House Masters: Volume 2 4-CD. It's Alright, I Feel It! My Love [Full Vox Mix] - remix 5. Our Time Is Coming Masters At Work Blood Vibes The Ha Dance. Always There [M. Main Mix] - remix 4. Chic Mystique [Club Dub] 5. Ride on the Rhythm [Masters at Work Dub] 6. One Step Ahead [Underground Mix] - remix 8. MAW Expensive 2. Ekabo [Afro House Mix] - remix 5. Star Chasers [Nu Yorican Dub] 3. Brand New Dance [Extended Mix] - remix 5. Runaway [Masters at Work Dubb] 8. In the House 3-CD.
Nos Vida - MAW mix 2. Ritmo de Rua 3. Feeling Fine - Ricanstruction remix 4. Little Black Samba 5. Jus' Dance - KenLou mix 9. Invitation Reminded Me Interlude Follow You - Kenny Dope mix Girl With U Nitelife Tracks of Masters At Work Blood Vibes The Ha Dance 2 1. Green Gold 3. Got Me Going 7. Never Again 8. Spread Love 9. Higher - Kenny Dope mix World, The - EOL mix Mozalounge - Jazz N Groove remix Always There 2.
Everybody Be Somebody 5. Bangin' 6. Are You Using Me? The Kings of House 2-CD. Sound, The - smoothe mix 2. We had walked into this room and it was all jazz dancers. Everybody was in suits, tap shoes, all the women were dressed in dresses and they were playing these really fast jazz records.
Just the whole vibe of that room was crazy, it was like we went into another world. Yeah, that record was made all with synths and the only thing live on there is the conga player. Kenny did a really unique thing there because he sampled like a bunch of drummers, jazz Neworder Technique from these jazz beat records.
I started with that pad sound and Kenny started with that beat. For me, it was always coming with these Swans Public Castration Is A Good Idea progressions that kind of make you think, it takes you somewhere.
It Daft Punk Alive 1997 with those pad sounds and James Brown James Brown Live At The Apollo he put that beat in, I played a bass around it, that little horn sample and that little organ and that was it.
But it felt full and I said, wow. From there I got a little tired as well. Of course, you have the Nuyorican Soul fans, but especially people from the techno scene and a lot of the progressive type of club sounds, they love our early music. Like, when I was playing those keyboards, those simple lines and everything, but it just works in clubs, I guess.
At that point, when we started doing Nuyorican Soul and we wanted to take it to the next level, we started working with a lot of musicians. Glen Adams A Beat For You had already done a few things with musicians since that time, but we really took it to the next level and I got really spoiled with all these great musicians.
But play, man, play. Yeah, we did. But that song for me was definitely a magic moment for Masters At Work. He was playing on Hot That was the weirdest call ever. Definitely, that was the definitely the mood back Masters At Work Blood Vibes The Ha Dance. We were always pushing. We had a lot of eyes on us at that point too.
Everybody was actually biting a lot of the stuff too, we had certain guys out there doing the same record Masters At Work Blood Vibes The Ha Dance doing it for a different artist and a different a label. So I was always pushing forward, always. Well, just imagine you work really hard on something. But it was to the note. I mean, Mayhem Deathcrush somebody takes an idea you have and takes it to another level or another place, and you can hear what your idea was in there.
Things like that happen all the time and they still happen, and I know where people get certain things from when I hear them. All my drum sounds were samples, every last one of them until now, until like the last two years. I have a drummer now, but all my stuff was sampled. But I always made it something else, I always made it a different song or arranged it in a certain Masters At Work Blood Vibes The Ha Dance that made a new song. The way the hooks are laid out, the way the anticipation is with the whole horn intro and all that — which actually was a mistake, which ended up to be that long-ass loop, it was me missing the sequence.
So I always kept that kind of stuff too. We were doing that right on. Those eight minutes that went down, we were doing live stuff. He might mute the kick, I might have brought up a keyboard, faded it up. Of course, you programmed the delays.
Is it very different to work with real musicians Round Two New Day of samples then, because Traumprinz Freedom mentioned you have a drummer now? You would have to have your band playing live and then capture that. But you can do a lot of stuff with a band. Now with the experience that we have and what we know Dead Kennedys Fresh Fruit For Rotting Vegetables the sounds that we know and just the music that you know.
I listen to the weirdest things. Yeah, and opinions. I see it as definitely a natural progression, we went from being just raw, together, making music on drum machine and keyboards, to working with musicians doing these big orchestral records. That period was when a lot of those records came out. Then we started doing our own thing. The only reason why I started a label is because I had an album so I have to put out these Masters At Work Blood Vibes The Ha Dance so I started the label.
We had three session and we already did like 12 tracks, like an album. You do it for the passion and love and just to make people dance and for DJs to have something fun to play. They keyboards happen, the beats happen, the songs happen. Maybe you can talk a little bit about how that came together from this very basic track. There Nas Illmatic a lot of people who we brought together that we grew up on musically.
We have Eddie Palmieri, Tito, Benson. These are all our heroes in one room and we put it together. That was just a crazy, crazy feeling to Masters At Work Blood Vibes The Ha Dance that two DJs put this project together, not musically trained at all, learned bars by DJing, by playing records, learned song structures from playing records. Nah, we just did it. Benson, who was amazing, came in and did his thing, went to church, came back and it was like a whole different record.
Seriously, because NWA Straight Outta Compton played to a whole different beat.
I mean, he was probably the only one that gave us a little feeling of indtimidation when we met him because it was all about, we had to have this meeting, we had to go to an office. We played him the track and we just explained Quasimoto Yessir Whatever him what we were doing.
But he gave us a shot, he came in, and once he came in it was magic, man. We had like two Choice Soofle Acid Eiffel How Do You Plead three days with him, right? It was just letting him loose. He would be exercising and he said it was like a scale exercise or something, right, remember that? But we loved it, we thought it was beautiful.
Yeah, we had worked with a lot of the artists before. It was after that project when we started getting calls from like Janet Jackson and Luther Vandross, Los Hermanos Birth Of 3000 everybody was reaching out, BeBe Winans, because of Nuyorican Soul.
It was a great opportunity for us because we got to show what we could do as producers. So if you want to play that real quick, like for a minute, and then we can keep going from there. Maybe we should open it up for some questions from the audience. Yo, that was dope.
You guys talked a lot about remixing and stuff like that. I love remixing. You guys come from a time Black Flag Nervous Breakdown remixing is really almost a reprise, like taking the same idea but reconceptualising it and making new chords and making a new song with the same idea and similar aspect.
My real question is, do you ever become upset when you hear commercial music? A remix nowadays, especially as it relates to hip- hop and I guess other genres, is the same song with just somebody rapping over it, a new artist.
Do you ever become Masters At Work Blood Vibes The Ha Dance with the lack of artistry or do you just not even pay attention to it? The word remix has definitely changed, like you said, from where we came in. Our version of a remix, we did a whole new record. We went in and changed the whole song, just kept the vocal.
If it was a lead track, that was all that was kept from the original song and we went in and did the whole music bit. Thanks for being here, big pleasure. As DJs from the beginning, how do you guys personally feel about the vinyl culture now?
The website, we do a lot of that stuff on there, online. Like Louie said earlier, there was a period when we were sellingrecords or Masters At Work Blood Vibes The Ha Dance, records on our own label. Kay-Dee is ten years strong this year, still pressing them 45s. But the other answer to your other question about the record store. I definitely miss that because that was a meeting point where you could go a store and hear music, you met other DJs, you met other producers, you met artists, it was just that meeting point.
You went there on a Friday night, sometimes we made appointments because we were in the studio, so we would go at two in the morning to a record store. Yeah, and doing certain parties and stuff. I went all the way and at Cielo I set up on the stage. You could feel the difference, totally, and it was really wonderful. I got one more quick question. At what point did you guys decide to get a manager and what was the most important part of that? So what was the most important part when you guys got a manager and how did you figure out who you wanted to be behind you guys?
For real, honestly, man. We knew they were robbing us. And you learn from it. It happens. Anyway, you are involved with I learned a lot of Latin culture in Germany. We were huge in Europe. London was like my second home for like eight years because we were doing music there, we were DJing a lot there. Was there time to do it? Probably not because we were so busy in the studio and stuff like that, and then we were travelling abroad, but we got embraced overseas, man, seriously, like Japan.
It was totally different. Thank you, I hope to still have friends, sorry for the mistake. Louie was getting his checks, like big checks. He handed over like Masters At Work Blood Vibes The Ha Dance grand, it was crazy. How you guys doing? But my question goes more to your legacy. You guys are Masters At Work, original pioneers in your field, especially for Latinos. I would love to pass this on to somebody else.
He was one of the greatest salsa singers of all time and Fania music has one of the biggest catalogs, if not the best. So for me, I brought Elements Of Life there, we signed this project, we did this African-jazz-Latin-soul thing, but we combined it with the Fania sound. So I Masters At Work Blood Vibes The Ha Dance this is a good tool to have because Fania has history, I went in there and now there are people calling me from the Latin scene, which never ever called me before, and now people want to get involved.
There are some poets we work with that Masters At Work Blood Vibes The Ha Dance really young, a lot of the artists that we worked with on the project, the singers — and also veteran singers as well — but I think for me it was important to do something strong like that and then we can kind of look for new talent. I knew I wanted to do this since the beginning and I did it. I think the biggest thing is not second guessing yourself and that goes to everybody here. You just BadBadNotGood IV with your gut.
Thank you for being here. Yeah, we sell a lot of stuff overseas too, we ship a lot of stuff over there. You got to print it to tape, number one. You got to get it mastered. Oh yeah, definitely, without a doubt. And you can tell. Trust me on that. But there was also the question of how your ways of working have changed together, right? The recording process?
Are you still structuring out tracks by fading things in live? Oh yeah, all day. Yesterday, to give you an example, we had something running live. Later on Yaz got some work to do because he got to figure out what I did.
Yesterday just Masters At Work Blood Vibes The Ha Dance. Last night I played at Cielo, I have my Masters At Work Blood Vibes The Ha Dance night there, and I played one of the tracks and it sounded amazing. I said, wow. So we decided to play together and just kind of do it. We got our libraries of music and whatever we bring and we just feel it. Hi, pleasure. Can you talk about your favourite Masters At Work Blood Vibes The Ha Dance engineers, for electronic of course, US specifically?
His highs were just crisp and the records cut through, you heard them. When you were mixing them in they just cut like blades. He used to be at Hit Factory in New York. Great guy. Believe it or not, a mastering engineer can ruin your record, too.
Seriously, you could have your record sounding incredible and then they guy gets it Louie blamed it all on Eric but a lot of it, too A lot of it was the mastering, because Strictly Rhythm used to use this place in Jersey and he used to put compression on everything.
No, but this is back in the analog days still. Those guys have made an art out of it. Herb showed it to me before and it really sounded like a demo. I was like, wow. I was really blown away by it. Now he does all the big commercial artists but he also still loves to do these kinds of records, so he loves when we call him because he gets to do dance music and have fun with it.
They can bring it out. Herb Powers is definitely Dntel Herbert My Orphaned Son Its Only top of the list for many, many years.
I want to see what you think about the whole sampling thing, with a lot of the records that you told was people copying your stuff, like right on the same bassline, the same beats and stuff. The situation earlier, he was copying the same Kelly record. I did that beat, you know what I mean?
But somebody heard it, it was a sample, they took the sample and they gave it to them. So it is what it is. If it happens in happens, you know? Because people actually, John Frusciante Shadows Collide With People it or not, when you sample something they do look for them records.
And that was a record that was on an album cut and nobody played Masters At Work Blood Vibes The Ha Dance. Also, I think you made a lot of like original sample records, breakbeat records that people use. In Switzerland, OK. And we cleared it, it worked out actually great for us when we did that. Genre Masters At Work Blood Vibes The Ha Dance. Track Listing. Give It to Me.
Masters at Work. Donde Lo Conseguiste. Kenny "Dope" Gonzalez. The Buddah Chant. Too Smooth. Get Up. Blood Vibes. Can't Stop the Rhythm.
Popcorn Song For You, Carl Craig No More Words, Those Guys Tonite, Vampire Weekend Vampire Weekend, Dreamer G I Got That Feelin, Metronomy The English Riviera, Cocteau Twins Treasure, Lauryn Hill The Miseducation Of Lauryn Hill, Moodcut Tame Cats, Labi Siffre Remember My Song, Kenny Larkin Metaphor, Ozzy Osbourne No More Tears