Gavin Quirolo

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Lotus 72 DZé Roberto “Lotus 72 D” is a combination of the two things I love most: Formula 1, and 70’s Brazilian music. This Iconic Brazilian jazz-funk track immortalizes Emerson Fittipaldi’s 1972 world champion-winning season for Colin Chapman’s Team Lotus. At this time, Emerson was the youngest Formula One world champion at 25 years of age; these impressive facts led him to become a hero in his home country of Brazil. The track feels as if you’re stuck in the cockpit of a racing car, surging around a race track, wonderfully capturing the spirit of Brazilian motorsports culture and the feeling of pushing a car to its absolute limits. As an amateur racing driver and fan myself, this track holds a special place in my heart as a wonderful combination of two worlds I hold near and dear. Zé Roberto, at the time of this historic win, was already making a name for himself in the São Paulo Jazz scene. Having released his debut album with fellow Brazilian Os Tatuís in 1965, the project featured the then-new sounds of Bossa Nova, taking heavy inspiration from titans such as Antonio Carlos Jobim. By 1972 Roberto had established himself as a respected musician in the São Paulo scene. His sound had continued to evolve from the standard sounds of Bossa Nova he had become known for in the 60’s, he started to incorporate American funk influences into his work, so by the time “Lotus 72 D” came to be, Roberto had created a sound unto himself. Spurred on by the pride and jubilation of Fittipaldi’s world title, this track surged in popularity and cemented itself into the permanent cultural record of both Formula One and Brazilian music. I highly recommend digging into Zé Roberto’s music, though it is exceedingly difficult to find, this being the only track readily available online. I will update this review with some resources to locate more of his music at a later date.
languagespirit blue Language is the third track from the mysterious London based alt-rock duo Spirit Blue, made up of artists Impey and Sleepier. One of their first tracks “desire machine” gained huge levels of traction through short-form edits on TikTok & Instagram Reels. This is how I was introduced to this duo in their current form, having been familiar with the radio show they host on NTS. Language blends 90’s alternative and grunge sounds with modern ambient flavors to create a dark, moody and atmospheric world you just get sucked into. Every time I revisit this duo’s work I’m left begging for more. Hopefully we will see more work from them soon. This is one of those sleeper future classics, something your kid will think of as super special in 20 years.
What's WrongNumbDome Numbdome is writing classically beautiful folk. The sound is reminiscent of artists such as Danny O’Keefe, Jim Croce, and Don McLean but with a distinctly 2020s flare. His heart-wrenching lyrics are intimately delivered over stripped-back production. The guitar work and tone are definitely highlights. As a fan of classic folk, it’s really exciting to hear new artists reviving this sound and adding new elements to make it feel special again. I’m very excited to see where he continues to go with his career.
Junkhead (2022 Remaster)Alice In Chains “Junkhead” is Alice in Chains at the absolute peak of their power. A more out-of-the-box approach to the Seattle grunge sound is on full display here. Layne Staley delivers a characteristically brilliant performance, with some amazing harmonies and a masterfully restrained guitar solo from Jerry Cantrell. Layne wrote a straight and true addict’s anthem. Laying bare his feelings on the subject, highlighting the hypocrisy of those who criticized his lifestyle. Comparing his drug issues to the rest of society’s addiction to status and money. Tragically, this lifestyle would end his life far too early. Author’s Note— Alice in Chains is the best Grunge band, bite me.
Good LifeCocoa Tea “Good Life” is a straightforward reggae track. Cocoa Tea pulls from the 70s tune “Party Time” by The Heptones. Building on the classic rhythm to create this quintessential love song. He offers a beautifully restrained vocal performance that avoids excess or exuberance, aligning with the song’s straightforward idea. The reason this song has such a special place in my heart is how I came to know it. I’ve come to spend a good amount of time in the Caribbean, but on my first trip to the region I was deeply unfamiliar with the culture and music. This track served as my introduction to the world of Reggae outside of Bob Marley and the common American perception of the genre. I was enjoying some “local herbs” on a beach, when an older gentleman asked to sit with me. We swiftly got onto the topic of music, so I asked what his favorite song was, he very surely named this track and asked if I would play it on my phone. It’s been with me since
Lost in the Supermarket - RemasteredThe Clash “Lost in the Supermarket” is among the gentler pieces on the landmark double album “London Calling.” It stands out because it avoids conventional punk elements while retaining that ethos through a clear anti-consumerist stance. Its softer qualities have always seemed to me to shape the direction of later British rock bands. Guitar tones that would soon become commonplace in the 1980s with bands like The Cure and The Smiths, and I am grateful for that. Now on a more personal note. This track has remained with me since my youth. I recall the precise moment I first heard it: in 2013, at age 10, sitting in the back of my mom’s minivan. We were running errands, and I had just received an iPod touch handed down from my older brother. My mom had filled it with the music she loved; this song soon played. Looking out at a suburban shopping center, I felt goosebumps from a song for the first time I can remember. Since that day, “Lost in the Supermarket” has stayed in my rotation.
Thank You - 2008 RemasterBonnie Raitt It was a cool late September day on a road trip with my now-wife that this song entered my life in a way very few songs have. It was on a back road, trees enveloped all around us, a late summer sun warming my skin. My wife sang this song to me, then proceeded to divulge how this song made her think of me. It touched me in a way very few moments in my life have. Warm, intimate, and true. Those are truly the only words I can use to describe this song. The vocal mix is rough, the instrumentation is very emblematic of its time, yet it just has this inexplicable charm. Bonnie Raitt delivers such a truly beautiful and raw element that makes this song something special. A wonderful track to listen to when you’re especially grateful for your partner’s love.
Oba, Lá Vem ElaJorge Ben Jor Jorge Ben Jor delivered another beautifully written love song. Released in 1970, this track demonstrates Ben Jor’s shedding of the limitations of Bossa Nova and Tropicália movements that took over Brazil in the 1960s. The fusion of American soul music and traditional Brazilian sounds makes for a touching and powerful sound. The combination of classical string arrangements and traditional Brazilian instrumentation adds a layer of complexity to this otherwise simple concept. As always, Ben Jor also delivers a gut-wrenchingly raw vocal performance that just adds to the charm and atmosphere of this already standout piece of music.
Ho Happy JackieAZ AZ, the Bronx rapper known for his work with fellow New Yorker Nas, delivers a nearly flawless performance on this classic ’90s boom bap track. His voice blends well with the beat, adding grit to a smooth, soulful hip-hop production. Although some lyrics rely on dated stereotypes of women, the song captures the New York City sound. Buck Wild contributes masterful production, using a Kool and the Gang sample from “Little Children,” a piece also sampled by Quasimoto (Madlib) on “MHB’s.” This remains a strong example of the early to mid-nineties New York style. The track is worth hearing, and I would suggest the rest of the project as well.