entire sound system. The confused crowd had to decide if it was more worth it watching me perform, or actually hearing the music I was playing that night.”

DAEDALUS:

“It was my first Japanese tour: I was playing a tiny room in Shizuoka (famous for green tea, wasabi, and apparently crazy tavers). It was a journey into darkness,
so to speak—not so much the Marlon Brando kind, but a pitch dark room
smoked full of haze and the harsh tobacco all the kids puff over
there. At the time I was new to the Monome (http://monome.org/)—my controller and co-conspirator—and its light-up operations, but that didn’t stop these kids from finding their fun. Which consisted of:

1. Yelling in unison on top of the already loud music—
lyrics from what I only can guess came from J-pop songs of the time (mind you I am largely an instrumental artist, so where they were inspired from who
knows…)

2. Synchronized dances that resembled aerobics between huge swaths of the audience.

3. Firing off these mini-blow torches towards the ceiling. As the venu was a tiny
room where I could just about touch the ceiling on tiptoes, I was
scared, but the fact is, these brief fireball moments provided the gig’s only light source. I had no option but to find the one door to escape
from in case the building went up in fames—and if it was going to happen, it would be a conflagration. If I had to run for it, I would’ve had to run through the puddles of people lying on the floor probably dosed with Special K or a mad mix of uppers and downers; my choices would be to either trip over them or
simply sink into their masses.

So, in other words, it was perhaps the best party I ever played, largely because I survived. I will remember it until I’m in my grave…”

Magical Properties Tour Dates:
All dates feature Daedalus and Gaslamp Killer; additional artists featured are noted at each venue.
10/14 – Voyeur, San Diego, CA  w/ 12th Planet & Teebs
10/15- 103 Harriet, San Francisco, CA w/ 12th Planet & Teebs
10/16 – Arcata Theater, Arcata, CA w/ 12th Planet & Teebs
10/19 – Holocene, Portland, OR w/ 12th Planet & Teebs
10/20- Neumos, Seattle, WA w/ 12th Planet & Teebs
10/21 – Fortune Sound Club, Vancouver, BC w/ 12th Planet & Teebs
10/22 – Sugar Night Club, Victoria, BC w/ 12th Planet & Teebs
10/23 – Hi-Fi Club, Calgary, AB w/ 12th Planet & Teebs
10/26 – W Lounge, Salt Lake City, Utah w/ 12th Planet & Teebs
10/27 – Bluebird Theater, Denver, CO w/ 12th Planet & Teebs
10/29 – Double Door, Chicago, IL w/ 12th Planet & Teebs
10/30 – Sound Academy, Toronto, ON w/ 12th Planet & Teebs
10/31 – Grog Shop, Cleveland, OH w/ 12th Planet & Teebs
11/2 – Le Belmont, Montreal, QC w/ Samiyam & Teebs
11/3 – The Church, Boston, MA w/ Samiyam & Teebs
11/4 – Le Poisson Rogue, NYC, w/ Free the Robots & Samiyam
11/6 – Bourbon Street, Baltimore, MD w/ Free the Robots & Samiyam
11/7 – DC9, Washington, DC w/ Free the Robots & Samiyam
11/9 – Club 828, Asheville, NC w/ Free the Robots & Samiyam
11/12 – The Masquerade, Atlanta, GA w/ Free the Robots & Samiyam
11/13 – The Howlin’ Wolf, New Orleans, LA w/ Free the Robots & Samiyam
11/14 – Barcelona, Austin, TX w/ Free the Robots & Samiyam
11/16 – Trees, Dallas, TX w/ Free the Robots & Samiyam
11/17 – Escobar, Houston, TX w/ Free the Robots & Samiyam
11/18 – Club 101, El Paso, TX w/ Free the Robots & Samiyam
11/19 – Club Red, Tempe, AZ w/ Free the Robots & Samiyam
11/20 – House Of Blues, Los Angeles, CA 
w/ Free the Robots, Samiyam & Teebs

Gotan Project headline London’s Troxy on October 25 followed by a special  after party at XOYO with DJ Phillipe (Gotan Project), Isa GT (Girlcore) and special guest El Hijo de la Cumbia.

This track is also available as a FREE DOWNLOAD via the Kspace Jukebox in the top right of your computer screen!

Tickets and more info here.

Those wanting a bit of rest from the dancing and mayhem found their way to the chill out  / gallery room displaying NT’s bright catalogue along with live screen printing by the Hit & Run Crew.

My top 5 highlights of the night:

1. Kid Koala dressed in a bear suit standing on the decks singing his Yo Gabba Gabba tune, Reach Up. Too cute is an understatement.
2. DJ Food and DV Ninja only A/V Set
3. Roots Manuva! Roots Manuva! Roots Manuva!
4. DMC Champion DJ Kentaro hip hop mixes set to a laser light show.
5. Matt Black (Coldcut) grooving on stage to Thunderheist, Jerk It. “What a legend!

It was a top night all around and a befitting way to celebrate Ninja’s major contribution to the British Music scene. Ninja Tune XX continues their guerrilla road trip over the next couple of months making stops in Warsaw, New York, LA, Tokyo, Osaka.  More information and tickets here.

Here’s to another 20 years of more beats and pieces please!

Photograph by Will Cooper-Mitchell

More pictures from the night here…

Ninja 20

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Ninja Tune Take over Shoreditch

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Photo by Glenjamn

I’m just gonna say it: Ratatat are the new Pink Floyd. In terms of concert as audiovisual adventure, the New York duo of synth/bass dude Evan Mast and shredding guitarist extraordinaire Mike Stroud are currently peerless. Their performance on September 21 at L.A.’s corporate behemoth Club Nokia proved an ambitious fusion of sound and vision – all to a beat you could vigorously head nod to.

Photo by Glenjamn

The imagery alone threatened to swallow up Mast and Stroud, and sometimes it did. Floating disembodied eyeballs contrasted with a holographic string section – the symphonic equivalent of Princess Leia’s message blasting out of R2D2 – and a spinning 3D bust of Beethoven (très Electric Light Orchestra). Yet when the duo stood silhouetted in smoke against the shimmering backdrop lite-brite visuals, it evoked a stunning moment of guitar heroism, reminding those in attendance that yes, in fact, you were watching a band (this was made even more clear when Mast and Stroud pounded a set of drums in unison—one of the night’s most visceral moments). Even if the music was turned off, their visual show would suffice as awesome entertainment; however, onstage Ratatat managed to combine the most epic, soaring rock jams with electronic grooves so heavy, the levels of raditude shot through the ceiling, causing the crowd to move in sync to every kick-drum shudder. On record, but especially live, there’s just something so compelling about Ratatat’s formula of fat beats, gut-wrenching sub-bass and Stroud’s Kevin Shields-meets-Iron-Maiden wall of guitars. This is what arena rock should be—don’t be surprised if that’s where you find Ratatat next…

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To that end, Decibel opens classily with a showcase from the great Ghostly International label, and then over the chorus of five days presents a literal “who’s who” of cutting-edge electronic music artists. Unlike, say, the Winter Music Conference, the fromage factor is nonexistent: there will be no Paul Van Dyk remixes heard in these environs. Instead, attendees will immerse themselves in the sounds of iconoclasts like Flying Lotus and Ben Frost, distinctive dubsteppers Clubroot and 12th Planet, techno guru Carl Craig, West Coast beat don Eskmo, New York funky deconstructionist Falty DL, Brainfeeder discovery Lorn, the brutal bass of Berlin’s Modeselektor, abstract house technician Pantha Du Prince, drone maven Oneohtrix Point Never—and that’s just scratching the surface of the schedule. What’s most amazing is the love that aspiring acts receive as much as the legends on deck. Indeed, when it comes to sheer quality, no one pumps up the volume like Decibel.

I was at this show, and the charged melancholy that Gayngs relays was palpable throughout the evening. Watching friends and acquaintances on stage and off all amorous and celebratory and pensive; it was a singular experience that probably won’t quite be replicated on their upcoming North American trek. That’s not to say those shows are anything less than must-attends  (as is any chance to see Marijuana Deathsquads, Gayngs’ leader Ryan Olson’s psycho dance party that is fresh off a short residence at LA’s The Echo and most likely formulating some type of takeover somewhere – Berlin?). If nothing else the massively talented Glasser is the opener for most of the shows. But everyone in the room that evening was no more than a degree away from anyone else and the ‘band’ played beautifully and we all touched tongues and sipped away a lovely summer night.

In other Gayngs news they released a George Michael cover today that is at least spot-on (if you can stomach Har Mar Superstar, not as easy as it sounds), once again in that reminiscent and rainy vein they seem to mine so very well. It’s set to be released as a 7” at some indeterminate futuretime.

Gayngs’ Tour Dates:

09-29 Milwaukee, WI – Turner Hall *
09-30 Chicago, IL – Metro *
10-02 Boston, MA – Paradise *
10-03 New York, NY – Webster Hall *
10-04 Brooklyn, NY – Music Hall of Williamsburg *
10-05 Washington, DC – Black Cat *
10-06 Carrboro, NC – Cat’s Cradle *
10-07 Nashville, TN – Mercy Lounge *
10-10 Austin, TX – Austin City Limits Festival

Matt’s work has always evolved around the idea of including society’s “have nots” in the sanctum art world, therefore it comes to no surprise that he is donating 40% of the sales from this show back to the school in Zambia.

“That I May See” runs for three weeks at Black Rat Press Gallery, 83 Rivington Street EC2A 3AY

BBC Blast Interview with Matt Small:

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Si*Se has a new album that is percolating on the horizon, and to preview it, Carol C and Cristofaro are tag-teaming on an intriguing hybrid of DJ set and live show, with Carol C sprinkling her vocals throughout. This Friday, September 10, Carol C and co. are bringing this show to Los Angeles’ Conga Room for what’s guaranteed to be a don’t-miss soulful journey on the deep tip….

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