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1
Come On Home
The sisters lean into the same invitation over a warm rhythm that keeps circling. It’s early-arrival music, with enough of a hook that someone can catch it while they’re still finding where to put the drinks.
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Bra
Follow the bass for a few bars and you’ll know where to come back after the horns answer. The beat is easy to catch without turning up the whole afternoon. Put it near the beginning, while people are still coming and going.
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Cumbia Sobre el Mar
Góngora’s voice carries the melody across a cumbia rhythm that keeps swaying under it. Let it play while people are still talking. The percussion gives someone a starting point even if they’re hearing the song from the far end of the table.
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Victory (Instrumental)
The horns put a short, decisive figure up front, and the bass and drums keep pulling against it. It’s a way to bring more people into the music at once, with a new rhythm to notice and plenty of room for a conversation.
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Baby 95
Liniker’s voice moves easily over a bass line with a little skip to it. A group can pick up the movement before anyone has learned the hook. This is one to leave playing when the food has arrived and people are starting to get up between bites.
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Agitations tropicales
Hear how the low synth and neatly spaced guitar leave the French vocal enough room to slip in. The beat gathers people gradually, which helps when there’s still more talking than dancing.
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Ponta de Lança Africano (Umbabarauma)
A repeated vocal call lands over sharply accented guitar. The words celebrate a soccer player, and the rest of the band gives the praise the beat of a small crowd getting behind him.
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Thinking of You
The guitar keeps a short figure moving as the refrain stretches out overhead. It’s a good way to turn the first few feet in motion into a group. There’s enough space between accents to hear the voices clearly.
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Love X Love
Benson makes the smooth melody feel at home on a beat with some bite to it. Listen for the keyboard accents just before the vocal lines open up. It gives a group a place to dance without losing the looseness of the earlier songs.
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Fantastic Man
The little synth phrase keeps coming back as if it’s checking whether anyone’s noticed. Once the voices are repeating the question, the guitar and keyboards have already found a steady pocket. Good for a group that likes a dance record with a sense of humor.
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Ajala
The drums give “Ajala” a clear point of departure, then the horns give you quick bursts of tune to hang on to. It’s a good moment to clear a little more space, even if nobody has decided they’re dancing yet.
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Lightenup
The bass gives a clipped guitar pattern plenty of room, and the voices ride lightly over both. This fits once the group has warmed up enough to notice an instrument changing the groove as much as a chorus does.
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Love Is the Message
The strings take a long turn around the melody while the rhythm keeps things moving. Leave time for the full album version. It gives people a few extra minutes to get onto the floor and find each other’s pace.
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Maracatu Atômico
There’s a rougher sound to the guitar against the pattern the percussion holds. Chico Science’s loose delivery leaves room for both, so the track brings another kind of energy after the smoother dance records.
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La Noche
The piano sets the pace for the horns and the answering voices. Arroyo keeps the lead line near the front, so it’s easy to pick up even when the arrangement is moving fast. Put it after the group already has a few steps going.
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Luvin U Is Easy
The handclap-like beat keeps insisting while the sung hook barely has to raise its voice. Save it for when the group is already moving and a repeated phrase is all the invitation people need.
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Soul Control
Ware takes a short vocal phrase and lets it sit inside the bright synth rhythm before the refrain opens. A useful pick when things have moved past polite toe-tapping and the patio can take a fuller dance sound.
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Little Things
The keyboard figure and quick drum pattern keep tugging at each other while Smith nearly talks the melody into place. Put this near the end of the daytime set, when the people still dancing are ready for a faster step.
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