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Jocelyn
Brown
The legendary Miss Brown has worked with everybody from Micheal Jackson to Luther
Vandross, Quincy Jones to George Benson as well as delivering her own club classics
somebody Else's Guy', 'Love's Gonna -Get You' and her NuYorican Soul
Anthem 'It's Alright, I Feel It'
'Fun' sits comfortably within such 'an illustrious resume signaling a return to form
guided by Subliminal's NY young blood producers whose work together here has established
Subliminal's solid reputation for producing the deepest, funkiest and most innovative
house music of the moment.
With a big buzz on the record created by US tastemakers like David Morales, Louie Vega, Dj
Sneak and Tony Humphries caning a handful of acetates, this is easily one of the year's
most eagerly awaited 12s. The 'Main Vocal Mix' drives a deep, kickin' rhythm under a tight
70's funk guitar riff, creating the perfect up-front vibe for Brow's smooth but sassy
vocals.
Combine that with the finest remix package of recent memory which ranges from the bangin'
deep bass of he Monaoloids' 'MongoFun Dub' and the Brazilian Carnival vibe of the Basement
Jaxx vocal, to the cool, soulful flavour of Todd Edwards and a iazz-licked sub-bass Krust
workout making for a must-have double platter.
.
Source: www.sublimnalrecords.com
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Erick
Morillo
As a DJ, he has played the world over from his base in Jersey, to Ibiza, Greece and
beyond. Then there’s his coveted residency at Ministry of Sound, the first American
to secure this spot since Tony Humphries back in 1992; and, for whom, he has also just
completed an Erick Morillo mixed compilation. For good measures he’s also remixed
Crystal Waters, Jocelyn Brown and Basement Jaxx. And then, of course, there’s a small
matter of one of the biggest selling dance acts of all time. Reel 2 Reel. Yep, Erick
Morillo is a busy guy.
Born in New York and raised in Colombia and Union City, New Jersey. Morillo has been a DJ
since the age of twelve, entranced by the turntable trickery of the masters. Starting out
at local parties, weddings ("more that I care to recall"), as well as
ministering the beats at his graduation party, Morillo’s thirst for dance music was
sated when he spotted an ad on TV for the Center of Media Arts. Within two days he had
enrolled on a studio engineering class, swiftly followed by graduation (at the top,
notch).
Shortly after, Morillo got his first break whilst spinning at Shanghai Reds in nearby
Weehawken, when reggae don El General happened to hear a re-edit Morillo had done of Nardo
Ranks "Burrup". So impressed was General with the spunky Latino in the booth,
that he invited him to contribute a track to his next album. "To be honest,"
recalls Erick, "up until that point I never saw myself as a producer. I’d done
re-edits and that was that. "Muevelo," the product of the pair’s liaison,
wound up attaining platinum and being named Billboard’s Latin Single of the year in
1992 (Morillo won the same award in 1997 with "Muevela La Cadera" by Proyecto
Uno).
Morillo was introduced to the house fraternity through his friend Marc Anthony, then
working with Louie Vega and Kenny "Dope" Gonzalez on a future anthem: "Ride
On The Rhythm". "Louie’s kinda watched out for me since the beginning. He
never told me how I should do anything, but he’s just been so supportive. The only
thing he ever said to me was, "Erick focus more on vocals."
The studio Erick had begged, stolen or borrowed to build (and that loan from his
grandmother didn’t harm the cause either) started churning out the house tracks.
Truthfully speaking, they were of varying quality and usually not all that good.
"Well, I thought I was making house that sounded like the stuff that was around then,
but I wasn’t. Gladys Pizzaro, then of Nervous, knocked him back several times. Until
one day he turned up at Strictly Rhythm, the hottest label in New York with something
called "The New Anthem" by an act called Reel 2 Reel. Pizzaro, newly ensconced
as A&R at Strictly, snapped it up (she also gave him his nickname "More"
because he always delivered enough mixes to fill a triple album).
The productions got better and better. And they sold in increasingly large numbers. With
"I Like To Move It", Reel 2 Reel went ballistic. Growing by stealth on the
underground, "I Like To Move It" wound up in pop charts across Europe and Asia
(and the sales in the US weren’t to be sniffed at either). It was finally certified
platinum in Holland, and gold in the UK, Germany, France, Belgium and Australia. It also
gave him the chance to travel to Europe for the first time. "Coming over to England
was a revelation to me. It was the first time people were coming up to me and saying,
"Wow, Erick, I really love that R.A.W. track or that Smooth Touch rocks, man."
Although I knew we’d have good sales on those records, when you get direct feedback
like that, it’s inspirational." Erick Morillo had arrived.
"To tell you the truth," reflects Morillo, "the success with Reel 2 Reel
was a double edged sword. On one hand I absolutely love the success, it’s what I had
been working for, what I wanted. But at the same time, because they were regarded as a pop
act, I wasn’t getting the DJ work that I wanted to do. Sure, I was getting some good
gigs: Love to Be and Up Yer Ronson in England, for example, but I was also doing a lot of
commercial clubs, too." By the end of 1994, Reel 2 Reel had carved out a further
three top twenty pop hits in the UK alone: "Go On Move", "Can You Feel
It", and "Raise Your Hands".
Flush from the success, but determined to keep his head and music firmly in the
underground ("It’s where I come from, where I always go back to.") he hit
big with a pair of Billboard #1’s in the shape of Smooth Touch’s "In My
House" and his sublime collaboration with buddy Louie Vega, Li’l Mo’ Ying
Yang’s "Reach". "Actually, we’d been out together for the
evening," says Erick, "we’d had some glasses of wine and we came down to
the studio about midnight and just went for it. My studio is set up to make tracks
quick!"
In 1997, after many months gestation, Subliminal crashed on to the scene with the club
smash by Constipated Monkeys, a twisted slice of filtered disco-funk. Morillo’s view
of what a label should be is precise down to the smallest detail. It also reflects what
he’s seen in Europe. "We spent eight months getting everything right. Getting
the logo right, getting the design just so. We didn’t want to look like any other US
label, that’s why we went for the picture jackets. We didn’t want those black
die-cut record jackets. I think small things like that set you apart from the herd. I want
the label to be known for the quality music, so you can go into the store, buy a
Subliminal record and know that you’ve got a quality record." (Confirmation of
this came at the Muzik Awards in 1998, where Subliminal was nominated for Best Independent
Label.)
The quality has been reinforced by a slew of club hits, including Octahvia’s "In
My Life" and Da Mob featuring Jocelyn Brown’s "Fun", each one a
distinct take that reflects Morillo’s vision, neither New York garage, nor European
progressive, but incorporating elements of both. Naturally enough, the prestige gigs have
followed closely behind his verve in the studio. Erick is currently one of the most
in-demand US DJs and, it has to be said, one of the few Americans who hasn’t priced
himself out of the European market. And, on top of his Ministry residency, he won Best
House DJ award at the 1998 Ibiza DJ award, as well as being nominated for Best
International DJ in the Muzik awards 1998.
Disc jockey, producer, all-round social gadfly and party animal. Are you ready for some
more? Ladies and Gentlemen: Erick Morillo.
Source: www.sublimnalrecords.com
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Harry "Choo-Choo" Romero
"I'm the guy pushing to change the sound from record to record...the struggle for
most producers is to NOT sound the same every time, which is something not everyone can
accomplish", explains the diversely talented Harry "Choo Choo" Romero. The
DJ and producer remarks, "I am always into combining eclectic flavors and bringing
new concepts into the studio".
Sounds refreshing? Well, it's true. In a day when many young producers of dance music have
talent and bright ideas, very few also have the forethought and the consistent reputation
of Harry Romero. And this year, Harry is building upon his reputation with a series of
incredible releases and projects that will take him from "excellent producer"
status (Music Week, 12/98) to recognition as an artistic visionary.
Harry had the privilege of being raised in a musical family -- his mother soaked the air
with the Latin rhythms of merengue and cumbia, while his father, a former opera tenor,
practiced his scales and listened to Beethoven. As a result, Harry is constantly looking
to expand musically, and has.
The Run-DMC inspired Choo Choo (the train conductor’s cap worn since childhood may
have something to do with the nickname) felt the impact of the Latin-freestyle movement in
the 80s, and jump-started his career as a DJ with a high-voltage performance at a New
Jersey dance club. From there, he was taken under the wing of Millennium Music, a
management company and production team. Harry worked with their label, Gossip Records
(distributed by Strictly Rhythm), creating demos and gathering some useful
industry-related knowledge.
His first record, Soulfuric "Urban Turban" was clearly ahead of its time,
weaving Arabic scatting with house grooves. Strictly Rhythm grabbed the record for release
in 1995, and asked him to release a follow-up Soulfuric record, called "Sea Of
Passion" which captured more Latin elements. Both records were licensed extensively,
catapulting Harry’s name and music out into the world.
A number of releases followed for labels like Emotive, Sex Mania, Power Music, and Gossip
Records. One of Harry’s major breaks resulted from Robert Clivilles interest in one
of Harry’s creations, "Il Futuro", a house track with an Italian vocal from
"World" EP. Robert asked Harry to write, produce, and arrange a song,
"Saturday Night" for his 1996 LP "Robi-Rob’s Club World". As
expected, lots of work followed for Harry.
Collaborations with his labelmates and others have been extremely important for Harry as
he develops his name and his body of work. Constipated Monkeys, Harry’s acclaimed
partnership with Jose Nunez, has produced several percussive, funky tracks including
"Cro-Magnon" and "Erectus" (Subliminal Records). The success of these
tracks has launched the team into another wave of production - their new 12"
"Sunshine" will be released this summer. In addition, Constipated Monkeys’
worldwide reputation as producers and DJs has earned them residencies at both The Ministry
of Sound in London and Pacha in Ibiza, Spain. The lucky fellows don’t stop
there...they will be spreading their grooves all over the world, all summer long.
With Erick Morillo (DJ and owner of Subliminal Records), Harry is half of More-Choo, the
remix team behind new and upcoming releases Precious "Say It Again" (EMI-UK) and
Enrique Inglesias’ "Bailamos" (Interscope). Eyes are also peeled for
upcoming remixes of Diana Ross, Sneaker Pimps, and DJ Rap. Also on the collaboration
front, The Dronez is the monniker used for Harry’s threesome with both Erick and
Jose, who are expecting the summer remix release of Pete Hellers’ "Big
Love".
These collaborations have given Harry the opportunity to work on some incredible remixes
and gain exposure, although he is utmost dedicated to and exhilarated by his solo
projects. With only 30 test pressings in circulation and no official release scheduled
yet, Harry’s track "Hazin & Phazin" (Subliminal) is #3 on the
Mixmag/Update Buzz chart in England and already has overseas labels in a bidding war. The
Jimmy Hendrix sample coupled with a disco bass line makes an especially funky track.
Harry’s first Mongobonix record, "Da Crown Lane Hustle" turned out to be a
smash success on King Street Records last year. It stood out among tiresome synth-laden
records because of its mix of live instrumentation...one of Harry’s favorite
seasonings. The Mongobonix craze has given life to a new track with the same name –
also hard-house, but with a live sax sample rolling over the meaty grooves.
To top off Harry’s stream of new solo releases, a much-anticipated follow-up track
with the stunning vocalist Inaya Day will succeed last year’s tremendous Subliminal
release "Just Can’t Get Enough". Harry describes this record as
"chalk-full of 80s rock n’ roll and Latin roots."
Choo Choo has big plans to start on a solo album this year. He is an impressive young man
with an honest and zealous dedication to improving and honing his talents. He recognizes
Dave Darlington, an engineer he has worked closely with, for inspiring him to sharpen his
technical skills, and he credits the many great musicians and vocalists he’s worked
with for reminding him that it’s all about the music.
Source: www.sublimnalrecords.com
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Jose Nunez
DJ/producer Jose Nunez was born into a family of musicians. The Latin and Jazz flavors
that nurtured him have surfaced as the essence of his music making, although Nunez’
forte is his versatility. Wax Magazine (UK) describes Nunez best, "If you’re
into things with a groovy twist or a disco feel, then he’s your man."
Above and beyond the scope of many producers’ abilities today, Nunez’ talent has
created a rewarding international career for him as a producer and DJ. From his increasing
workload as a solo producer, to his collaborations as one-third of The Dronez, and
one-half of Constipated Monkeys, the Nunez sound is abounding worldwide.
Nunez’ slew of original solo productions demonstrates his creative agility. His first
big solo success, "Hold On" featuring former C+C vocalist Octavia, catapulted
Nunez into another league and reeled in the praise for Subliminal Records. While
"Hold On" was still hot, Subliminal released a sparkling follow-up, "In My
Life" on May 14th. (note: can we put some chart action info in here?) Nunez’
synergy with Octavia’s vocals also compelled him to include her on his remix for
"Big Love", a Dronez hit from early summer.
Another recent Nunez remix hit is of Donna Allen’s "(He Is The) Joy". With
The Dronez, a production trio also comprised of Erick Morillo and Harry "Choo
Choo" Romero, Nunez has recently worked on remixes for Diana Ross, Sneaker Pimps, DJ
Rap, and Technique.
"Music is like a moment to me," Nunez explains. "When you’re making a
record, everything that happens is a part of one moment. If everybody can understand the
result and experience it like I did, then that’s the reward." He’s come a
long way from the precocious seventh grader who tried to mix with a turntable and a tape
deck.
The New Jersey native supported himself by DJing at local clubs and bars while attending
the Center of Media Arts where he focused on engineering and producing. The smoke filled
rooms soon fell by the wayside when he stepped up his efforts. "I came out of school,
stopped DJing and bought a bunch of equipment. I locked myself in a room for six months,
and believed in myself."
Nunez’ vigor for the music was rewarded when he met producer Erick Morillo, now a
longtime friend and business partner. He engineered and mixed his first big record,
"Move It", from Morillo’s group Reel 2 Real’s first album. The
relationship continued, and the following year Nunez was recruited to produced tracks with
Morillo for Reel 2 Real’s second album, including "Are You Ready For Some
More" and "Mueve La Cadera", which launched Nunez into a new echelon as a
producer.
Between 1995 and 1997, Nunez was keeping busy with many projects in addition to his work
with Morillo. His first solo project, Millennium Volume 1 (Cutting Records) was completely
orgininal and experimental, and originated from his association with a production company
called Millennium Music. Although Nunez was still finding his direction as a producer,
this project received a warm response, particularly the the track "Everybody
Reach."
The turning point in Nunez’ musical production which brought him closer to his
current sound, was his next project "U-High?/Feel It", which was part of the
Nights of the Roundtable self-titled EP (Gossip Records). He found a way to infuse his
Latin roots into the music particularly with the production "Aqua" by St. John,
which was a huge step for him in the area of Latin percussion.
The hard, animated, and energetic edge of subsequent releases, Dr. Love’s "Slow
Dancing", "Stay Out All Night", and the hip hop infused Milkman cut,
"The Milkman’s On His Way" established yet another realm of experimentation
for Nunez.
Nunez and Morillo have continued to work on music together under the name Pianoheadz,
producing a series of memorable tracks including "Piano Grooves." In the
meantime, Nunez developed a partnership with Harry "Choo Choo" Romero, forming a
duo called Constipated Monkeys. This relationship created the powerfully funky and hard
disco hit "Cro-Magnon/Erectus", released last year on Subliminal Records. Since
its inception, Constipated Monkeys has developed into a worldwide phenomenon. Romero and
Nunez often DJ together under the moniker, earning residencies at both The Ministry of
Sound in London and Pacha in Ibiza, Spain.
When asked about life as a DJ, Nunez responded, "When I go out to play I like to see
how people at the club are responding to other producers music. It helps me set my pace
and understand what’s going." Heavily influenced by his favorite fellow
DJ/producers Todd Terry and Lil’ Louie Vega, Nunez prides himself on his versatility,
imagination, and roots. Now that he has established a name for himself, and is known for
consistently putting out unique yet solid records, Nunez looks forward to where this
imagination is going to take him.
Source: www.sublimnalrecords.com
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Lyrics
Verse I
You can't sleep at night
Thinking about the problems you face
And the friends you thought you could count on
They just get in your way
So when you wake up in the morning
All you gottta do is say to yourself
Today will be the day I'll make it
'Cuz I don't need anyone else
Chorus
If you believe
You'll find a way
Verse II
Sometimes in your life
It seems like you have lost your way
And eventhough you wanna give up
You've got the strength to make it through the day
And let me tell you things ain't easy
Life will always be ruff sometimes
Just as long as you keep on believin'
In the rain the sun will always shine
Repeat Chorus
Ad Libs
Publishing Credit (Administrator)
Lyrics By: Duane Harden
February 1999
| Duane Harden |
ROCEDU Publshing |
ASCAP |
| Jocelyn Brown |
Jocelyn Brown Music |
BMI |
| Erick Morillo |
Mega Platinum Music |
ASCAP |
| Harry Romero |
Sey Sey Music |
ASCAP |
| Jose Nunez |
Housefly Music |
ASCAP |
| Strictly Rhythm |
Jessica
Michael Music Publishing |
ASCAP |
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