Reviews:116

Julian & Der Fux
Hin Und Weg EP
J.hruza Records

JHR614Good to see the confidence of five track’s worth of quality music making the grade on this release. Without You opens with a Talking Heads styled guitar lick and then proceeds to jam undulating electricity all over it. There is something so effortlessly funky about this yet it’s offset by almost melancholy vocals and delicate piano chords which help define this captivating production. Hin Und Weg continues in the similar vein although expands the sense of melody along with brooding synth lines. Magic String plays on the shuffling funkier elements of their style to great effect. Unglaublich is next with almost Yello styled vocals taking centre stage alongside a very dramatic conclusion. With the tougher Durch Die Stille finishing off this first rate EP.

release: March 21

https://www.facebook.com/JulianUndDerFux
http://jhruza.com

SR Krebs
She Like Remixes
Her Majesty’s Ship

Cover remix S.R. KrebsOriginally released last year Sarah Rebecca Krebs AKA S.R Krebs icy cool vocal gets remixed with three new takes on the song. Beginning with Ewan Pearson’s excellent eighties inspired version which takes its cue from euro-disco and even comes complete with fretless bass sounds. However this doesn’t merely replay the past but adds a very contemporary sheen to the striking vocals. Hiem, then give a much tougher rhythm with attacking basslines and punctuating synths that again works particularly well with the vocal. Moscoman, provides the final mix and again plays with synthesised atmosphere’s to lend it all an epic feel.

release: April 14

 

https://www.facebook.com/srkrebsmusic
https://www.facebook.com/hmsrecords

Thomas Leyh
Contact
Who We Are

WWA002For the labels’ second release Berlin based DJ/ Producer Thomas Leyh delivers three tracks for your pleasure. Ironically starting with Goodbye which places a yearning, slightly uncomfortable vocal over pulsating stabs and bass. But the real standout happens next with the title tracks’ sumptuous, dark bass and commanding piano coming together in an enticing arrangement. Do It Now ends on a lighter set of notes coupled with a more playful sense of melody that draws you gently into its way of thinking.

release: March 31

https://www.facebook.com/Thomas.Leyh.Musik
http://www.whowearemusic.de/www.whowearemusic.de/Home.html

NTFO & Karmon
Diynamic069
Diynamic

3516-180339_600Great two track release from the always tasty Diynamc imprint, although I’m slightly late with reviewing this, good music always keeps. First off is Metropolis which lives up to its name with all the tension of the city twisted into a dramatic electronic landscape that suitably hints at a classic Kraftwerk synth lines in the process. Next, Composit picks up the pace with tough, brooding bass accompanied by a brutal kick drum and shimmering synthesisers which cumulate in a gorgeous breakdown of the elements. Both tracks are in the region of eight minutes long and both worth every second.

http://www.beatport.com/release/composit-ep/1258545
http://www.diynamic.com/news/detail.php?nw=59&title=Composit%20EP

Rock It, Don’t Stop It – compiled by Sean P
BBE Records

Sean P’s excellent compilation of the not so obvious from the early days of Hip-Hop/ Rap makes for inspired listening. Plus, you also learn something about the music into the bargain. There was always something more playful and even funkier with this era, but then after all if you’re taking your cues from the likes of Chic and Kraftwerk then it always would be. Consisting of ten tracks which sound like they could only have been recorded between 79 and 83 you get a real feel for this great party-time music. There are a number of standout cuts, though you can’t help but like the boastful Rappin’ Partee Groove by Rappers Rapp Group, the life affirming Cat Claw and the Better Love Crew’s The Golden Rule, and representing the ladies the brilliant latino percussion fuelled Oh, Yeah from the The Jackson Two.

http://www.bbemusic.com/releases/BBE174CDG/Sean%20P%20-%20Rock%20It,%20Don%27t%20Stop%20It#.UzBxk864XTo

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Reviews:97

Various Artists
NAU04
NAU

Nau004The latest from Tiefschwarz’s label kind of sneaks up on you from behind but rapidly turns out to be one of the most sublime pieces of music I’ve heard in August. Sitting somewhere in-between dreamlike melancholy and engaging drum machines Eric Volta and Jonny Cruz’s ‘Sunrise Blind’ gently plays with your imagination as trippy, undulating synths and beautifully, breathy vocals from Jacques Canziani float across the speakers. The second half of the release then sees With The Rain Comes Sorrow by Gab Rhome and Maher Daniel pursuing a similar theme with another captivating arrangement of sounds and atmosphere’s complimented by touches of twangy guitar, vibes and haunting voices.

release: September 16

https://www.facebook.com/MUSICNAUMUSIC

https://www.facebook.com/tiefschwarzofficial?fref=ts

https://soundcloud.com/ericvolta/eric-volta-jonny-cruz

 

Remote
Minos EP
Meant Records

MEANT016_1000px_72dpiI almost love this record but then when you hear the Minos bassline it is all so tempting. Not so sure it doesn’t go a bit Pete Tong after that with the addition of ‘Rave’ styled stabs, although when they drop out you’re returned to the punchy rhythmic hand-claps and that delicious bass. Fairmont provide the remix which almost sounds like all of the best bits from eighties electronic film soundtracks, complete with the appropriate drums, and again it’s all so tempting. Easy, then returns to House with punctuating beats and bass accompanied by fuzzy stabs on what proves to be most hypnotic in the process. Robi Insinna aka Headman then completes with an excellent dub excursion that feels never short of being totally vibrant.

release: September 9

http://www.meantrecords.com

 

My Favorite Robot
Atomic Age
No.19 Music

MFR_album_frontLove them or simply like them a lot, My Favorite Robot never do things by halves. Which, in this case has them join forces with the excellent No.19 resulting in a display of some seriously devilish music. Beginning with the dark sequences of The Circus and ending up on the intensity of The War to End All Wars there is never an unflinching moment anywhere on the LP. Some tracks such as Here Tonight drag your senses down but then others such as irresistibly funky Home ft Clayton Steele point the mood in the opposite direction.  The title track itself sets Acid syncopated rhythms against brooding synthesizers and feels like the future waiting to happen. Nothing left to say…

release: September 16

http://www.myfavoriterobotrecords.com

http://no19music.com

 

Pal Joey
Presents Hot Music
BBE Records

clip_image002Pal Joey’s name spent many hours rotating on my turntables in the 90’s as he did likewise with lots of Dj’s so Hot Music will no doubt raise a smile on many faces reading this. The compilation of his work including the various guises pays testament to the strength of his output and if you haven’t  moved to the likes of Earth People ‘Dance’ then here is your chance. it was always a playful sound which combined the creative use of sampling with heavy-duty drums and is a recipe that stands the test of time for sure.The music ranges from the more recent soulful sounds of Loop-D-Loop ‘Show Me’ to the deeper Disco of Dreamhouse’s excellent ‘Jump And Prance’ so all bases covered. Do also try his Los Dos ‘Tomorrow’ which typified the sound of an era with its pulsating vibes, sassy percussion and irresistibly deep keys.  But not to put too fine a point on it this is a producer that you need get acquainted with, or re-acquainted as the case may be.

release: October 21

http://www.paljoeymusic.com

http://www.bbemusic.com

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Kon (Q&A)

kon picYour excellent new album On My Way for BBE Records features both songs and instrumentals. How do you feel about the state of song writing in 2013?

I think it really depends on the genre and market of music. Top 40 is really cheesy these days, and hip hop seems to be stuck at the club. Everyone is afraid of being vulnerable, not much love in those songs at the moment.
On the flip side, underground dance music is a bit freeing, lots of emo vibes happening. Though nothing will compare to the 70s singer songwriter era.

The album begins with ‘All Night (Everybody) featuring Amy Douglas on vocals. Can you talk us through the process of producing that track?

Amy lives in Boston and is from NYC, She is an incredibly gifted singer songwriter. I had the track, gave it to her and she wrote to it rather quickly. She nailed the vibe right on for where I wanted to take this, vision wise and I arranged her vocals after she cut them at her house.

Album review: http://www.dmcworld.net/reviews/entry/house/kon-on-my-way-bbe-records.html

On My Way plays with different moods and tempo’s. I was wondering about which artists/ records have influenced you most when making the album?

It’s such a broad spectrum. Everything from Salsoul, Prelude, West End to underground disco labels… Chaka Khan, Phyllis Hyman, to House production.

How would you describe yourself as a DJ. What can people expect to hear from you when you play?

I’m extremely versatile, I can jump genres pretty easily and have it all make sense…. so for me there’s only 2 kinds of music, good and bad. I may play a Diana Ross record into a record by mcde, into a rock song…who knows. I feel sets that are based on 1 kind of music and 1 tempo all night are really boring and mechanical.

konHow did you learn to mix and who first inspired you as a DJ?

I taught myself to mix after seeing Grandmaster Flash in the kitchen scene from style wars. Prior to that I had just been playing records, segueing if you will. Making mixtapes as a boy with my father’s records and my own.

Where did your love of vinyl come originally come from? Do you think it will ever become a redundant medium?

My parents. They had tons of vinyl, my father was in a band and played drums. I grew up around musicians and music lovers. Vinyl is the best and coolest medium to store music. I buy it all the time, but its not the format I play when traveling. It just isn’t practical and most venues aren’t set up to play vinyl properly. I don’t think it’ll ever be redundant. I do think people have it all wrong when they think just because they play vinyl some magical thing is happening…. if its not analog to begin with, all you are doing is playing a wav. Pressed on a piece of plastic. Big deal.

Your new single, All About Youx has just been released on Soul Clap. How did your relationship with the label come about? And can you tell us about what the tracks mean to you?

I’ve known Charlie and Eli for over a decade now, they used to open up for me and we always got along well. The songs are about my ex girlfriend, so they are very personal.

Buy: http://www.beatport.com/release/all-about-youx-ep/1098650

Where can people hear you play this summer?

I’ve got dates in the states in Philly, NYC, Miami, and slated to do the Lovebox fest. in London.

Buy the album: http://www.bbemusic.com/releases/BBE241ADG/Kon%20-%20On%20My%20Way%20%28Coming%20Soon%29#.UfENnKytjTo

https://www.facebook.com/kon.fucious

https://twitter.com/kon1200

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reviews:93

Purple Disco Machine
My House
Off Recordings

Already released, but because this is so good I just had to make sure that you where pointed in the right direction. Part of the reason why My House works quite so well is obviously the summer weather, and this clearly has sunshine blazing all over it. Besides which I’m a sucker for this type of Balearic infused groove, especially when it samples such a sassy sixties guitar lick into the bargain. All of that plus the impassioned bluesy vocals which alongside some seriously crunchy drums conjure up all sorts of hard to resist images. The second track on the release if from Liverpool’s James Silk who’s These Sheets blends boogie rhythms over snappy House drums continuing the summer theme nicely.

http://www.off-recordings.com

http://purplediscomachine.com/Website/PURPLE_DISCO_MACHINE.html

http://www.beatport.com/track/my-house-original-mix/4454247

 

The Casa Project ft. Natalie Mac
Holdin On
Mad Hatter White

madNext on Mad Hatter’s list is this killer release from The Casa Project. I’m torn between the Dub and even listening to any of the other versions simply because the sounds involved provide one of the most distinctive productions so far this summer. It’s all sparkling Techno notation backed up by powerful, edgy drums yet this also includes piano chords which lend it all an almost soulful quality within its muscular arrangement. The Original mix contains the vocal which works well too but in the end it’s simply a matter of preference. Second track, Deep Groove is self-explanatory and again exudes a similar charm to the title with taught rhythms and inventive electronics sounding off.

http://www.madhatterwhite.com

 

Jamin Hernandez
I Am Real EP
Tenampa Recordings

jamGreat release from Mexican label Tenampa and an imaginative production from Jamin Hernandez. What’s so good about Release Me is that it takes the atmosphere Nu Groove etc used to create with deliciously moody pads and has transported those emotions forward into 2013 via crisp percussion and techy bass, which for some reason sounds particularly hypnotic here – the sequence of invigorating vocals helps too. The title track again immediately grabs your attention with its intro of sinister synths which are then cleverly offset by warm chords and beautiful harmonies – a second first-rate track from this equally impressive EP. The remix comes from German Brigante who adds wonky stabs to the equation alongside tougher drums. Running From Love, then completes with more soulful sounding vocals over yet funkier rhythms perfect for those deeper moments.

release: August 19

http://tenampa.mx

https://www.facebook.com/JAMINmx

 

Terry Hunter
The Sound Of Bang. Chicago’s #1 House Music Ritual
BBE Records

The clue, as they say, is very much in this albums title. And true to form this effortless mix by Chicago legend Terry Hunter ticks every box when it comes to House of the more soulful variety. Indeed this music is perfect for weather right now with its blissful rhythms and soaring vocals galore. Check: Avery Sunshine, Tiger Wilson and Kenny Bodien amongst many others for testament to that fact, while the producers involved range from Timmy Regisford to DJ Spen, and of course Hunter himself – so you know you’re in safe company. The mix represents the sounds of his Sunday club night: Bang. So if you happen to be in the area…

http://bbemusic.com/artists/2911/Terry%20Hunter

https://www.facebook.com/pages/DJ-TERRY-HUNTER/165218414412

https://twitter.com/djterryhunter


 

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John Morales (M+M Mixes) Q&A

johnHow did you first get into remixing and who inspired you to do so?

I got into remixing by the need to want to make the records I loved longer I really didn’t have anyone who inspired me
as there weren’t many people doing it at the time.

Your new compilation: John Morales M+M Mixes Part 3 reads like a who’s who of Dance music. Can you tell us about how you go about compiling the CD’s?

M+M Vol III includes many of my most favorite tunes, it was a process of elimination. From trying to get the recorded sessions from the record companies, mixing them and then getting the mixes approved. But all in all it is filled with some of my all time favorite and hopefully some of yours..

Can you talk us through the process of remixing a track? For example something from the new compilation.

The process for each mix is different for me I usual start with a clean canvas, no presets or templates, I first Focus on the drums and rhythm section, for me it’s very important for the track to really have power, I then work the keyboards, strings or horns and finally but not least I lay the vocals over the top . And tweak it, and tweet it and tweak it. ( lol)

What is your favourite piece of equipment and can you give some background information on your studio?

Don’t know if have a particular favorite. It’s not like it used to be, now days I totally mix in the box or in the computer using Steinberg’s Cubase Digital Workstation which I have used for over 25 years. I occasionally bounce my mix to analogue tape for some warmness.

How do you feel about the quality of song writing today – what importance do you place on vocals in Dance music?

In my opinion I I think that it is sad to say technology has caused music t day to be watered down.  I think vocals are important as they send the message of the song and lyrics.

You inspired you to start Dj’ing, and what for you makes a good DJ?

Now days My inspiration is the desire to continue the legacy of the music I love so much, a good Dj entertains his or her’s audience providing a seamless experience of some of the music they love.

You are currently playing across the globe. Have there been any particular highlights so far?

My highlights are the support and love that the people who have come to some of the gigs have shown to the music I play. It is heartwarming to see that the music I Love has so much support.

morWhat are your plans for the future?

My plans are to continue to spread the word of the music and I thank you for the opportunity to do so.

Hear John Morales next weekend: Sat April 27 at Futura in 2022nq (Manchester)

Buy tickets http://skdl.it/10g1Xqd

Horse Meat Disco: Sun April 28 at The Eagle (London)

https://www.facebook.com/pages/Horse-Meat-Disco/128638804936

Futura copyhorse

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Event: Futura… Dj’s Greg fenton & special guest John Morales (2022nq Manchester) Saturday 27 April

Futura copyFutura..with Greg Fenton and NYC legend John Morales
2022NQ welcomes Greg Fenton’s new project – Futura…kicking off with NYC legend John Morales.Futura…DJ’s Greg Fenton & NYC legend John Morales

Saturday April 27

10pm – 2.30am

Futura… is a brand new adventure presented by Greg Fenton at Manchester’s premier art space 2022nq. With music from the DJ who has played at all the city’s major nights throughout the nineties: Spice, Most Excellent, Konspiracy, Gltterbaby, Spacefunk, Dry 201, The Hacienda, Paradise Factory, Prague V…

…now returns to join the dots between underground Disco…Chicago House…and Deep House Music 2013. Featuring labels ranging from No.19, Needwant and Culprit through to TRAX, Nu Groove and West End Records…

johnWe are proud to present as our first guest DJ the now legendary producer John Morales. John has not only played at New York’s Limelight and the infamous Studio 54 but his first credited remix was Inner Life’s classic;Caught Up (In A One Night Love Affair) Then alongside Sergio Munzibai as M+M John went on to remix just about everybody from Class Action Weekend to Aretha Franklin, Teddy Pendergrass, Dan Hartman, Candi Staton, and Odyssey amongst many others. Having toured the world as a DJ John now touches down to 2022nq for a special one off appearance to introduce his forthcoming compilation on bbe records: The M+M Mixes Volume 3.

The future is past

http://www.johnmoralesmix.com/

https://www.facebook.com/gregfentonuk

http://www.magazinesixty.com/

http://www.2022nq.com/

Entry Price: £5 / £7 / £10

For more information about this event, visit
http://www.skiddle.com/events/11844060?skcampaign=fbe

Minimum Age: 18

Date: 27th Apr 2013 10:00pm
Last Entry: 1:00am

Venue: 2022NQ
20 Dale Street
Manchester
M1 1EZ

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Marc Mac (Visioneers/ 4 Hero) interview

What words would you use to describe your new album: Hipology?

Well certainly I’d describe it as experimental, outside the box and personal. Also I would have no choice but to call it somewhat eclectic. Yes it’s personal but the listener should feel like they have an invitation.
 
Can you tell us about your site http://www.hipology.org and the ideas behind it?

Yes the Hipology site grew out of an idea I had for the album concept looking back on my lifestyle influences from hip hop culture. As I was thinking about the sound of the record I was kinda making a scrapbook of all these influences and then saw the need to publish the scrapbook online. At first it was just to help me reminisce but them became more significant for me to also get the idea behind Hipology to a wider audience. The album artwork also plays a big part in getting the listener to see where I was coming from.

The album touches upon a number of different styles from Hip-Hop to Latin on Rocket Man. How did you develop such a wide range of influences?

Truth is these influences probably wouldn’t be there if it wasn’t for Hip Hop. I started collecting music at an early age because I was searching for breakbeats, this fueled my record collection for a while and led me into stuff like Latin and Jazz. Then there were all my favorite Hip Hop DJ’s and producers spinning and sampling Jazz, Latin and Soul, all these elements help paint the picture of my influences.

listen to Marc Mac DJ 60 minutes of funky, jazzy disco grooves!

http://www.mixcloud.com/LaidBackRadio/marc-mac-dusty-disco-crates/

Can you tell us about the creative process involved in producing a track like LuAnne from Harlem?

Actually LuAnne was one of the easier tracks for me to produce as it was an idea that I had for a while and could have easily ended up on a future 4hero record. I knew exactly what I wanted it to sound like and had quite a ridged programmed demo where I had played all the parts before recording any live instruments. I wanted the horns to drive the track and tell the tale of LuAnne while the drums flip from a Latin groove to a funky Soul beat, I then just scattered Solina strings, Rhodes and percussion over the track. I actually recorded the percussion in my bedroom at home. I spent a lot of time engineering the tracks on Hipology unlike a 4hero album or the last Visioneers album each track has an era and I wanted the era to sound authentic. LuAnne has very much a studio sound and not such a live sound I try to make two musicians sound like eight but its got to sound like a record or sound like the musicians are in your living room not in a concert hall.

What are the plans for 4 Hero?

Well I don’t want the gap between the last album to grow too much further so Im thinking about new 4hero music, maybe an EP? not sure but its on my mind more these days.

Please tell us about your approach to Dj’ing, what for you makes a good Dj, and what do you prefer to Dj on?

Well for a while I really loved DJing and that’s the first thing you need to play a good set.. a love for the art. I love playing pretty eclectically, my set could start with Jazz and end with D&B or Disco. These days I’ve turned down many gigs for a few reasons mainly because I want to focus more on my own productions, save my ears for making music as 20 years of club and festival DJing hasn’t been any good for my ears and you only notice this when you start engineering music again. I guess I could be at the age where I need to choose between being a producer or a DJ (and that’s an easy choice for me). I think if I was really gonna enjoy playing the clubs again I would like to start with my own small night.

I do like the idea of doing more radio/podcast mixes, mixtapes and concept shows, I like to produce my DJ set. I don’t feel like the club scene is what it use to be music seems to be the 2nd or 3rd priority for clubbers these days. As for gear I finally got a basic version of Serato with a controller which is great for mixing, still have CDJ’s and my beloved Technics. I also have a nice small collection of vintage turntables.
 
Who do you like to listen to at home to relax?

Minnie Riperton or Strata East.

http://www.bbemusic.com/data.pl?release=BBE176ACD

http://itunes.apple.com/gb/album/hipology/id529073035

http://hipology.org/

https://www.facebook.com/#!/marcmac4hero

http://twitter.com/#!/marc4hero

https://www.facebook.com/bbemusic

http://www.bbemusic.com/

Hipology album review at Magazine Sixty http://www.magazinesixty.com/?p=531

 

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reviews:37

Johnny D Presents
‘Disco Jamms’
BBE Records

I could simply list the music on here and you would demand it all. But let’s just say: Ashford & Simpson ‘One More Try, The O’Jays ‘This Time Baby’, Lafleur ‘Dub Till We Drop, The System ‘It’s Passion’ and that’s only half of the story. The remainder includes Klein & MBO, B Beat Girls and Kasso which all sum up into an energy packed blast through the styles and sounds of the late seventies and early-ish eighties. Never a dull moment as they say as Johnny D excitedly cuts-up and mixes the beats with dedication that is heartfelt and inspiring. The mixed version of the CD even comes complete with starry voice overs, although nothing could really come close to the sublime bliss of the penultimate Ultra High Frequency ‘We’re On The Right Track’. The range and influences on offer here are never less than impressive and the combination of song, electronics’ and real instrumentation is clearly a lesson in love – fast and slow. 9

release 21 February

http://www.bbemusic.com/data.pl?release=BBE192CDG_UK

https://www.facebook.com/HenryStreetMusic

https://twitter.com/#!/JohnnyDBrooklyn

 

Pete Dafeet
‘Stutter’
Lost My Dog

Eight years in and with his eighth release for the label perhaps not surprisingly the Lost My Dog co-founder produces something rather excellent in that old-school House kind of way with peak-time stabs and razor sharp beats all feeling very dancefloor – the suitably classic claps and moody pads fill in the gaps just like they used too. Moodymanc then picks up the pace with more staccato stabs and rushing hi-hats giving the remix typical intensity, aided by a flourish of funky timbale it all becomes peak-time business with the introduction of the held strings which then sweep alongside the deep vocals. The d-d-Drum Dub follows playing out the percussion against sizzling background tension on his second and equally excellent remix. Next up is Rush which does just that with more fuzzy Strictly styled stabs and strings sounding sensuous, while Peace La Paz dishes out 909 beats and more deliciously juicy basslines. 8

 

release: 20 February 2012

http://www.lostmydog.net/

https://www.facebook.com/lostmydog

 

Uppercut
‘Turn The Music To Your Head’
Kult Records

More prime-time action from Kult as Montreal’s Dj Uppercut makes his return to the fold with this shinny sounding production. Driven along by an insistent electro riff this builds and drops with prowess and is supported by heavily treated voices and perky keys. Remixes come from Mikel Curcio and the excellent Zoltan Kontes who’s perfectly named 4hour dub version delivers a typically devastating tribal workout which Kult do oh-so-well. Love the Fx, love the Drums. 9

 

http://www.beatport.com/release/turn-the-music-to-your-head/864546

http://www.facebook.com/kultrecords 

http://www.kult.com

 

Zee & Eli
‘I Wanna Dance’
Flumo Recordings

If you inhabited the early nineties then ‘I Wanna Dance The Night Away’ was one of many sampled vocal refrains that made a repeated appearance at the time, however it makes a most welcome return now in all its detuned glory. Sounding all the more exciting played against this brutally simplistic bassline and moody keys the mix also builds up space-age fx along with a repetition you won’t want to escape from. Mind Games proceeds with more enticing deepness combining classic drums sounds and chords that again get feverish with a well timed arrangement. Finishing off for the Spanish label is Visit From God which breaks up the beats while delivering big P-Funk attitude. 8

release: 22 February 2012

http://soundcloud.com/kahua-music/sets/zee-eli-flumo

http://www.facebook.com/ZeeandEli

http://www.flumo.com/eng/pages/home

 

Want to Dance The Night Away?

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Johnny D interview (Henry Street Music/ BBE Records)

Can you tell us about your first experiences of dance music in clubs and on radio in N.Y.C?

When I was 10 and 11 I used to go to roller-skating rinks in Brooklyn. The main places were Roll-a-Palace, United Skates of America and Park Circle.
Roll-a-Palace was pure white Italian Disco heaven. United Skates on 86th st (which was the real birth of Disco in Brooklyn, was same. United Skates on Fort Hamilton Parkway was a mix of white, black and hispanic. Park Circle was almost all Puerto Rican and they were the most incredible skaters you’d see. There used to be crews that would battle (pre-Break dancing) and at same time as Uprocking was out (another street dance which existed before break dancing).
Music at all of these places was great. When I was 12, I went to my first proper “teen disco” called Patches which was right next door to Roll-a-Palace. I remember hearing Slave “Just a touch of love” as soon as I walked in. A great time for music.
As for radio. There was 99X which turned into 98.7 Kiss, Disco 92 and WBLS. All were very important to me. They each had their own style and format, and education was there. Shep Pettibone on Kiss, Latin Rascals, Dynamic Duo on Disco 92, Frankie Crocker on WBLS. You couldn’t get better than this.

Tell us about your time as senior director of A&R for Atlantic Records and some of the best-loved tracks you signed to the label?

I actually worked with hundreds of artists and signed only a few. I picked up an album buy this artist Princessa which was in the Warner family, I signed Kings of Tomorrow “Finally”, Dj Spiller “Groovejet” and a bunch of others. My favorite album I signed was Christian Falk (great album).
As for my A&R work: Everything But The Girl “Missing” is my biggest song internationally, Tori Amos “Professional Widow” was big, The Bucketheads “The Bomb” which is on my label Henry Street Music, was also big. My favorite song I ever A&R’d was Jordan Hill “For the love of you” mixed by Tony Moran. Tony killed it!
 
Your label Henry Street Music released many seminal records. How did the label come into existence and can you tell us about some of your favourite releases?

Tommy Musto and I were leaving Sound Factory Bar on a Wednesday night (when Louie Vega was resident) that club was like church. We were there every week – rain, shine. We left about 3:30 in the morning and while outside getting into our cars, Tommy and I shook hands and agreed that I’d start label through his distribution company (Northcott Productions), I’d A&R and do what I wanted and he and company would do pressing and distribution.
As for favorite releases. I love almost everything on the label. I was very picky about what I put out and still am today. Obviously the big names gave me crazy songs. Songs that I really love – Armand “Hey Baby”, The Force “Non-stop action” (King Britt), JohNick “Play the world”, That Kid Chris, 95 North, Robbie Tronco. There are so many and I don’t want to make anyone mad. Kenny gave me crazy stuff. I love Ashley Beedle’s ep which he did with Phil Asher.

How do you feel today’s dance music compares with the past – which producers excite you now?

Unfortunately, the music and the world today is a different place. When I started the label, records, stores, were all relevant. In this digital age it’s impossible to get a hold on what is going on. It’s all moving so fast and is it working? We need people to like our facebook pages?? follow us on Twitter??? what the fuck?? it’s actually ridiculous. I still try to find the right songs and producers. I’m actually still working with a lot of my old people. The irony is that my stuff is being very well received right now as I’m remastering and re-releasing it all digitally. So much of the stuff that is out, is stuff I put out but now sampled bad and some bad vocal on top. I’m not optimistic about where it’s going but I’m very happy and proud of what I have and built and intend on keeping it going as long as I can.

How did you choose the tracks for your new collection for BBE:Johnny D Presents Disco Jamms. Any standout memories from when you first heard these records played?

As for the way the project came about. Pete and I go back to the beginning when he started BBE and I always wanted to do this project. We discussed it for years. For one reason or another, timing wasn’t right. I do have to say that Dave Lee and others put together some great Disco cd’s over the years thru BBE so they covered a lot of what I would have. If I had it my way, I’d probably have 10 Prelude Records on this but for licensing purposes and demands from labels, it’s not something that is easy or makes sense financially. So my process was basically, I came up with a crazy list of about 60 songs and thru approvals and where my head was, I came up with the shell. I filled in here and there and came up with this list. At the end of the day, I couldn’t be more happy with the end result. I think for people who know me, they will understand it and expect the different styles. For people who don’t know, I feel this is a refreshing selection. I also did 2 different mixes which I also haven’t seen done before (1 for digital and 1 for physical cd).
Just about every song on here is personal to me.
Cerrone “Look for love” is the ultimate Disco song and a record which was supported by black dj’s playing James Brown funk and breaks so that story is nice.

Jimmy Bo Horne “Spank” was probably my most played song since I’ve been dj’ing. Between gigs, and tapes and radio, it always seemed to find its way on my turntables (hear that kids – not my hardrive, not my Traktor, not my Macbook, the vinyl was on my turntable!!)

Spencer Jones “How to win your love” was like a secret weapon song for me. Nicky P (my partner – JohNick) and I are the only people who play and played this record.
The System “It’s passion” is a great overlooked song which really was in a class by itself as it was post-Disco, Electro, I don’t know what you’d call it. It’s hot and mic is a personal friend of mine.

Ashford & Simpson “One more try” – I have been blessed to have produced their last album (hits, rarities and remixes) and became good friends with nick and val. I invited them to a gig I did in May and they showed up with brother Jimmy (possibly the best remixer ever) and it was Nick’s birthday and they left Quincy Jones at their club (Sugar Bar) to see me. That meant a lot.  I always loved this song and its very valuable as a 12” disco single (selling upwards of $750 when you can find it). I’ll always remember the night i was doing my notes and thank you’s for this cd, my Blackberry started vibrating like crazy and I read Nick and passed. Whoa! That really fucked me up. He was such a talent and a great guy. I had no idea he was sick. When you sit and look and listen to what he and Val did together, it’s pretty hard to comprehend. I had asked Val early on about use for my comp and she told me yes and I’m very happy that they are on my first legit project as they have been part of my life since birth having listened to them on radio and tv just about every day. I remember one of my first shopping days for 12”s in 1979 I bought “Found a cure” from Colony Records on Broadway in NYC.

http://www.bbemusic.com/data.pl?release=BBE192CDG_UK

http://henrystreetmusic.com/

 

 

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reviews:33

 

Azari & III
‘Azari & III’
Loose Lips Records
/Island Records

If anyone tries to tell you that ‘Things aren’t as good as they used to be’ they obviously haven’t had the positive pleasure of experiencing Azari & III. As an attitude to dullness the album plays like a dream touching on all points from the more Soulful to the blatantly Techno inspired, this selection of music relishes the extremes. While current single, Restless (With Your Love) and with previous ones are included the air of familiarity is offset by the albums now U.K release. Tracks such as the acid infused Tunnel Vision and the mechanically charged Indigo simmer with tension as the production values are never less than dazzling throughout – although not always pretty such as on the deliciously sinister, Manhooker. Sweet dreams are made of this. 10

released: 19 Feb 2012

http://azariandiii.com/

 

 

 

Tony Lionni
‘Higher Ground E.P’
Freerange

Tony Lionni returns the serve with this typically striking production which sees him trace the lines between Techno and House and then blur them. Higher Ground loops a vocal snippet, works it to death over splashing hats and insistent organ with sumptuously deep synth acting as the pay-off – an inspired touch of Jazz. Moomin provides an excellent remix with funky rhythms blending together with a selection of treated instruments. And, if that isn’t enough then the final the e.p’s finale certainly will be. Forever Is A Long Time… begins with Disco drums and ends up reliving a series of classic Deep House moments with exquisite piano and swirling pads: Spine-tingling. 9

release: 23 Jan 2012

http://soundcloud.com/freerangerecords/sets/tony-lionni-higher-ground-ep/

http://www.freerangerecords.co.uk/

 

 

 

 

Murray Richardson
‘Memory Loss’
Baker Street Recordings

The story of House continues with this excellent bass driven production from Murray Richardson. Many of you will be overtly familiar with Baker Street by now but if not then title track Memory Loss is the reason to get acquainted. Bass lines like this are hard to beat and coupled with rattling hats and Detroit stabs this invigorating groove pushes all the right buttons at Magazine Sixty. The curious Sometime Sweet Susan continues by adding up various old-school elements and sounding vital. Remixes of Memory, are from the first-rate Paul Hardy & McKai who not surprisingly retain the B line but spice up the drums and top end to compliment the original, and a hypnotic Gareth Whitehead whose sub is suitably s**t hot! 8

release: 23 Jan 2012

http://soundcloud.com/kahua-music/sets/bsd031

http://www.bakerstreetrecordings.com/

 

 

Lilith
‘Master Codes EP’
Memoria Recordings

Memoria Recordings’ own Lilith plays with numbers on this hard-hitting and deeply involving E.P. Opening track 22, produced along with Timothy Watt, sets hissing 909 hats against moody stabs, weird voices and funky tech rhythms and does nothing if not leave an indelible impression on your mind. Freak You does as the title suggests with menacing sounds and techno attitude. 44 follows the progression with deeper tones and stylish snares, while Circoloco’s Andrew Grant explores yet more tense atmospheres and drum textures on his excellent remix. The Filsonik remix of Freak You rounds off in jackin’ Chicago mode teasing you with its bassline and shuffling percussion. 8

https://www.facebook.com/memoriarecordings#!/memoriarecordings

 

 

Signal Deluxe
Mercado Negro EP
Hidden Recordings

If you like music that challenges your imagination then Mexico City’s Signal Deluxe are most definitely for you. The led track is somewhat epic clocking in at nearly eleven and a half minutes, but don’t let that bother you at this develops a sequence of completely intriguing sounds and vocal treatments all at its own pace – feeling almost ambient at times but with a deadly serious undercurrent too. Or to put that into other words, it’s a stunning piece of electronic music. But then so is the Derek Marin Remix who twists nasty stabs together with trippy vocals and slower beats. The Craft Remix lifts the tempo techno time for its unrelenting version, while the Deepak Sharma & Dieter Krause Remix stretches everything out into sonic extremes and might be something you would like to experience in a dark room (though perhaps not alone!) Again you could use the word exceptional. 9

release: 23 Jan 2012

http://www.hidden-recordings.com/front_content.php?idcat=39

 

 

 

 

Sandy Barber
‘The Best Is Yet To Come’
BBE Records

Sandra Barber was the lead vocalist on Rare Pleasure’s classic ‘Let me Down Easy’ after which she branched out with producer Clyde Otis as a solo artist to release her debut album in 1977. It’s all too easy to review The Best Is Yet To come because you are immediately enveloped in soaring emotive melodies the way only Soul music seems to truly do. The album contains its fair share of down tempo ballads such as the gorgeous I’ll Belong To You/ Yea Baby but also mid-tempo Disco shuffles and even hot boogie action too. Try, I Think I Think I’ll Do Some Stepping (On My Own) which comes with excellent reworkings from John Morales and Al Kent as well as the somewhat suggestive I’ve Got something Good (Come And Get It) for size. You won’t be dissatisfied. 8

http://www.bbemusic.com/

Rare Pleasure ‘Let Me Down Easy’ (1976)

 

Dominic Martin
‘Family Affair’
Lost My Dog

The second in this series highlighting the labels’ prowess sees Glaswegian Dominic Martin select fourteen tracks to mix. You’d be surprised if I didn’t reassure you the music contains the key word, Deep although rarely do the energy levels dip below that required to party. The album contains a handful of new productions along with a couple of notable remixes from Giom, Milton Jackson and Johnny Fiasco who all deliver typically punchy selections. What the tracks do have in likeness is a common bond in the use of funky stabs, warm pads and always crisp beats. Also well worth noting are the smoky down-tempo numbers: New Context and the tastefully Jazzy ‘Last Exit’ which serve to break up the beats and the mix in an extra layer of intrigue. 8

http://soundcloud.com/kahua-music/sets/lmdlp005/

http://www.lostmydog.net/

https://www.facebook.com/lostmydog?sk=app_178091127385

 

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