From underground funk rock in Kings Cross in the nineties to touring nationally with his own fringe shows it has been, for Michael, a very long way to the shop to get his sausage roll. Along that road though he has moved many a soul with his passion, unique sound and prolific songwriting. He's the kind of artist who you're lucky to know about and will always remember once you do.

Club Killers Crew, Las Vegas NV

For Bookings and Production contact: 
daviddeluca@clubkillers.com

Biography:

David De Luca is not your average Deejay. The LA native is  known for headlining some of the biggest venues in Hollywood, Las Vegas, and Dubai. David's presence can be felt instantly with his electrifying energy behind the turntables, his unique blends and furious quick mixes with an arsenal of music ranging of all genres. 

Inspired by his love for music, David has had an impressive career thus far. David was named the tour deejay for Interscope Record's as he headlined all the post concert events for Multi-Platinum Artist Eminem. In 2013, David made his move to Sin City and teamed up as an official member of the Las Vegas based production crew Club Killers, which quickly made a name for themselves by remixing Calvin Harris #1 Anthem Summer which ultimately led to an official remix for David Guetta's smash hit "Hey Mama". They have also worked with such artist like Cash Cash, The Weekend, Charli XCX. David was also a  featured deejay on Las Vegas #1 radio station KLUC 96.5 electronic dance show.

David's current residency is at Nasimi Beach inside The Atlantis The Palm, Dubai, where he has performed at various music festivals like Sandance alongside David Guetta, Axwell and Sebastian Ingrosso, Nasimi Sessions with Nicky Romero and Robin Schulz and Space Ibiza 25th Anniversary Tour Event.  His past residencies includes Encore Pool (Las Vegas), The Belasco Theatre (Los Angeles).

What it all comes down to is David's love for music and deejaying. "All that matters to me when I'm performing  is the connection between the people and the music." - David De Luca.


Pre-Order "The Davie Train" Now and get the first 10 singles, you read it right "FIRST 9 SINGLES"!!! Releasing 3-15-15. Available On: iTunes, Spotify, Amazon Music, Google Play, Rdio, Deezer, Xbox Music, Rhapsody, eMusic, simfy, Muve Music, iHeartRadio, MixRadio, MediaNet, VerveLife, Wimp, Sony Music Unlimited, Gracenote, Shazam, 7Digital, Juke, YouTube Music Key Beta, JB Hi-Fi, Slacker, Guvera, KKBox, Akazoo, Anghami, Spinlet, Neurotic Media, Yandex, Target Music, ClaroMusica, Amazon On Demand yea you get the picture. With the smash dance hit "Do It How U Wanna". The hit gritty street anthem "Mr. Untouchable". Also the commercial appeal hit "Shades On". Even the pre-James Holmes villain smash "It's Da Joka' ". Ladies don't think there is nothing for you hits like"Do It How U Wanna will be sure to keep that ass shaken and laid back make you horny songs like "Late Night Texts" and "Karma Sutra Style" are sure to bring the moisture. For my hood niggas and trap boys will love "He Ain't No Gansta" and "Hope You Got Yo Red Card" and "Cloud Ni9e" for all the true smokers out there. This album is packed full good music that will keep you listening for more, plus it is all written by Davie Dave (except one hook). He is currently taking any offers of collaborations, shows, songwriting, and any other services that might be needed for you but don't think you getting' no free-bees money better be involved. Looking for a VERY good manager/management team to work with or a record deal that has no stupid loop-holes. Contact him at: t.m.i.r.i.t.w@gmail.com
Did your girlfriend cheat? Did your brother get jacked? Did somebody get at ya big homie? If something like this has happened to you go ahead and blame Davie Dave, everybody does. Davie Dave is and will be THE new break-out artist for Colorado. Why must you insist on being scammed by your favorite artist and not stop the listening? ThatMileHighCityGuy is a true Denver native. R.L.R.s (RealLifeRaps)is what he says he rhymes, nothing but past, present, and life experiences that have happened to this young man. He is taking it back to the decade of great music (95'-05') when artist made classics not just putting any songs out just to do it, with his simple, gritty, truthful, sly, shit talking, decadent flo. Not them Tyga ass flows rapping about what he saw out of the window. That is coo and all but this is not your average up and coming hip-hop artist, he already has the clothes, cars, home, shit even the bitch's but it is time to take it to another level. No, he's not on the block. (He Got Long Clientele). No, he's not in the club (He Already Got Hoes). No, he's not at the studio (He Got His Own Shit In His House). With money on his head and 2 gun charges and 6 kids and 3 baby mommas you know this nigga hungry!!! Time is not on his side Davie Dave feels like this is his time to drop even though he wanted a machine behind him but in life you have to do what you have to do. Davie dave has been rapping all his life and has been recording records since 2007 so you know he got hits for days ( Over 100 songs). You have the opportunity to hear one of the realist rappers coming out of Denver. No he will not be at the gas station selling his album if anything you'll see him in a 2013 handing it out. When you think of a hit album such as Nelly's "Country Grammar" or 50 Cents "Get Rich Or Die Trying" his up and coming 1st album is packed full of hits from the moment you play the first song. "The Davie Train" Coming Soon Pre-Order now..... and oh yea, FAKE RAPPERS YA COVERS BLOWN!!!

Well, I don't know what you've seen or heard, but my picture's worth a thousand words. I'll rip your heart out by the strings, strum a couple new chords, sing a melody. Baby, I'll be honest; it goes beyond us. You spent a lifetime waiting for me.

My name's Gabby, and I've always lived up to my name (according to everyone else). I started writing music in 3rd grade and playing in the 4th. The problem here is that I am a full time college student. aka I'm broke. My passion lies in writing lyrics, but my gift lies in matching to pitch (according to everyone else again). My favorite pastime is slipping into my MC alter ego, EverythingElse. This name is used with my group, the Comic Mystics, a 5piece get up. We have intertwined vocals, 16bars, bongos, keys, a geetar and a banjo into something truly original. Get ready for Mermaid Rock n Roll. haha

An old soul is the last thing you would expect to find inside Justin Bieber. But all it takes is one listen to the 15 year-old soul-singing phenomenon to realize that he is light years ahead of his manufactured pop peers. 

After posting dozens of homemade videos on YouTube in 2007, where the multi-talented Bieber put his impeccable spin on songs from artists like Usher, Ne-Yo and Stevie Wonder, Justin racked up over 10,000,000 views purely from word of mouth. 

“I started singing about three years ago,” says the Canadian native who grew up an only child in Stratford, Ontario. “I entered a local singing competition called Stratford Idol. The other people in the competition had been taking singing lessons and had vocal coaches. I wasn’t taking it too seriously at the time, I would just sing around the house. I was only 12 and I got second place.”

In an effort to share his victory with his loved ones, Justin began posting his performance footage online. “I put my singing videos from the competition on YouTube so that my friends and family could watch them,” he says. “But it turned out that other people liked them and they started subscribing to them. That’s how my manager found me. He saw me on YouTube and contacted my family and now I’m signed!”

Seven months after Justin started posting his videos online, former So So Def marketing executive Scooter Braun flew the then 13-year old singer to Atlanta, GA to meet with his elite colleagues. As if Justin’s natural singing talent wasn’t enough to impress Scooter’s inner circle, Braun knew Bieber was also a self-taught musician who plays the drums, guitar, piano and trumpet.

“Right when we flew into Atlanta, Scooter drove us to the studio and Usher was there in the parking lot,” remembers Bieber. “That was my first time ever being out of Canada so I went up to him and was like, ‘Hey Usher, I love your songs, do you want me to sing you one?’ He was like, ‘No little buddy, just come inside, it’s cold out.’” 

All it took was a short time online for Usher to realize he was in the company of a future superstar. “A week later Usher flew me back to Atlanta,” says Bieber. “I sang for him and his people and he really wanted to sign me then and there but I still had a meeting with Justin Timberlake who also wanted to sign me. It turned out Usher’s deal was way better. He had L.A. Reid backing him up and Scooter has alot of connections and is really smart. I always tease Usher now and remind him he how he blew me off the first time we met.”

In October of 2008, Justin Bieber officially signed to a joint venture between Usher and Scooter Braun's new label RBMG and Island Records. His debut album, My World is an intimate look into the mind of a budding young renaissance man. With production from star hit men like The Dream and Tricky Stewart who produced “Umbrella” for Rihanna and Beyonce’s latest smash, “Single Ladies (Put A Ring On It),” Justin has everything he needs to achieve pop supremacy. 

His first single, “One Time” produced by Tricky, is about one of Justin’s favorite topics, puppy love. Usher joins Justin on “First Dance” where the two share verses on a song that Bieber describes as, “A slow groovy song that people can dance to.” On the Midi-Mafia produced “Down to Earth” Justin digs deep to talk about growing up. “Bigger” finds the teenaged singer maturing at a steady rate, while motivating his listeners to strive for their goals.

“I’m looking forward to influencing others in a positive way,” says Justin. “My message is you can do anything if you just put your mind to it. I grew up below the poverty line; I didn’t have as much as other people did. I think it made me stronger as a person it built my character. Now I have a 4.0 grade point average and I want to go to college and just become a better person.” 

A virtually untapped well of natural artistic talent, Justin Bieber is primed to be a solid force in music for many years to come. “I think older people can appreciate my music because I really show my heart when I sing, and it’s not corny,” he says. “I think I can grow as an artist and my fans will grow with me.” And just think, he’s just getting started.


What do Supermario, three of the four Bonanzas and Lucky Luke’s Daltons have in common? Right: They all have brothers. Unfortunately, we don’t know if those brothers were actually the older or younger ones, and if they were a somewhat good role-model for their siblings or scapegraces in the classic sense of the word. What we do know, however, is that the older brother of Marijo Gadza aka DJ Shade has already been tampering around with a pair of Technics MK2 turntables when DJ Shade was just trying to convince his mom of the fact that cool babies wear their Pampers baggy style those days. And we also do know that DJ Shade, shortly after replacing his fine-ass baggy-pampers with the more dapper Osh-Kosh bibs, would soon get a hold of a turntable needle himself and start off scratching around on those two weird plates of black gold which would later turn out to make such a huge impression on his life. After all, they say: Early practice only makes the master. Even earlier practice, however, makes the master earlier.

At the tender age of 18, way past the Pampers und Osh-Kosh, the first bookers and promoters got word of the Croatian native (born December 22, 1983) and gave the dude his first club booking. In the meantime, 10 years later, DJ Shade is to the party scene what Justin Bieber or an episode of Desperate Housewives is to an average teenage girl: a house-hold name. From his home town of Lucerne to the city of Zurich, from the capital of Berne to the far-out canton of Thurgovia, from neighboring country Austria back to his mother country Croatia, DJ Shade has smashed each and every dance floor you can think of, and he’s torn apart, destroyed, cleaned out and rebuilt every club that has a decent sound system and two turntables to its name. His DJ sets go for anything but boundaries: From Gang Starr to Michael Jackson, from electronic club music to old-fashioned R’n’B, a DJ Shade set can contain just about anything that is fun and makes people feel high like a bunk bed. His intuitive flair for the right classics at the right time, for today’s club-bangers as well as tomorrow’s smash-hits, all coupled-up with an irrepressible tendency towards technically challenging turntablism, guarantee for crowds going wild all over the globe, and not just till dawn, more like till dusk. No wonder a DJ Shade night is wildly flavored and there’s music in it to suit all tastes. And no wonder the man has left his musical traces all over the country: From widely-known Casineum to the famous Club Pravda, from Zurich’s IT-bar Labor to Club Mascotte, from Berne’s Finest Liquid Club to Saint Gall’s very own Club Trischli, chances are that all (and by “all”, we’re actually referring to exactly that: ALL) party animals this country has ever seen have at least once in their lifetime been blessed by DJ Shade’s audio-sexual pleasure. And when summer comes around, things turn even freakier, because summer is the time DJ Shade gives his residency at Casineum Lucerne and the rest of Switzerland’s dance-a-holics a decent break – because he renders his second residency in his home-country of Croatia a visit. In Makarska. At world-famous Club Deep. All summer long. The fact that Makarska is THE party spot in Croatia and is to Ibiza what Eva Mendes is to Jessica Alba (i.e. a bit more stylish and slightly sexier), comes as no surprise. No wonder that such talent naturally gets the attention of labels, and the fact that DJ Steve Supreme, CEO of Supremus Sounds, recognized DJ Shade’s craft and, in 2010, signed the young cat to his label, brings DJ Shade’s career down to a so-far round figure. Because you know what they say: Early practice only makes the master. Even earlier practice, however, makes the master earlier. Had Shade been the older brother, he would have been a good role-model. But since he was the younger of two, it’s safe to say his older brother is actually a tad bit jealous of such a career. Wanna bet?


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Painting contractors are known to work when the weather is warm and pleasant, making summer one of the busiest times of the year. To hire the best interior and interior painting contractor practice caution and be keen during the hiring process. To make as much as possible, some contractors take on too much and then realize they can't do it all. Talk with your painter about the duration of time your project requires and ask if they truly have enough time for it.

Contact Us:

Noble Painting
Address: 1684 Riverside Ave #12, Fort Collins, CO 80525
Phone: 970-413-3742

Cyril Pahinui, the son of musical legend, Gabby Pahinui, is, in his own right, one of Hawai‘i’s most gifted guitarists and singers. Cyril has twice played at Carnegie Hall, has contributed to three Grammy Award-winning albums, received several Hoku Hanohano Awards, and recorded on more than 35 Hawaiian musical releases. As a slack key guitarist, Cyril’s technical virtuosity, rhythmic adaptations, and instrumental harmonics impart the soul of Hawaiian music, and his beautiful, emotive, and well-recognized voice renders an intimate picture of his Pacific island home.

I was born on April 21, 1950, and grew up in Waimanalo at the foot of the Ko‘olau Mountains on the windward side of Oahu. I started playing music from the time I could hold an ukulele, began learning slack key at age seven, and performed on stage for the first time when I was 12. I grew up with four sisters and five brothers, and we all learned music in the traditional way, by listening and watching my dad and other musicians.

In those days, we didn’t get music lessons, and most of the musicians I knew didn’t read music. Most of the techniques were considered to be secret and were not shared outside the family or music community. We really had to work hard to learn. My dad would slack all of his strings and hide his guitar in the closet at night because he knew we would sneak in to try and figure out his tunings once he was asleep. He could always tell when someone had been in his guitar case. That was the style in the old days; if you really wanted to learn, you had to listen. Once I began to learn, I would get up at 4:00 in the morning and make my dad breakfast so that he would spend time with me before leaving for his job—just me, one-on-one with my dad. When he had shared something new, he would expect me to practice, and the next time I played, I could tell he was listening to see if I had mastered it. Then he would share something else.


Atta, Phil, Gabby, Cyril, and Martin in the family back yard.
Our home in Waimanalo attracted many well-known musicians, including slack key masters Leland “Atta” Isaacs, Sonny Chillingworth, and Ray Kane, along with David “Feet” Rogers, Joe Marshall, Aunty Genoa Keawe, and Eddie Kamae. Weekends at the Pahinui home were a continuous jam session, as we hosted dozens of musicians, both young and old, who came by to jam with "the Master." With a welcoming pot of beef stew and rice always on the stove, our home became the perfect setting for a rejuvenation of Hawai‘i's musical traditions. As my dad’s fame grew, attendance at the weekend jam sessions mushroomed—sometimes hosting a hundred or more musicians and fans. The jam sessions would begin early on Friday morning and continue straight through to Monday morning.

My dad and his many musician friends always encouraged me and my brothers to participate and to add something to the music. When I was 15, my dad invited me to join his group, The Gabby Band. One day he just asked me, “Son, would you like to earn a little money?” For me that was like receiving a Grammy—just to know that he recognized my commitment and considered me to be on his level. I also think that was the day that I knew I would continue my music. After that, my dad would ask me every morning, “Son, are all the instruments tuned?” Tuning the instruments became my responsibility and my next level of training. Because my dad had a perfect ear, he could be somewhat impatient, so I had to train myself to be more precise. Now, I am so grateful for his strict discipline. My training taught me to tune and play by ear, and that is what I still do, even today.

Music was my dad’s life, and in many ways he was ahead of his time. He loved classical music, and liked jazz and Mexican music. As his children grew to share his love of music, he always told us, "Play whatever you feel, whatever makes you happy, but always respect Hawaiian music and keep it in your heart."

I shared my generation's passion for rock-and-roll, from Fats Domino and Little Richard to the Beatles and the Rolling Stones, but that was never a roadblock to playing slack key. My father loved the Beatles, too; his favorite Beatles song was Hey Jude. In fact, sometimes my dad would ask me to play familiar Beatles and Stones riffs as introductions to traditional Hawaiian songs. Most people probably don’t realize it, but some of these intros and my arrangements are the distinguishing parts of my dad’s renditions.

I continued to play with my dad throughout my teens, and during this same time, my older brother Bla and I started a rock band, called The Characters. I joined a rock group called Sam and the Samlins. In 1968, I made my first album with the Sunday Manoa, and after returning from two years’ service in Vietnam, I rejoined my dad, brothers, Sonny Chillingworth, Atta Isaacs, and others in the Gabby Pahinui Hawaiian Band. I arranged songs and played a variety of instruments on all five of my dad’s albums on the Panini Label. During this same period, I worked with Palani Vaughan, on his Ia ‘Oe E Ka La albums, which chronicled the music and times of King David Kalākaua.

In 1975, I formed my own group, The Sandwich Isle Band. From there, I went to The Peter Moon Band, which also included my brother Martin. With The Peter Moon Band, I played and sang on four albums, including Cane Fire, which received seven Nā Hōkū Hanohano Awards in 1983, including Album of the Year, Group of the Year, and Song of the Year. Throughout the 1980s, I also played with steel guitarist Greg Sardinha, my brother Bla, and others, and continued to expand my musical horizons.”

In 1988, I recorded Cyril Pahinui, an album of traditional and contemporary songs, which won the Nā Hōkū Hanohano Awards for Best Contemporary Hawaiian Album and Best Male Vocalist. In 1992, at the urging of my mother, and accompanied by session heavyweights Ry Cooder, David Lindley, and Jim Keltner, I joined my brothers Martin and Bla for the Pahinui Brothers album. Recorded on Maui, this album included two traditional songs associated with my father, Henehene Ko Aka and Panini Pua Kea, and a cover of John Lennon’s classic, Jealous Guy.

In 1990, I began recording for Dancing Cat Records. My first Dancing Cat release, 6 & 12 String Slack Key Guitar, won a Nā Hōkū Hanohano Award for Instrumental Album of the Year in 1994. I then recorded Night Moon—Po Mahina in 1998, which featured a version of Hi‘ilawe. In 1999, I recorded a third Dancing Cat release, a duet album with Bob Brozman, Four Hands Sweet & Hot, which won the Nā Hōkū Hanohano Award for Instrumental Album of the Year in 2000. Brozman has so much energy; he doesn’t hold back anything when he plays. When we were recording this album, he kept getting cramps in his fingers because we were playing so fast. I remember George Winston of Dancing Cat Records laughing, because he had never seen Bob Brozman get cramps before.

In 1993, I participated in a slack key/country and western crossover when I played on a Randy Travis release, Wind in the Wire. Beginning that same year, and for seven years running, I also participated in the annual Chet Atkins Appreciation Society guitar convention in Nashville. My dad had been good-friends with Atkins, and they were planning to do an album together. When my dad passed away, Chet recorded the song Pu‘uanahulu in memory of my dad. When Chet found out that I was Gabby’s son, he invited me to attend his convention. As we were getting ready to play, Chet would say, “Cyril, what tuning are you in?” and I’d say, “Chet, this is an open C.” His eyes would open wide, and he would say, “What is that?” Not being a slack key player, he had never heard of that tuning.


Hi‘ilawe workshop at the base of the famouse Waipi‘o waterfall.
Over the years I have also had the opportunity to record with the Makaha Sons, Teressa Bright, Fiji, Frank Hewitt, Pali Ka‘aihue, Amy Hanaiali‘i and have laid a few other guitar parts here and there for friends. I have toured to Germany, France, Switzerland, Belgium, Japan and across the U.S with Ledward Kaapana and Dennis Kamakahi.

In the late 1990s, I had the good fortune to participate in the historic Hawaiian music concerts at Carnegie Hall. My father always told us, “One day my sons’ time will come.” When I walked onstage at Carnegie Hall for the first time, I said, “Dad, we made it.” I could feel him there with me, his ears on my every note and I played as though he was the only one listening.

These days, I am still recording and performing, but I have given up the nightclub thing in favor of colleges and theaters. In my younger days, I used to close the bar, and before I’d know it, the sun would be out. Today, I have to put it in low gear and take it slow.

Over the last three years, I have performed on three compilation albums, Masters of Slack Key, Volume 1 and Legends of Hawaiian Slack Key Guitar—Live from Maui, and Treasures of Hawaiian Slack Key Guitar all of which won Grammy Awards for Best Hawaiian Music Album.

My own album, He‘eia, recorded on the Dancing Cat label and released in September 2007, met with a pretty good response and was nominated for a Grammy and won a Nā Hōkū Hanohano Award for Island Music Album of the Year. The title song, which was originally composed as a chant for King David Kalakaua, was one of my dad’s favorites. All of the tracks on He‘eia are completely solo with no effects or overlays—just one take on the 6 or 12 string guitar.


Cyril teaching in Waipi‘o Valley.
In 2010, we released Amy Hanaiali‘i and Slack Key Masters of Hawai‘i. Artists included Dennis Kamakahi, Jeff Petersen, Sonny Lim, and Chino Montera. Each artist is featured and includes several new compositions and new adaptations of Hawaiian classics. Working on the project was a lot of fun and it demonstrates what happens when musicians who respect each other and Hawaiian music traditions come together to share their music. We received a Grammy nomination for the album and 5 Nā Hōkū Hanohano Award nominations as well.

I am currently performing at the Kani Ka Pila Grille in Waikiki every Wednesday night. This is a very nice venue, we get a good crowd, and I really enjoy what I’m doing. I do the best I can to be natural and honest, to let the music say it all. I am still shocked and amazed that my playing sometimes makes people cry—not just women, but men too. When someone tells me this, I usually say, “I’m sorry that I made you cry, brother, but that’s how it is, straight from the heart.”

I really found my love when I started teaching in the schools and communities throughout the islands and where ever I travel to perform. I have some really great students coming up and I look forward to watching them and hearing my stylings and C tuning in their playing.

I have also started a series of workshops called He Huaka‘i E Pana Ai Ke Ea, A Journey to Bring Pulse to the Living. The workshops were inspired by longtime family friend, Uncle George Na‘ope. Uncle George was there in the early days with my family and working with him reminded me of my dad, very old school, with strict attention to protocol. That’s something that you don’t see too often anymore.

The first workshop in the series was built around the song, Hi‘ilawe, which was probably my dad’s signature. He didn’t compose it, but after hearing someone sing it on Moloka‘i, he fell in love with it. He recorded it seven different times and always included it in his performances. My brothers and I have also played and recorded the song, so it has become kind of a family trademark. One of the special things about the new workshop project is that it opened the way for me to travel to the Waipi‘o Valley and to bring my students there. Even though I have performed the song Hi‘ilawe in concerts all around the world, I had never actually seen its namesake waterfall until I started this project. To be there with the students, singing and teaching the song with the waterfall above us and hula dancers and taro patches surrounding us, was truly one of the most awe-inspiring experiences of my life. I could feel the spirits of the ancestors listening and their love for that place flow though my fingers and ring out through the steel strings and tones of my guitar.


He‘eia lesson.
Another workshop focused on He‘eia, the title song on my solo album. I have already visited the beach several times to take photos for the album and to video and am now researching the song’s composer and historic context. My new passion is to really get to the depth of the material and to share that with my students. It means so much more than just learning the chords and the words for the song. I am also trying to learn more Hawaiian language. In our family, we learned what we used in our music, but we were not allowed to converse in Hawaiian. Today, students can earn college degrees in Hawaiian language. I am anxious to see what this generation does with music composition. To be able to understand the language and culture enough to really compose is something I can only imagine.

Teaching with workshops was something that my dad didn’t do for us. With him, it was all eyes and ears, just watching and listening. It was difficult, but it paid off. By paying attention and listening, I can now share the music with others. I feel so grateful for all I learned from my dad. I can always feel his presence when I play, and he is still my inspiration and the soul of my music.

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