Hello, friends. Feeling great, feeling good…how are you? It’s another hour of the finest new music from artists who you’re probably not hearing on your radio, unless you live in some magical land where the radio isn’t a steaming pile of corporate garbage. Hand-picked, ad-free, no algorithms, no login or subscription required…just press play and enjoy. Among the usual eclectic mix there’s also a little appreciation of De La Soul, whose back catalog finally hit the streaming services this month and who, I’d contend, foregrounded musicality in their work more than any of their peers at the time. (Rest in Beats, Dave)

You can listen to this episode via the embedded player just below in this post—if you don’t see it, try turning off your ad-blocker then reloading the page—or on the Mixcloud website, via the Mixcloud mobile app, on your Sonos system, etc.

There’s also a more barebones iteration of this episode’s playlist (minus my commentary) on Spotify and Apple Music.

If you like what you hear, please support the artists. You’ll find buy links to the tracks in the bulleted list below.

Gray Days and Gold, March 2023

1. Joe Grass, “Guadalupe” (2023) • BUY
2. De La Soul, “Eye Know” (1989) • BUY
3. Sweet Dreams Nadine, “Painted Blue” (2023) • BUY
4. Ger Eaton, “Home Again” (2023) • BUY
5. Genevieve Artadi, “Watch for the View” (2023) • BUY
6. Fathom, “Wink of the Lighthouse” (2023) • BUY
7. Movie Jail, “New Way to Walk” (2023) • BUY
8. David Brewis, “When You First Meet” (2023) • BUY
9. Bernice, “No Effort to Exist” (2023) • BUY
10. Thom Gill, “Angela” (2023) • BUY
11. Oropendola, “Drop the Stone” (2023) • BUY
12. Danke Shane, “Fingers Crossed” (2023) • BUY
13. DM Stith, “Greyhounds” (2023) • BUY
14. Lucinda Chua, “Do You Know, You Know?” (2023) • BUY
15. Novelty Island, “Balloons” (2023) • BUY

As always, thanks for listening. If you have questions, suggestions, etc. please feel free to contact me. And if you’d like to receive these posts via email, you can sign up below. Take care.

[Artwork: February II, Devan Shimoyama, 2019]