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Founder of @ubiquityrecords
and @groovemerchantsf, father of @ellarosemcfadin and @lucyraemcfadin , Newport Beach / NYC
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right where I am supposed to be 🌈🌽🐾🍓🍦🌭🍅🇺🇸🍉
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I showed up in Nashville in 1996. I immediately lined up an internship at Vanderbilt’s college radio station, WRVU, and started calling my favorite record labels to see if they would service the station with free promos.
 
Many did, including Stones Throw – with less than ten records issued at that point – and Fantasy, then controlling the Prestige catalog and issuing amazing compilations of their funkiest late 60s and early 70s releases with awful artwork and the moniker “Legends of Acid Jazz.”
 
Some didn’t, like Bobbito’s Fondle ‘Em – but they directed me to the first hip hop webstore I knew of, Sandbox, and Ed Wong was a nice guy and he offered me wholesale pricing. The same was the case with San Francisco’s Ubiquity and their sub-label, Luv N’ Haight.
 
I can’t tell you how much I learned from Ubiquity’s early reissues and compilations I bought that year. It’s how I found out about Nathan Davis, and Roy Porter, for instance, when you could still buy Nathan’s records from him, and Roy’s 1980s reissues were available in every Craig Moerer catalog for $12. The first set of Ubiquity titles I got included the Groove Merchant compilation, which is where I first read Chris Veltri’s liner notes and heard his take on what we called “Rare Groove” - it was a formative influence on the era’s record collecting.
 
It’s also how I found out about Mike James Kirkland. And though it took 30 years, or maybe because I chose to wait 30 years, I get to enjoy not just the music but those memories of early, exciting discovery in 2026.
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