For the latest edition of Roots & Future, we turn to Boston based DJ/Producer, former Satellite Records (closed) owner and total Techno brainiac, Pat Fontes. He chose three tunes from his enormous collection (which is partially the back catalogue from the store) that seemed to jump out and say “oooh Pattttt”.
In his words… “K, first the Iam Pooley Jam … [I chose this] one cause i was randomly digging thru crates, and the fact that it was one of my earliest records I ever came to own in the borderline house and techno spectrum. I use to wear that track out, probably played it at every gig from 1996 to 1998.”
“The Dave Angel joint was just another addition to piles, I think I brought all his records home from Satellite [Records] just on the fact that it was Dave Angel, at the point that record was released he was a household name in underground [world of] funky house and techno.
Island (Forth and Broadway is a subsidiary of Island U.K.) Records was a big label to be on and he saw many releases back then and gained a great rep with us connoisseurs. [This track is] funky dirty grooving goodness on wax.”
“Paul Mac‘s, Influenced One is a limited edition 10 inch that is basically his interpetation of his Influences [but] one track … Side A… is like heaven to me. The start with the bassline hitting this pattern that I just feel in love with the 1st time, and believe i could hear it looped forever, yet he puts his signature touch of dirty grinding hi hats and shuffle all over it and adds a preacher in the song that actually states many things of interest or things many don’t think of… that state of our society and religion, etc…”
We thank Pat Fontes for his dope contribution, deep knowledge, and efforts to keep dance music alive in Boston. Pat Fontes only plays vinyl (still!) and you can see him whip out his 12 inches at Rise this Friday with us, Tanner Ross and Matty Dimond from 2a-7a… wa wa wee wa…
Continuing from where we left off, it’s the crack of the 90s, and Little Louie Vega and Kenny Dope Gonzalez are well on their way to building their reputation as Masters at Work. 1993 saw them release their first album, The Album. A combination of singles released up to that point as well as some new production, it includes some early classics, like Blood Vibes. As remixers, MAW found themselves working with artists like Michael Jackson, Madonna, Ce Ce Peninston, and Donna Summer, but the best was still yet to come.
Nuyorican Soul – Runaway [Talkin’ Loud – 1997] BUY
Once upon a time, way back when DJs were gathering underground popularity by extending and remixing the pop stars of the time, DJ of DJs Larry Levan had a unique concept. He dreamed of creating a studio album in which the DJ is the maestro. This album would consist of DJ-produced tracks featuring the voices and elements of that DJ’s favorite singers and musicians. In the 1997 album titled Nuyorican Soul by Masters at Work fulfilled that dream. On Nuyorican Soul, MAW celebrate both their Puerto Rican and disco roots and summon the talents of musicians George Benson, Vince Montana, Jocelyn Brown, Roy Ayers, and Tito Puente to create an album that pays tribute to the artists they love. Looking back more than 10 years later it’s more clear than ever that rather than sagging with the overburdening stink of excess stardom, Nuyorican Soul has established itself as one of the greatest dance albums of all time.
This track is a redux of the disco classic of the same name by the Salsoul Orchestra and Lolleata Holloway, Runaway is one of the four singles off of the Nuyorican Soul album. With Louie Vega’s ex-wife La India providing the vocals, they do soulful justice to the original. It was the first single to receive the remix treatment, retouched by 90s greats Armand Van Helden and Mousse T. Armand’s mix (Mogoloids in Space) bumps, and Mousse T provides a more direct dancefloor translation.
Masters at Work – La India Con La Voe (Viva Puerto Rico) (MAW Tribin’) [MAW Records – 1997] BUY
In case the parentheses aren’t obvious enough, this tribal tune is an ode to the island of Puerto Rico. Featuring samples of a cheering concert crowd, nationalist & spiritual cries, and La India’s sweet voice all over a set of lively drums, this track has Spanish Harlem Block Party written all over it.
Kenlou – Gimme Groove [MAW Records – 1995] BUY
Gimme Groove is the B-side buddy to Kenlou’s classic The Bounce (which happens to be amongst Cnyce’s favorite tracks- too treasured to post!). Whereas The Bounce is more lively, Gimme Groove is a deeper, nine-minute mood-setter of a track that can really set the tone for a good night out. Definitely maintains the sexy.
Finally its happening, after 2 years of being washed up by a wave of minimal, techno and electro, HOUSE music begins its triumphant return. Ah yes, a return to the organic drums, organ hits, garage shuffle, jacking Chicago and maybe even (gasp) a vocal or two! How amazing is dance music in 2008? SO amazing.
One of the signs that really caught my attention was back in July 2007 when Spectral Sound‘s Ryan Elliot performed in Cambridge @ the Phoenix Landing. He brought the dopest flavors to his mix. It was like this bouncy techno sound that was littered with House music and Garage accents. Like, one minute he’s playing a brand new release and the next he’s mixing Master’s At Work “The Bounce”, or K.O.T’s “Simon Says Bounce” (wait thats weird, they both have bounce in title… go figure). The point is, in context suddenly these old tunes sounded like they could be new releases.
In 2008 house music was all over WMC. At the underground parties and the after-hours, house didnt dominate like the sounds of tech and minimal (how could it when the headliners are Magda, Anja Schneider and Konrad Black) but at all the right moments, it poked its head out as if to say “hi, remember me, I’m house music, and I’m so damn refreshing right now its not even funny”.
So who’s playing what and what did we hear?
Junior Vasquez – Get Your Hands Off My Man (Sound Factory Mix) [Tribal America – 1994] BUY
The Italoboyz (Mothership, Get Physical) really brought the garage and Chicago sound alive in their DJ set at The Cheap Sunglasses After-hours at PS14. They got on the decks around 11:00am and played with tremendous feeling and originality. Of course they dropped a grip of their own tunes, including the jacking new Mothership release that samples John Coltrane called “Bahia”, but it was an edit of Junior Vasquez’s “Get Your Hands Of My Man” that brought us all back, way back, for an “oh shit” moment.
Track Assassin – Gimmie Da Drumz [Catalyst Records – 2001] BUY
Sebo K (Mobilee, Get Physical) was the other DJ who just absolutely brought the classic sounds to the party. We saw him twice, first at the Mobilee party on the rooftop of the Townhouse Hotel where he was just killing the old school. He dropped Eddie Amador‘s anthem “House Music” on Yoshitoshi, another jam that was so familiar it made us forget, and this DJ Sneak banger, “Gimmie Tha Drumz” under his Track Assassin moniker on Dust Traxx sister label Catalyst Records
Josh One – Contemplation (King Britt’s Funke Mix) [Electromatrix – 2001] BUY
As if one performance from the Sebonator wasn’t enough, the man was back in the spotlight (or should we say sunlight) at Sunday School For Degenerates at Pawn Shop. Sandwiched between a tag team set from Joel Mull & Adam Beyer and then Steve Bug, Sebo brought back the house music bounce, dropping “Gimmie Da Drumz” again as well as an edit of King Britt’s remix of “Contemplation” by Josh One, a personal favorite that I haven’t heard in ages.
Thank the gods its all coming back!
So the first time I heard “Walking Down The Street (The N Song)” (the song from the video below) was when Mr. Carroll himself dropped it poolside at last year’s WMC. After that, I basically obsessively searched for it for like 6 months and could not find it anywhere, so at some point late last year I gave up/forgot about it all together. Then boom, all of a sudden I noticed a Count & Sinden remix charted on these guys myspace page (which you can listen to on this blog) and was reminded of how psyched I had been when I heard first heard that signature line and couldn’t get it out of my head. A little interweb research later and bang, you’re looking at the official video.
But the story doesn’t end here (and you know that we would never just post a video on Soul Clap without at least a little context for it). More surprising to me than finding the track was who had charted it. J.O.T.S. make and play “electro” music (the international misnomer for hipster’s current dance party music of choice) and Ron Carroll has made his name in the world of soulful Chicago house music. In fact, RC is one of my favorite house vocalists and a solid producer and songwriter to boot. So before this track blows up (which it will, because it’s already been licensed to 3 labels (including international cheesy disco house rulers Hed Kandi and Sinden & The Count played their version on Essential Mix last month) I think it’s important to give all the kids a little history lesson, Soul Clap style.
Ron Carroll – My Prayer (H&F Underground Dub) [Af-Ryth-Mix Sounds 0001 – 1993]
This was the first release on Chicago’s Af-Ryth-Mix Sounds, which was one of many labels M&Ded by 90’s Chicago house stalwart Clubhouse Entertainment. Af-Ryth-Mix only had twelve release and all of them were at least partially produced or remixed by Hula (except ARM-0007) who was also one of the members of The Outhere Brothers of ’90s dance hit “Boom Boom Boom” fame. This particular record happens to be Ron Carroll’s first and with six mixes to choose from it covers a wide range of early ’90s house styles. From the Original Mix’s uplifting Gospel workout, to the NYC vibed King Street Mix (can’t figure out who did this, maybe something to do with the label of the same name), to Ron Trent‘s chopped up Detroit house sounding Hymn Mix and finally to this here dub version. H&F would be none other than Hula & K. Fingers, who along with future grammy winner Maurice Joshua and fellow Outhere Brother Martell formed acid house supergroup Da Posse in the late ’80s. The two also had a grip of house remixes for Jive from ’90-’94 and Fingers aka Craig Simpkins was a member of successful deep house team Blak Beat Niks. I know, I’ve been babbling, and call me a nerd, but all these connections are what make up the roots of the music we hear today.
Ron Carroll – Natural (RC Grooves Big Room Dub) [Music 101 005 – 2002]
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Let’s keep this one simple. This track is a weird stompy, drummy workout that RC produced, but didn’t do the vocals on. It’s def not his most famous work, but we hammered it when it was released and even put it on a mix. Another remix on the record is by the aforementioned Blak Beat Niks, but I don’t like that one as much.
Hardsoul ft. Ron Carroll – Back Together (Classic Main Mix) [Soulfuric 0021 – 2003]
This is one of my absolute favorite house tracks of the early ’00s and Dutch brother team Hardsoul are some of the best producers of this style So emotional, so powerful, so dancefloor. Before the soulful sound starting coming back this year, I would put this track on to pull me out of the dark place that techno can leave me sometimes. If you like this style of “funky” house and you have never heard of Soulfuric, do yourself a favor and go check there depth of dopeness over at Traxsource. Pure class.
M.A.W. in Muzik Mag in 1997
Editor’s Note: this is the first post from our intern Chinua. He’s a big fan of French touch, but we’re trying to teach him all about the history of house and techno too. To start him on the right path we gave him an assignment to learn all about M.A.W. and tell you what he learned. So please give a warm Soul Clap blog welcome to our young gun, ChinChin.
In the late eighties, Carl Kenneth Gonzalez and Luis Fernando Vager, better known as Kenny “Dope” and “Little” Louie Vega, but best known as Masters At Work, first met through mutual friend Todd Terry after Vega took interest in GonzalezÃ¢â‚¬â„¢s Ã¢â‚¬Å“A Touch of SalsaÃ¢â‚¬Â. The turn of the decade saw the start of a solid repertoire of dance-floor essentials under a number of monikers, starting with their single Ã¢â‚¬Å“Blood VibesÃ¢â‚¬Â. Masters At WorkÃ¢â‚¬â„¢s influences include latin, jazz, hip-hop, disco, soul, Larry Levan, David Mancuso, Red Alert, Chuck Chillout, Tony Humphries and even The ClashÃ¢â‚¬â€ in essence, the sounds of the eclectic New York City they knew.
Born in Brooklyn in 1970, Dope took to the emerging hip-hop sound, following radio DJs like Marley Marl, Teddy Ted and Awesome Two. As a teen he worked in a record store and DJ-ed on the side. It wasnÃ¢â‚¬â„¢t long before Dope founded a DJ crew calledÃ¢â‚¬â€ you guessed itÃ¢â‚¬â€ Masters At Work, doing up block-parties left and right. Nor was it long before Gonzalez crossed paths with Todd Terry. HereÃ¢â‚¬â„¢s the deal: Terry borrowed the Masters At Work name for releasing tracks (Alright, Alright & Dum Dum Cry), and in exchange Dope got to play with TerryÃ¢â‚¬â„¢s production equipment.
Whereas Kenny Dope provided Masters at work with the hip-hop style beats and disco grooves, Louie Vega brought in the latin and soul. Bronx-native Vega was born into a latin music-driven family (his uncle is Hector Lavoe), clearly setting the tone for his music career. VegaÃ¢â‚¬â„¢s big sisters exposed the young teenager to clubland, and half a decade later he found himself spinning at the Studio 54, making and breaking latin freestyle records. By this time, Vega and Todd Terry were on vinyl-sharing terms, which explains how Vega hooked up with Dope.
The Cover Girls – Wishing On A Star (Magic Sessions Vocal Dub) [Epic – 1992]
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The Cover Girls, one of the first Latin freestyle acts to make it big on the charts in the early nineties, released their version of the much-covered “Wishing On A Star” in Ã¢â‚¬â„¢92. The single went on to place ninth on the Billboard Top 10, making it kind of a big deal back then. It was around this time that Masters At Work started churning out remixes of pop artists, converting radio music into minimal, dubby, dance floor beats.
Masters At Work – The Ha Dance (Ken/Lou Mixx) [Cutting Records – 1991]
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Cutting Records, which has fallen off in recent years, was once an integral part of the electro (that is, real electro), house and and freestyle scene in the Ã¢â‚¬Ëœ80s and early Ã¢â‚¬Ëœ90s. They are responsible for putting out the electro classic, “Al-Naafiysh (The Soul)” by Hashim. Cutting Records also released many of Masters At WorkÃ¢â‚¬â„¢s early tracks, including their debut single, Blood Vibes, as well as their debut album, titled The Album. The Ha Dance (Ken/Lou Mixx) accompanied their Blood Vibes release, and includes a sample from this classic comedy. Can you find it?
Chris Cuevas – Hip Hop (Masters At Work Dub) [Atlantic – 1991]
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Who the heck is Chris Cuevas? I don’t know either, but the stripped down skippy beats and chopped up piano synths on this track embody the early M.A.W. sound to a t and helped lay the foundation for the whole Strictly Rhythm NYC thing and later the UK garage thing. So listen, understand, download, and play for dancefloor destruction, even today.
A picture taken by a friend on his recent journeys in the southern U.S.
So we should have had this post up this morning, but we had a busy day reflecting. Reverend Dr. Martin Luther King Jr. was an amazingly important man to the history of the U.S. and without his massive contributions to the country’s civil rights movement there would probably be no such thing as disco/funk/house/techno/any underground dance music that we listen to, blog about, make and play. Furthermore, Dr. King’s speeches were sampled on tons of house and techno tracks in the 80’s & 90’s, partly because of the importance of his words to the early producers in Chicago and Detroit and partly because his messages of unity and inclusiveness fit so perfectly with the idealism of the early rave movement. The most famous of these tracks is Fingers Inc.‘s “Can You Feel It,” which had a spoken word version that sampled Dr. King’s famous I have a dream speech (this track has already been posted all over the place if you want it). If you were around in the rave days then you probably remember throwing up your hands and feeling like everything was amazing as you heard the words of Dr. King fill the room, it was a powerful experience and we hope you feel what we’re talking about when you hear these tracks today.
Reese & Santonio – Truth Of Self Evidence [KMS 1988]
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No one can do it quite like Kevin “Master Reese” Saunderson, who along with Derrick “Rhythm is Rhythm” May and “Magic” Juan Atkins is one of the creators of techno music. The one they call Reese started his KMS imprint in 1987 and released this early underground techno anthem on KMS 017 just before his first release as Inner City, the all-time classic “Big Fun” (which will get posted here, along with more on the godfathers eventually).
Octave One – Blackwater (TP‘s Spirit Of Detroit Mix) [Concept Music 2002]
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Originally released on their own long-running Detroit imprint 430 West in 2000 to widespread acclaim, Blackwater became one of the songs of 2001 after Concept picked it up for distribution. But it wasn’t until Detroit 2nd waver and early 430 West releaser Terrence Parker did this remix in 2002 that Dr. King’s voice turned this already powerfully positive track into an even more uplifting party shaker. Both Octave One and TP are hugely important figures in the history of Detroit dance music so expect pieces on both soon…
Bobby Womack – American Dream [Motown 1981]
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Even though it’s not electronic dance music, an old school soul track seems like it fits here. I’d never heard this track until we started our research on tracks that sample MLK so this is actually an exciting find, first because it’s such powerful song, but also because it’s gotta be a one of the very first tracks to use sampling (if anyone knows more about the history of sampling please let us know)!
Green Velvet in UK’s now defunct Muzik Mag in 1997
Awhile back we posted one of our favorite tracks ever on Relief Records. It was DJ Sneak’s banging remix Green Velvet’s most famous song Flash and it was thrown in as a footnote to our report on DOTC4 & U.B.H/T.W. because it totally re-captured the energy of that party/week (aka the energy of mid 90’s rave parties). Looking back now I realize that that track and the amazing label it’s on can never really be a footnote to anything and seeing as December’s O.P.P. edition of 90’s Jam is tonight and we haven’t done a proper post in months, it’s probably as good a time as any to begin our series on Curtis Jones’ (aka Green Velvet aka Cajmere) legendary Chicago house/techno stable.
While some of the releases on Mr. Jones’ first label Cajual Records (which launched in 1992 with seminal house classic “Brighter Days” featuring Dajae) were bigger house hits, it was Relief (launched in 1993 with “Preacher Man”) that fostered Chicago’s second wave of young producers and took the tracky Chicago house sound in down new and distinctly techno influenced path that is still being explored today. This split make sense if you’re familiar with the 2 sides of Mr. Jones himself, as Cajmere he releases his vocal and housey productions on Cajual, while as Green Velvet, he drops tripped out techno creepers on Relief. As you can see I can go on about these labels forever and that’s why we’re doing a multi-part series on each label starting with Relief, because even though Cajual came first, we’ve been ripping and playing a ton of old Relief tunes lately. Enjoy.
DJ Sneak – The Lights part II (RR707 – 1994)
Let me start our reviews wit a disclaimer: unfortunately, we don’t have every release on Relief Records. We wish we did, but given that we didn’t start buying records until after Relief was born it’s damn near impossible to find alot of the early stuff, we may never actually complete the collection. Second most important fact: RR701, Green Velvet’s “Preacher Man” is necessary listening for sure, and you’ve probably heard the track with the evangelist preaching to his congregation about the dangers of “playing house” before, but if you haven’t, go buy it here. So back to this release. It’s one of DJ Sneak‘s really early ones and is totally insane looped out techno music. By 1995 Sneak had gone much more in the disco house direction so it’s a pleasure to here his early experimentations. To hear “The Lights part I” goto Corporate Bloggin’s great Sneak post from a couple months back and read it too if you can read french!
GU – Smok’en Indo (RR714 – 1994)
Here’s another early track from a producer that became very important. GU aka Glenn Underground is often credited for carrying Larry Heard‘s torch through the 90’s with his new brand of disco and soul sample laden deep house, which would be the blueprint for Chicago’s sound in the late 90’s on labels like Guidance and Large. But, back up for a second, because like “The Lights”, “Smok’en Indo” is a crazy techno monkey that makes you do wierd dances and illustrates how important Relief was in the early development of these young producers.
Green Velvet – Explorer (RR730 – 1995)
Alright so this is on the Portamento Tracks EP which also included the more known “Flash” and “I Want To Leave My Body” so it’s pretty much overlooked, which is a HUGE mistake. While the beat is similar to “Flash” Velvet laces explorer with much more aggressive synths that rip open your ears while he talks about the king of the jungle. Wierd, but true.
Oh yeah and if you didn’t know: after a brief hiatus from ’98-’00, Relief is still alive and kicking. You can check ‘em on myspace and also purchase many releases on their website. So make sure to support the roots and the future of our dance music!
Ok so it’s been a minute since our last 90s post, but tonite is YOYOYO 90s JAM so it’s a good time to bring it back. First of all that video up there is I’m Gunna Get You by Bizzare Inc featuring the oh so early 90s vocalist Angie Brown (more on her below). What you might not know is that before dropping this massive cheese dance hit Bizarre Inc had some serious rave anthems, especially 1991’s Playing With Knives (this is the best youtube video I’ve ever seen), which you’re just gunna have to go buy yourself, because that’s not the point of this post. The point of this post is that I got some serious slept on 90’s classics in Chi a couple weeks ago and they need to be shared/dug out. This is the first post of gems, it’s focused on the house and garage side of things, soo all you techno lovers hold tight a few days…
Electribe 101 – Talking With Myself (Jazzy Piano Mix) DOWNLOAD
I’m not gunna get into the history of Electribe 101 cause you can read that here. This track isn’t quite house, it’s kinda cheesy (but not as cheesy as Frankie Knuckles’ Extended Remix) and it originally came out 1988. But this vinyl dropped in 1990, when there were also a ton of other remixes released too and has this mix which is like the deepest early 90s dance track I’ve ever heard PLUS Larry Heard‘s Jazzy Piano Mix which is even deeper and super dope, but you’ll have to buy the vinyl off me if you want that.
Dean Street Crew ft. Sweet Pussy Pauline – The Credit Card (The Buddah-Aim Mix) DOWNLOAD
This one came out 1995 on Cutting Traxx and features everyones favorite drag queen turned house vocalist (spoken word not singing) Sweet Pussy Pauline. This is the Danny Buddah Morales mix and the way the vocals are chopped sounds like a new Switch or Sinden track so if someone wants to do an edit and send it to us that would be dope cause we don’t have time to do it right now.
Bobby & Steve present Zoo Tribe – Get Up DOWNLOAD
I know you recognize the horn sample from one of the biggest house tracks of all time, but guess what, this one came out in 1993 on Zoo Klub, one year before Kenny Dope’s dancefloor Bomb! Less known, but just as powerful and it’s the O.G! Oh and if you like house music, but don’t know about Bobby & Steve / Zoo then you best read up on that shit.
BONUS: Yasang – Because Of You (Roy’s “Nothin’ But Love” Mix) DOWNLOAD
There’s 2 reasons I had to put a 4th track on this post. First: Yasang was a group that had one release ever and guess who was in the group? That’s right Angie Brown! The original of the track was released in 1997 and was produced by longtime dope dealers Bugz In The Attic. Second: speaking of Chicago, this mix was from the second release of this track in 1998 on Catch Records (one of my favorite UK garage labels) and is by none other than second generation Chitown don Roy Davis Jr. who I saw throw it down twice while I was in Chi and you may remember from our recent Roule Records post. There’s another mix of this track that’s more on the bumpy UK garage tip that you can check over on The Bamboozla Blog.
Before he was a superstar meathead favorite Erik “More” Morillo was another young gun at Strictly Rhythm, where producing under too many aliases to name he carved out a niche as one of the best club house producers around (more on this another time), and that’s without mentioning his work as Reel 2 Real. What I’m talking about right now is what happened after that. In 1997 he founded Subliminal. Yeah that Subliminal. They may release annoying Diddy dance tracks now, but when the label started they put out some serious rave/club classics that cannot be overlooked, especially with the current resurgence of all things rave. AND this is a quadruple+ bonus post too, not just the usual 3 tracks, because this is probably all I have to say about Subliminal. In backwards order:
Babe Instinct – Disco Babes From Outer Space (Original Mix)
Babe Instinct – Disco Babes From Outer Space (“Choo-Choo” vs The Pianoheadz Dub)
Actually, this whole post was inspired by hearing a remix of this song on Alexander Robotnick’s Resident Advisor podcast. I think Subliminal wasn’t actually the first label to release this terrible/awesome rave smasher, but it’s label I got it and rinsed it on in 1998. The original was the track on here, but looking back, the dub which brought together all the label’s dominant forces (Harry “Choo-Choo” Romero, Jose NuÃ¯Â¿Â½ez & Morillo), might be better now. One more thing: it’s freaking co-produced by Praga Khan. What?!
The Pianoheadz – Distortion (Choo Choo’s Trifling Bitch Mix)
The Pianoheadz – Distortion (Raw Demo Mix)
SUB 3 was released in ’98. The Raw Demo mix is a HUGE breakdown machine, but Choo Choo’s mix has that infectious loop and tripped out electronic sound that did it in the morning time.
Da Mob ft. Jocelyn Brown – Fun (Sneak’s Big Fun Mix)
Da Mob ft. Jocelyn Brown – Fun (Basement Jaxx Mongoloid Dub)
SUB 1 was released in 1997 and brought together the all-star production team of DJ Sneak, Morillo & Nunez with house diva Brown on vocals. It’s not my favorite vocal tune ever, but the dubs are retarded. The Mongofun Dub subtracts Sneak and adds Junior Sanchez and Romero to the mix, for a speed garage bassline jammer. Sneak’s mix sees the disco loop don doing what he does best (hold up mister man). The Jaxx Dub makes it clear why they blew the fuck up in the late 90’s. This is chopped vocal, swing beat, bass explosion, absolute mayhem that sounds like Switch could have done it yesterday. There’s also bonus beats, a full vocal version, and Todd Edwards and DJ Krust mixes, but you gotta hunt down the vinyl if you want those. I can’t give everything away.
So tonight is the May edition of Yoyoyo 90’s Dance Jam @ Redline and to celebrate here is our first 90’s post (of many more I hope):
Classic Video: DHS – House Of God (1990)
Now for the real business at hand, Strictly Rhythm. I could go on and on about the label’s history and all the amazing artists and tracks on here, but discogs has the info (as they always do), so I’m just gunna talk about the 3 tracks we picked. Defected has now licensed Strictly’s back catalog and most tracks are available for digital purchase so go here and buy all your favorite classics.
The Underground Solution – Luv Dancin’ (In Deep Mix)
Released in 1990, this is one of the S-Man’s first tracks and certified NYC deep house classic that samples Loose Joint‘s 1980 disco workout “Is It All Over My Face” (a classic in it’s own right).
The Untouchables – I’m For Real
It really is amazing how many NYC house artists careers were pushed by Strictly in the 90’s. K. Dope is another example and this 1991 production is probably his best work under his Untouchables guise.
Hardrive aka MAW – Deep Inside
I really don’t need to say anything about this one. You know the drill.