I think I'm supposed to preface this by saying "real talk!" or something. Instead it's just going to be an observation. In the Chicago House scene, when people say "Southside", it's often a codeword for "Black". When they say "Northside", it's often a codeword for "White". And it's bullshit.

I'm not going to pretend that we as a society have moved beyond this, but you would think that after 30+ years, the House Music scene would acknowledge there are a hell of a lot more of them - meaning people who don't like or understand this music - than us, Househeads of Any Color.

Instead, we spend a significant amount of time in this city and in this scene manufacturing tiny little boxes to put everyone into. I'm not going to preach because it's going to sound like what everyone else has said a million times before, except to say that by putting everyone and everything around you in a tiny little box, you wind up imprisoning yourself in the tiniest one of all.

I have no idea if any of this was on Terry Hunter's mind when he co-wrote and produced this track down at Rosehip Studio, but it's on my mind as I listen to it. Terry Hunter is Southside, that's just a fact and I think you'd have a fight on your hands if you tried to tell him otherwise. And this track is about the last thing you would expect in a world of tiny boxes with neatly typed labels printed on the side. The title refers to a form of Cuban rumba, guaguancó - actually something of a stylized party music, where a male and female dancer are as important to the performance as the singer and percussionists. This is not the usual fare for what we like to politely call "Southside" - and Terry Hunter is throwing it back in your face and challenging you to tell him why. Because the roots of guagancó, some say, formed in a mix of both Caribbean and African influences. Are you getting this yet?

The music? I'm glad you asked. The Samba & Ronillo Loco Mix is my favorite - it's the most "Latin" sounding at first blush, but with this funkbox boogie music riff coming out of nowhere that gives off an echo of Carlos Santana's backing band. There's this little patter coming out of the right speaker - you'll notice it on a big system and even on tiny speakers you can hear it - and that's just a perfect little touch. I can imagine a remixer sitting over the console, exasperated that something's missing, and then realizing that this is it, a sub-audible muffled tap. Brilliant. Also impressive is Grand High Priest's Latin Twist Mix which almost makes a gospel/disco throwback out of the chorus, if you can imagine that. Terry's Tribal Mix is (get ready for this) stripped down, souled up, with gorgeous keys and a heavy dose of reverb that makes the groove linger like a wonderful aftertaste.

This is probably more words than I've put into any review I've ever written (and I've written somewhere around 300). It seems silly: listen, even if you can't understand the words the Papo Sanchez is singing.

 

+ Where Can I Find It?

Online at traxsource. Clips via YouTube embedded below. -tm

 

+ Track Listing	Duration	Recommended
01: Terry's Tribal Mix	7:08
02: Terry's Tribal Instrumental	7:08
03: Samba & Ronilo Loco Mix	7:45
04: Samba & Ronilo Loco Instrumental	7:44
05: GHP Latin Twist Mix	8:12

 

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Papo Sanchez - Guaguanco (Terry's Tribal Mix)

Papo Sanchez - Guaguanco (Samba & Ronilo Mix)