George Doudos aka Sunset Blvd has been an active member within the greek electronic scene for the last 15 years End of 80s he's introduced to roots reggae and dub, dance, as well as American jazz. A little later, to trip hop and chill cinematica. In 1995 he creates the project Delay Exhibition. In 1998 he records with Michael Blake of the American group Alphabet Soup, Spikey Tee (MC of Morcheeba and Bomb the Bass) and in 2000 with one of the top dub producers, Rootsman. In 2000 he released "Little", with a participation by J- Walk of Grandcentral Records"Little" wins a place in plenty of compilations. The new decade will start with a series of remixes and productions and in total with more than 17 participations in compilations and recordings, for the biggest Greek companies. In June 2005, he releases his first album "Versions of Truth" with which he literally defined the music scope of Delay Exhibition, while also starting a new, jazzier and more freestyle project, Sunset Blvd.
In "Girl One Day", the track with which he participates in "One Nation 2", we heard the first samples. American street stories, West Coast losers, Waits-ish exaggerations and Cohen eroticism coexisted with jazzy rides and western vocals...Now its time to experience the complete Sunset Blvd story!!!
'' It must have been 1975 when I recorded my first tape. I was living by a park in an area which today is inhabited solely by immigrants. Elvis sang "Return to Sender" and three years later –at the age of ten- I was falling in love with Sandy Olsson from "Grease", '50s America, the "Unchained Melody"...
It took me quite a number of years until I realized that "I woke up this morning.." had a standard blues intro. I experienced the beautiful years when I was reading On the Road, was listening to the Rolling Stones and got carried away with cool jazz and gospels. Many years before they were replaced by Wallpaper*, Thievery Corporation and deep tech grooves.
Now, I have 74 minutes to cover Sunset blvd’s 22 miles. I’m driving a black BMW and all of my dreams –from Figueroa Street until the Pacific highway- seem to be close to fulfilment or at least they can be charged on a Visa. I’m listening to "Ocean Shores" and I would like to fit in the whole West Coast, from Chet Baker to Julie London in a brush loop and a ’70s Mark 1 Fender Rhodes. I’d like for all the suspended and diminished jazz accords to be imprinted in three digital minutes on the piano’s right side. As is the case with all of the unwound pianos in Memphis and Mississippi. That’s where every afternoon, every sunset "Mrs. Daisy May" is telling one of her stories. Sometimes with an electronica blues murder story and sometimes with a runaway love story that always ends with the promise of “Girl One day”...
I’m contemplating the fact that for every quarter of the 120 bpm of "Battery Calm" I’ll have to prove my dubby talent, either with an accordion or with a melodica or with anti-timings and dancefloor kicks. But I only have a tenor Selmer sax, two or three drum loops and I’m afraid that on "Comin", the swing is standing in front of me like a wikipedia page which I have to memorise.
I’d like to be at a roadside diner, somewhere near "Paradise Cove". With a centerfold aesthetic which can appreciate motown guitars and the 64 meters of jazzy trumpets on "Cigarette Springs".
The tech and minimal sounds of "America! America!" and "Highway 61". Drinking a black coffee. Smoking. Being almost distant from the three or four passwords I need to remember every day and the Tupperware handiness of mp3’s. Somewhere between nowhere and Goodbye..."