Category: Music
Please join, 5/6/20, us for an intimate conversation with writer, actor, producer and creator of Go Bang Magazine, Pierre Andre Evans! Live set by yours truly to follow (most likely 🥰). — with Craig Loftis, Pierre Andre Evans, Kevin McFall and Akosua Accra.”
Born and raised on the South Side of Chicago, FIRST LADY, (Khrishna Lynese Henderson-Hutchinson), is a Radio/ Television personality, Educator, Spokesperson, Mentor, Billboard Award winning Radio Music and Radio Programmer. An International and pioneer DJ, the FIRST Female DJ to play House Music on the radio, and she was also a member of the FIRST ALL FEMALE House Music DJ team (The Fantastic Four) as well the first female mixer on Chicago radio, (WGCI-FM 107.5 in 1986).
First Lady, or Khrissie “Hott Mixx” Henderson as she was known then, is also one of the first females to record a house record, (used by: DJ MKII, DJ International Records 1986) and with almost 40 years of experience in the broadcast communications and music industry, First Lady has worked with some of the biggest names in the industry, as well as, the top radio markets New York (WBLS-FM, KISS-FM and HOT 97 FM), Chicago (106 Jams, WGCI-FM and WVAZ-FM) claiming #1 shows in both cities, as well as large markets Milwaukee (V100 FM) and Indianapolis (WTLC AM/FM).
First Lady began her professional radio career at Chicago’s FIRST 24 hour Rap Music station WJPC 950AM Rap Radio as the night time host, then doing co-hosting mornings on Chicago’s First Hip Hop and R&B Station WJPC-FM 106 JAMZ on the Strictly Street Morning Show. From 1995 -1998 First Lady co-hosted one of Chicago’s most successful urban male/female evening radio duos to date: Rick Party and First Lady on WGCI-FM 107.5. In 1998 First Lady accepted a position in New York City as co-host of the Isaac Hayes and Friend Morning Show on WRKS-FM 98.7. She then moved to New York’s “1 Hip Hop and R&B station HOT 97”. Later she accepted a position legendary station WBLS-FM 107.5 where she hosted the evening show and a Friday night mix show with Hip Hop Legend Grandmaster Flash.
In 2010, her leadership as Program Director for “WTLC-AM 1310 The Light” received The Stellar Award and Gospel Music Award Station of the Year in a Large Market. She was also the recipient of the 2006 Billboard Hip Hop and R&B Award for APD/Music Director of the Year and in 2011 she was ranked #17 on the list of “The Top 30 Black Women in Media” by Radio Facts. In November of 1995, while attending Chicago State University, First Lady served as the 1st Program Director for student run WCSU Radio station.
In 2015, First Lady was inducted into “The Frankie Knuckles Lifetime Achievement Award DJ Hall of Fame” by The Chosen Few DJs, as well as, accepted a position at The Illinois Media School-Chicago Campus as a Radio Faculty Advisor/Instructor and station consultant. She has served as a Spokesperson and Brand Ambassador for the American Dairy Association during the Indiana State Fair from 2008 to 2012. In 2012 she also served on the Radio Advisory Board for St. Jude Children’s Research Hospital.
First Lady has also been involved with numerous prestigious brands and organizations known throughout the world: Super Bowl Gospel, St. Jude Children’s Hospital, 100 Black Men, Girls Scouts of America, The American Dairy Association, Amsterdam Dance Music Festival (ADE), The Indiana Black Expo, Circle City Classic, Chicago House Music Day, The Hot Mix 5 Music Festival, Chicago Girls Rock (City of Chicago), Soul Train Impact, Global Mixx Conferences and The Hot Mix 5 just to name a few. She is currently CEO/Label Owner Kreative Kontrol Music, Faculty Advisor, Radio Station Consultant and Instructor at the Illinois Media School Chicago Campus,Co-Founder of the Living HerStory Music Series, Programming Consultant for London based streaming station, SG1 SOUL and is currently the Program Director/Midday Personality and Mixer for one of Chicago’s newest radio stations, 95.1FM (Club Steppin’).
First Lady and her husband, DJ pioneer Hugo H., recently teamed up to create a husband and wife DJ duo called “The Love Team.” They can be heard every Thursday and Friday night on www.sg1house.com and every Saturday night from on www.sg1radio.co.uk bringing the The sound of Chicago to the UK.
GO BANG! Magazine: When and how did you first get started as a DJ, and what did you like about it?
First Lady: I actually started because I was dating a DJ and I realized that the way to his heart was through his hobbies. I started asking questions about the technique of blending two records together. He showed me, and I was hooked. The ability to take two songs and smoothly transition from one into the other, while keeping both songs on beat, was so interesting to me. I wanted to learn all I could about it.
GO BANG! Magazine: Once you decided that you wanted to pursue DJ’ing as a career, why did you want to make the transition to Radio?
First Lady: I really didn’t decide to have DJ’ing as a career. It was just something I truly enjoyed doing. I wanted to go into television/film. The opportunity to be on the radio came from a challenge. One day I was talking with Farley, who was known as Farley “Funkin” Keith at the time, I asked him why there weren’t any females DJ’ing on the radio. He said “Make me a tape.” I did, and the rest is history.
My dad was the person that introduced me to radio when I was about five years old. He was part of Herb Kent’s “Electric Crazy People” on WVON. They were best friends. I didn’t actually get hit by the radio bug until I was DJ’ing on WGCI-FM. I was an acting student at Columbia College. Bonnie DeShong was my teacher. She told me that since I already had my foot in the radio door, I should pursue it. I was already interning in the Programming department. That is where my love for radio began.
GO BANG! Magazine: While pursuing your DJ/Radio career, you broke down a lot of barriers that were up against women. You were literally the “first lady.” Please describe to our readers how you felt at the time, when you were trailblazing a path for women in DJ’ing and in Radio.
First Lady: At the time, I didn’t think about trailblazing. My focus was on doing what I wanted to do. I never considered the historical or pioneering aspect of it. I wanted to DJ on the radio, so I focused on that. It wasn’t until years later that I realized the significance of it.
Regarding being an on-air personality, I was standing on the shoulders of greats like Yvonne Daniels, Chilli Childs, Irene Mojica, Bonnie DeShong, AJ Parker, Carla Box, Veronique, Shirley Hayes and many others. It was the strength that I gathered from them, that helped me hold my own in the Rap Radio area. Although I started my on air career at WKKC-FM, it was WJPC 950 AM Rap Radio that I began to really stand strong and represent for females in the early days of radio, in that genre of the industry.
GO BANG! Magazine: As a resident of Chicago, the home of House music, you are recognized as the first female DJ to play House music on the radio. You were also one of the first women to record a House record. What influence, if any, do you feel you have had on DJs, Radio, and House. Also, how has House influenced you?
First Lady: As for an influence, you would have to ask those that came up listening to me. I would hope that I was a strong, talented and entertaining radio personality/DJ/artist that made them want to do what I was doing. Not just because I made it seem fun, but because I showed them that it was attainable for them. House music, Disco, R&B and Italo continues to be the soundtrack to my life. I have taken it with me and shared it with every person I have met around the country and world. It is the sound that keeps the world moving in the direction of love, peace and happiness.
GO BANG! Magazine: I have personally witnessed you participating in several community events and student mentor programs. Why is it important for you to give back to the community?
First Lady: I see it as paying it forward. We are all a part of a larger village. I feel a responsibility to share my experiences with those starting or moving through their journey. We all have a higher calling on our lives, a purpose driven life, a gift that we have been given, and we must share it. Community outreach and mentoring programs are the ways I choose to contribute.
GO BANG! Magazine: In the past, female DJs were more of a novelty, and not taken as serious as their male counterparts. Do you think that image has changed and why or why not?
First Lady: WOW, that’s kind of a loaded question. I say that because my experiences are different from other female Djs. When I started, I was fortunate to have male DJs that were willing to assist with my growth and development within the craft. I am blessed to still have that solid foundation of support from many of my male DJ brothers.
Regarding the sexism and boys club, yes it still exists. As women, we still encounter that in many ways in life, not just music. I encourage my sisters to learn the rules of engagement, focus on the craft, their skills, brand, business sense, and publishing. Most of all, remember their worth and never being afraid to stand on what they bring to the table.
GO BANG! Magazine: You were a pioneering member of the first ALL FEMALE DJ team in Chicago named “The Fantastic Four.” In 2015, DJ SolKat established “The Queens of House Picnic.” How does it feel to see the seeds that you planted years ago, currently sprouting and prospering in the House community?
First Lady: She and I actually spoke when she first started planning to move forward on her dream. Of course I was in total support. I was asked to play at the inaugural QOH Picnic, as well as the three that followed. I continue to be in support of the platform she has created. Yes, I feel proud to see the growth, from where the Fantastic Four started in the mid 80’s, up until now. The number of female DJs across the word still makes me smile.
GO BANG! Magazine: Please tell our readers about your husband Hugo “DJ Hugo H” Hutchinson.
First Lady: I am not only married to a DJ, but he is also my business partner and best friend. Although we both started DJ’ing, for me at 13 and for him at 12, we have known each other since we were 18 and 19, but we had never played together. It wasn’t until the summer of 2015, at a house music festival called “3 Yards Bangin,” that we first played together. A year later, we teamed up under the name of “The Love Team” and began playing together.
#TeamWorkMakesTheDreamWork. We are currently the only husband and wife both inducted into the DJ Hall Of Fame (Me, Class of 2015, Hugo H., Class of 2018) at the Chosen Few Picnic.
GO BANG! Magazine: There are several DJ’s out there with mad skills. Which do you personally like, and which ones would you love to DJ with?
First Lady: I have played with so many over the years. I can’t say I have a favorite because all of my sisters are special. They all bring their own magic to the craft. Each one of them tells their own story when they play. I enjoy hearing them all. If you really listen to what is being played, the way it is being played, and when it is played, you will have an appreciation for who is playing it.
GO BANG! Magazine: You are currently the Program Director/Midday Personality and Mixer, for 95.1FM., in Chicago. Where do you want to take the station, programming wise, in the future?
First Lady: 95.1FM Chicago is an amazing station. We have only been on air since August 2019 and have created such a noise in the industry. As Program Director, I can say the overall goal is to provide the most entertaining, educating and uplifting station possible for the Chicagoland area and those listening via our 95.1FM Chicago app.
As the Midday personality, I work hard to bring relief to those working hard each weekday. I do that with great music and just being a co-worker the listener can relate to. I am most proud that we have brought local radio back to the market. We represent the lifestyle of Chicago, playing music of many genres, (R&B, Disco, Steppers, House, Jazz, Blues, Motown, Funk and Rap). We are the first station to have the current Mayor, Lori E. Lightfoot, as a member of our On-Air family every Wednesday with “The Mayor’s Minute.” We also have Grammy Nominated Artist “The Prince Of Sophisticated Soul” Will Downing, along with Chicago’s favorite radio veterans, Ramonski Luv (Luv In The Morning Show), Troi Tyler, Bonnie DeShong, AJ Parker, Gachelle Coffey and Gene Phillips, as well as The Legendary Steppers DJ Sam Chatman and House Music Pioneer DJ’s Hugo H. and Brian Frazier and the new generation DJ K- Blaze. I am proud of every member of our team. By the way, the station is owned by Tracey V. Bell, who is a Black Woman… #TrueBlackGirlMagic
GO BANG! Magazine: In addition to being a DJ and Radio Personality, you are also a successful businesswoman. Please introduce our readers to your company Kreative Kontrol Music.
First Lady: Kreative Kontrol Music as a label was created by me and my husband Hugo H. We want to give artists an opportunity to work with a label that would allow them to have some say in what happens with their music and how their brand is marketed. The music business is just that, a business. It is important that artist have that understanding.
GO BANG! Magazine: In conclusion, the COVID-19 pandemic has caught the world off guard. How are you dealing with it?
First Lady: COVID-19 has brought the entire world to almost a complete stand still. I am dealing with it on a day to day basis. Some days are extremely stressful. I worry about the well-being of my family more so than myself. My mother lives in Las Vegas and my dad lives in New York. We worry about our daughters as well, even though they are grown, (Khumare 29, Ciah 26 and Kristyn 24). Regardless to what is happening in my personal life, I get up every day and face whatever comes my way. I greet my listeners with a smile. I hope they can see it through the radio. I do my best to bring sunshine into their day. Music is truly a healer and I present it for that purpose.
YOU CAN FOLLOW FIRST LADY ON FB, IG, TWITTER, YOUTUBE, SNAPCHAT, MIXCLOUD, SOUNDCLOUD & TWITCH @ilovefirstlady
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the owner of Pinnacle Entertainment Productions. Follow him on Facebook, Twitter, and on Instagram
PHOTO CREDIT: Billy Hess
After purchasing Precision Pressing a vinyl-plant in Chicago, Larry Sherman soon meet DJ /producers Jesse Saunders and Vince Lawrence In 1984, a couple of ambitious kids with one thing on their mind, getting their music pressed on vinyl.
One of the first artists signed by TRAX Rachel Cain – known as Screamin Rachael became -the first house artist to have a major label deal when she signed to Teldec in Germany which was owned by Universal. Her continued belief and work with the TRAX label through the years helped to promote and propel classics like “Can You Feel It” by Larry Heard, “Acid Tracks” by Phuture, “No Way Back” by Adonis, and “Move Your Body” by Marshall Jefferson. These tracks, and others such as My Main Man and Rock Me, by Cain herself helped to propel the revolution that is known as house music today.
Screamin Rachael was instrumental in helping spread the House sound to New York City and eventually to Europe. In 1987, she recorded “Fun with Bad Boys” with her friend and mentor, Bronx-born DJ/producer Afrika Bambaataa, who is widely regarded as the Godfather of Hip Hop. This track helped launch the “Hip House” sound.
Today, Rachael Cain has been dubbed “the Queen of House Music” and is the owner and President of TRAX LTD. She also produces Movies and soundtracks with talented director Eric Rivas, which are distributed by Sony Orchard. You can currently see The Vamp Bikers Trilogy on most digital platforms. Since she took over the label in 2000, House Music has continued to thrive within the mainstream pop culture. Popular artists of today, such as Kanye and Drake, are using samples from TRAX Records singles more regularly. MTV also used samples from TRAX artists in their national TV commercials. And DJ/producer David Guetta, who caught major fire from House fans worldwide for being dubbed the “Godfather of House Music” admits that his favorite song and initial inspiration was “Love Can’t Turn Around” on TRAX.
Rachael commented, “I’m not here to make fun of Guetta as some House fans do. I appreciate his passion for House and his promotion of it, and some of his own great music. Everyone can be House, as long as the originators like Frankie Knuckles, Jesse Saunders, Ron Hardy, Robert Owens, and others are recognized.”
On November 30th, 2018 Screamin Rachael removes all doubt about where House Music originated by releasing her new track called “I am House”, a collaboration with legendary DJ producer Joe Smooth. Her single features lyrics Rachael wrote about the House Music lifestyle and what House means to its fans.
In the end, the Queen of House rules with compassion and gratitude for House fans. She says, “We at TRAX thank you and REALLY APPRECIATE your continued support.”
Long may she reign!
GO BANG! Magazine: Where were you born and raised and how did you become involved in the House community?
Rachael Cain: I’m from Chicago and proud of it! My affiliation with House music started with my original mentor / manager Jay B. Ross aka “The Rappin’ Lawyer.” RIP. He represented James Brown and was the “go to” attorney in Chicago for music. Vince Lawrence’s father was looking for a female vocalist to sing “Fantasy” and JB introduced me, even though I was a punk rocker at the time. “Fantasy” became the first recorded house record. When it got released after “On and On,” which was the first on vinyl, it surprised us all by going Pop radio! Spin Magazine said it sounded like Blondie on a beat box budget.
GO BANG! Magazine: TRAX LTD is a pioneering record company that was founded in 1984 in Chicago, by Larry Sherman. The label was instrumental in the early days of House music by pressing original Chicago house songs on vinyl. How did you become affiliated with TRAX?
Rachael Cain: I started working with Vince Lawrence and Jesse Saunders and we met the designated adult of the movement, Larry Sherman. He owned a vinyl pressing plant in Bridgeport and BANG! TRAX was born and the House revolution was on!
GO BANG! Magazine: After working and being label mates with so many artists over the years, are there any other artists, current or classic, that you would love to work with?
Rachael Cain: I’m blessed to be working with great TRAX artists. Since Joe Smooth has always been one of my favorite people, we will continue working together! We’ve done a number of great projects including “I AM House” and our collab with George Clinton “Our House Is Funkdified.”
LA Williams played me his new stuff “Analog 87” with Manny Cuevas aka DJ TRAXXX, and I was knocked out! I’m really excited to be working with him! Wait until you hear what we’ve got cooking! Marcus Mixx has really been a blessing to work with. He makes me laugh and doesn’t take himself seriously. That takes me back to when we started all this, because both of us are big kids. Someone I haven’t recorded with yet, although I’ve toured with, is Robert Owens. I LOVE HIM!
GO BANG! Magazine: Unfortunately, early last month Larry Sherman recently “got his wings.” He was TRAX Records and meant so much to so many people. Please describe what Larry Sherman meant to you.
Rachael Cain: Larry Sherman’s passing is indeed a great loss to the world of music. He was a quirky genius.
I was talking to our original vinyl distributor Walter of CW Paas the other day, and he reminded me that back when we all started out, Larry had the ears. People in the industry really didn’t understand our music at all. Major labels had no clue of what to do with us, and for the most part, weren’t interested anyway. So, I’d say the House genre would not have been amplified without Larry.
There’s no doubt that what happened at TRAX was groundbreaking. None of us were really sophisticated about business, including him, but somehow we’ve made it here and without a doubt, Sherman was the man behind it. He believed in me and gave me a chance to learn the ropes. Even though we didn’t always agree, the fact that he was an artist himself gave us a kind of simpatico. It was destiny for us to meet and I’m grateful to God that this has all happened. I’ll miss him…
GO BANG! Magazine: Please explain to our readers who owns and manages TRAX LTD now, and what the company plans are for the future.
Rachael Cain: I’ve been President of TRAX Ltd for a number of years. There is quite a history to be told about the evolution of the label. The real story is stranger than any fiction you can imagine. To quote Patrick Moxey, the President of all Electronic music at Sony, “If you were to write the most unbelievable story about a label, it would be the TRAX story.”
While Larry’s health was declining, thankfully we came together with Rights Incorporated out of the UK. Greg Roselli, from that firm, was a young lawyer just out of law school when he came to work for Jay B. Ross, TRAX’s original attorney. So, I believe that Jay had a hand in bringing harmony to us before Sherman’s passing. Unfortunately, Larry died during this terrible pandemic, but before he did, we talked about doing everything we could to get royalties owed paid to the classic artists and organize TRAX to bring about the greatness we know can be achieved by the label. There are things in motion that can’t be discussed yet because of legal matters, which I believe will clarify some of the controversy surrounding Larry Sherman, so that his legacy will be vindicated.
GO BANG! Magazine: There may be someone reading this interview wondering if TRAX Records is currently signing any new artists to the label. If they have a song or several songs of the House genre, what should they do to get their music to you to be considered?
Rachael Cain: We are always looking for new artists, so if there are readers interested in submitting music, they can connect with us through our website http://www.traxrecords.net
GO BANG! Magazine: Are you working on anything new that you would like our readers to be on the lookout for?
Rachael Cain: The most exciting chapter at TRAX Records is happening right now! We are working with many new artists and on lots of very exciting projects, including TRAX Network.
Last year, the Chicago Reader did a cover story on Marcus Mixx: (https://www.chicagoreader.com/chicago/marcus-mixx-shannon-house-head-studios-trax-gallegos-puppies/Content?oid=68571649)
Leor Galil contacted me about him because Marcus worked at TRAX years back. I remember walking down Broadway in New York thinking, “I’ve got to find Marcus,” who was homeless at the time. I have always loved his music and he and I have shared an interest in producing underground television for years. You can watch our show TRAX TV on channel 25 in Chicago. Once again God blessed me! We had a small team in Chicago, just me and my partner Mark Suchocki. So, adding Marcus made the secret sauce. He was the missing ingredient.
We have great new artists around the world. Jason Chaos is holding things down in New York, along with DJ Elmo, and Sasha Barbot. We came together through director Eric Rivas, who we’ve completed four films, with soundtracks by TRAX Records. You can see “The Vamp Bikers Trilogy” on Amazon Prime and a number of digital platforms. “Japanese Borscht” is complete and ready to go into distribution. Our new movie “The Duke of York” takes place during Covid, and is in production right now. We are distributed by 1091 Entertainment, and all of our movies have notable actors, as well as personalities, including myself, Michael Musto, Angel Salazar, Apache Ramos, Lillo Brancato and Ron Jeremy. Mickey Rourke is in talks for our latest film. We’ve got DJ Matt Black in the UK, who is also part of the TRAX family. I love his new cut featuring Eric B Turner “Put Your Stank on it.” There’s Kynt out of New Orleans, Chris Jones, ProOne79, Alfrenk, Blurred, and others. My new single “Jack Me Up, Jack Me Down” produced by Marcus Mixx, was just released last week and my EP “ACIDIC” comes out on Mother’s Day.
GO BANG! Magazine: You’re aka “Screamin Rachael”, an original TRAX artist. Please explain your music style and your contribution to House music.
Rachael Cain: As one of the original TRAX artists known as Screamin’ Rachael, when people ask me about that name, all I can say is that when I walk into the room, I’m screamin’ without even saying a word! My style is whatever I feel, with influences of punk, rap, blues, and rock.
My contribution has been since the beginning with “Fantasy,” “Fun With Bad Boys,” “My Main Man,” “Rock Me,” “One Day” and many other cuts included on several albums, as well as lots of singles. All I can say is, I AM HOUSE!
GO BANG! Magazine: We’re currently going through the COVID-19 pandemic here in Chicago, as is everyone else in the world. You recently dropped a song about staying safe during this pandemic. The song is titled “STAY AT HOME MOVE YOUR BODY ANTHEM WASH YOUR HANDS” and you’re singing lyrics over the music to Marshall Jefferson’s House music anthem “Move Your Body.” Your new song was received with mixed reviews. Many in the House community did not like the fact that you used “Move Your Body” as the background music for your song. How are you responding to that backlash?
Rachael Cain: I’m glad you asked me about that! OOPS, I did it again!
The idea came about because I heard a parody of The Beatles song “I Wanna Hold Your Hand” turned into “You Gotta Wash Your Hands.” Sitting around during the pandemic, and feeling kind of down, that put a smile on my face. I talked to Marcus and we decided to take “Move Your Body,” because people love that song, and make a positive message parody. I recorded a vocal on my cell phone, as did Marcus, and we just posted it. Marshall Jefferson was one of the first to re-post it!
When some of the old school house heads heard about it, you’d think we defaced the Mona Lisa! Lighten up guys! We were thinking of the bored moms at home, and many other ordinary people, who actually said “thank you.” Yeah, it made them laugh and that was good! One of my favorite producers Easy Mo Bee loved it. In fact, lots of people loved it. We really didn’t think it would go anywhere, but when the controversy started and thousands of people reacted, someone said that I was trying to capitalize on COVID-19. So, TRAX decided that if it makes any money at all, it will go to the city’s “Frontline Responders” fund. Regardless, we will make a label donation and we encourage others to do the same.
So, to all the haters and cyber bullies, all I have to say is, “don’t you have anything better to do?” “GET A GRIP!”
GO BANG! Magazine: In conclusion, the COVID-19 pandemic has caught the world off guard. How are you dealing with it?
Rachael Cain: These are crazy times and this pandemic is difficult for everyone to deal with. When I’m feeling depressed, I think about the first responders, those who lost their lives, the many suffering from the illness, and count my blessings. I put on my mask, take a walk, or do something crazy like write “The Stay At Home Anthem.” I get on social media and reach out to friends.
Like Josephine Baker who had two loves, her country and Paris, I have two loves, Chicago and New York. My friends there inspire me with their strength during this terrible time. It was them including James Farley, Jason Chaos, Raya Sunshine and others, who started a chat line on What’s App called “Empire Nightlife” that developed into the weekly party that we do every Saturday on www.TRAXPARTY.COM. It’s caught on and it’s international now. I DJ, with Matt Donavon on guitar. There are other DJ’s, a variety of performances, and online mingling. It starts at 3pm EST every week. Come join us!
#STAY AT HOME MOVE YOUR BODY
#TRAXPARTY
YOU CAN FOLLOW “SCREAMIN RACHAEL” CAIN & TRAX RECORDS ON ALL SOCIAL MEDIA FORMATS.
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
Lori Branch is a Chicago native that began her life-long affair with music in 1980 as the DJ for a Chicago-based, social club named Vertigo. Vertigo, founded by Eric Bradshaw, Craig Loftis and Steven Moore hosted dozens of teen parties from 1980-1984 in such iconic locations such as Sauers, the Loft, the Penthouse, Aragon Ballroom and McCormick Place.
As a solo artist, Lori has held residencies in numerous Chicago clubs, played opening sets for several recording artists such as Michelle Ndegeocello, Lauren Hill, Arrested Development, Tribe Called Quest and others. Lori has co-produced music for several independent film projects in addition to writing and producing television and film projects such as Kevin’s Room, 40th:The Story of Roberts Temple and the Rap-it-Up Chicago series.
Seen by many as a pioneer DJ in Chicago’s House music scene, and one of (if not the) first women to grace the decks as a DJ and promoter, Lori is featured in a number of documentaries, magazine articles and television specials. Lori views her love of all music as a “life-affirming, artistic extension of me.”
She currently co-hosts the Vintage House radio program on WNUR 89.3FM Evanston Chicago and WNUR.org and is a board member of The Modern Dance Music Research and Archiving Foundation. Lori is a mom, wife, sister, daughter, niece and cousin.
“My family keeps me grounded in truth. My music keeps me moving in all the right directions.”
GO BANG! Magazine: When and how did you first get started as a DJ, and what did you like about it?
DJ Lori Branch: I started DJ’ing in 1980, shortly after graduating from Lindblom High school. I was asked to consider DJ’ing because I was a regular club kid at the Warehouse and my best friend, Jean Pierre Campbell, was an avid music collector. Jean and I would scout the city looking for the records we heard at the Warehouse, and along with our own love of punk, rock and R&B, we amassed a good collection. My high school buddy Eric Bradshaw invited me to attend a party that he and his social group Vertigo, which also included Craig Loftis and Steven Moore, were throwing at a club called the Loft. The Loft, located in Chicago’s south loop, was a popular space rented to youth social clubs. My jaw dropped to the ground when I arrived on the night of his party when I heard the DJs (Wayne Williams and Tony Hatchett) playing songs I heard at the Warehouse and other (predominantly) gay clubs (I was only 17, so I was sneaking into most of these). I told Eric that I wanted to join Vertigo so I could be part of creating this energy and he told me that I would not only join but that Jean, Craig and I would be the group’s DJs. After a widely successful Vertigo party at another popular spot called Sauers, we bought a trunk-full of equipment and I dove headfirst into learning. I caught on quickly with the help of Louie (Jose) Gomez who taught me, Jean and Craig the basics. We spent many nights in my bedroom or in Craig’s basement practicing which was incredibly important because mixing rock, punk, R&B and disco was difficult as music was not time synched, no long intros or breaks and almost all was live instrumentation. It took a lot of practice and I remember so many of those early mixes because when you found something that worked you did it over and over. We did a lot of basement gatherings and then were thrust on stage. I think my first big party was a battle with about 500 kids in attendance. It was crazy.
What I loved about DJ’ing was that for most people in the world, mixing was still a relatively new art form and the idea that you could play for hours with no breaks, create a trance-like state for dancers, sweat your clothes off, smile and laugh all night and be passed out the next day from sheer exhaustion was the best. It also gave me an amazing platform to break out of my shyness, model fashionable clothes and meet tons of cool people, many of whom are like family to me to this day.
GO BANG! Magazine: While pursuing your DJ career, you broke down a lot of barriers that were up against women. You were literally one of the first female DJ/Promoters in Chicago. Please describe to our readers how you felt at the time, when you were trailblazing a path for women DJs/Promoters.
DJ Lori Branch: When you are doing something that others find significant you do not often know at the time that is what is occurring. Such was the case about being a female DJ in a field of males in the early 80s. I was aware of that it was unique but did not really focus on it much. We were just kids trying to have fun and make some money. I would occasionally get, “where’s the DJ?” or “You’re the DJ?!” when setting up my equipment, but I think I was unfazed. I knew that I could play just like anyone else. I won some battles, had great nights and some not great nights – just like any other DJ or promoter. I was lucky to have folks like Wayne Williams, Craig Cannon and Craig Loftis who always pushed me out and encouraged me.
GO BANG! Magazine: In the past, female DJs were more of a novelty, and not taken as serious as their male counterparts. Do you think that image has changed and why or why not?
DJ Lori Branch: Definitely! Women DJs are everywhere, and it is amazing to see the kind of respect women are getting because of their skills.
GO BANG! Magazine: As a resident of Chicago, the home of House music, you are recognized as one of the pioneers. What influence, if any, do you feel you have brought to the House community and how has House influenced you?
DJ Lori Branch: I take my place in this community as a responsibility to show up and model love. I hope that is a positive influence on those who might attend a party, watch or listen to my shows or follow me. I am on a mission to sow peace, presence and humanity. I can be a little catty sometimes to add some spice to the shows, but it is usually done in humor, as I also think we can take ourselves a little too seriously sometimes.
The people in this community, my friends, family, the dancers, the promoters, other DJs, and artist have influenced me in immeasurable ways. When I see women like Nakiya Solkat confidently building her production empire, I am humbled to be in the company. So many in our community work so hard to bring the community together and to attract so many to something we have loved for so long. I also appreciate how there is such strong and growing interest in the origins of house music. I feel lucky to have been there when things kicked off here in Chicago. I have a friend Honey Dijon who is a DJ, producer, fashionista and businesswoman, and who happens to be one of the most influential women DJs in the world. I remember her being one of those kids who looked up to us young adults and I understand why what we did (especially the women) was so important. And now, she is my shero and inspiration. Funny how that works.
GO BANG! Magazine: Over the years, you morphed from being only a DJ. You’ve accomplished great success as a film and television writer and music producer. Please tell our readers how you got started in that, what you like about it, and if you plan to do more writing and producing.
DJ Lori Branch: I dropped off the Chicago DJ scene from about 1985-1991 to finish school and to pursue music production in a more serious way. I graduated from Columbia College in 1988 with a liberal arts degree and a concentration in Arts and Media Management. While at Columbia, I met filmmakers and many creative artists that helped me expand my vision. I lived in New York City and LA where I was moved by the horrifying effects of the crack and AIDS epidemics to do more. When I moved back to Chicago in 1991, I started DJ’ing again but this time I was motivated to address these larger social issues. I also lost several close friends to AIDS which was devastating. These experiences translated into writing and producing shows for cable television, PSAs and movies. I started out with as a producer on CAN TV and hosting the program Hotline 21 which allowed viewers to call in and ask live questions about AIDS. This served as a catalyst for my next project entitled “Rap It Up.” The show incorporated DJ elements, hip hop performances and interviews with community leaders about issues teens where experiencing in this increasingly complex time period. Gun violence, sex and STDs etc. were where we place our focus, but music was a through line. These efforts evolved into more projects like public service announcements and a film series entitled “Kevin’s Room.”
“Kevin’s Room” was conceptualized over a snowy day lunch in the basement of the board of trade building with my friends Jean Pierre, Karina Glover and Janice Layne. The initially one-hour film spurred two sequels from 1999 – 2006. The films were shot entirely in Chicago with professional actors and on a shoe-string budget. The drama centered on Kevin, a gay social worker, who convened a support group for black gay men. Each character was complex and dealing with frequently stigmatized issues in our community, such as living with HIV, being a bisexual man, condom usage (or the lack thereof), religion and monogamy. The movies were broadcast on UPN and WCIU, screened in dozens of film festivals and gained a large following. I worked with Blackcat Productions and Karl Productions on the overall production and I served as the Executive Producer and writer. The films can be seen online.
I love to participate and produce films and documentaries and have done others such as the story of Roberts Temple in Chicago. This film is about my great-grandfather Bishop William Mathew Roberts. He was the first Bishop to bring the Church of God in Christ to Chicago and was a leader in COGIC’s early days. The Church is special because it birthed so many amazing artists, was the first Church in Chicago with a live radio broadcast and is frequently featured in black history as it held the four-day funeral for slain teen Emmett Till. I plan to produce more just need to find the time to do it. And, my next production will be about House Music!
GO BANG! Magazine: In addition to that, you also currently co-host the “Vintage House” radio program on WNUR 89.3FM. Please describe when the show began, what the show is about, and why you feel the show is important.
DJ Lori Branch: We are celebrating the 5th year of the WNUR Vintage House show. The show was created as an outgrowth of activities associated with the Modern Dance Music Research and Archiving Foundation. The show was created by my friend Lauren Lowery who is also a Northwestern alum. Lauren had her first show on WNUR in the late 80s when she was a student. Our vision is to capture as many voices of Chicago House music experience as possible. Originally, we were just doing it for the listening audience and to archive the shows, but everything expanded a couple years ago to the FB live format. Facebook live opened the show to thousands more. It has also given me a chance to have a different role in the community as a historian and truth seeker.
I think the show is critically important to present both biased and unbiased accounts of this genre and the culture. We have all seen a lot of documentaries, articles and interviews that each try to capture some part of the story, but they almost always leave out importance people, places, and events. My job as producer and host is to dig deeper and go into the stories that don’t see as much light – and there are so many. As the historian, Lauren also tries to flesh out the timeline of where House Music began, who were the key players, what were the songs, venues, high schools, communities and all of the framing that made it a uniquely Chicago institution. Kevin McFall also hosts the show and he likes to take a more philosophical approach to his interviews by getting underneath the motivations of our guests. Every story is so valuable, and, like a puzzle, we need ALL of the pieces.
GO BANG! Magazine: In order for the House genre to flourish, it must be documented and passed on to future generations. Please explain how being a board member of The Modern Dance Music Research and Archiving Foundation achieves this goal.
DJ Lori Branch: The Foundation’s goal is to close the gap between the scholarly exploration of the history of the genre and its’ transformative impact on the world. We also aim to preserve and celebrate the lives and stories of our community. That the Foundation exists is critical and my role is to help figure out how we fit into and support the larger picture of dance music history in Chicago. We hope future generations will know, understand and fully appreciate Chicago’s unique contribution to House Music.
GO BANG! Magazine: In 2015, DJ SolKat established the “Queens of House Picnic.” How does it feel to see the seeds that you planted years ago, currently sprouting and prospering in the House community?
DJ Lori Branch: I am so amazed at the success of the “Queens of House Picnic” and simply love, respect and have deep admiration for DJ Solkat. My whole family (siblings, nieces and nephews, cousins, etc.) now support the event and it is arguably one of Chicago’s best summer events. I love it and look forward to the 2020 picnic. It feels great to see this space grow and to see so many fans supporting women artists. It is something I could have only dreamed about years ago. I know it takes a lot to bring that kind of line up and infrastructure and to make it free for folks is amazing. I hope to bring attention to the fact that this event will need the communities support in many ways, and I pledge to be among those that do so.
GO BANG! Magazine: Are you currently working on any new projects or would you like to mention anything that you’d like our readers to check out?
DJ Lori Branch: I am continuing to work on the Vintage House show and DJ. I post a lot on Soundcloud and will do live shows on Wednesday night around 10pm. I am also working on a production projects with my pal Craig Loftis and make a guest vocal appearance in his latest release Social Distance. It’s really a banger!
GO BANG! Magazine: In conclusion, the COVID-19 pandemic has caught the world off guard. How are you dealing with it?
DJ Lori Branch: This pandemic is so heartbreaking and like everyone else I am trying to keep myself and my family healthy. My wife and I are both working in administrative roles in the health industry so we can work from home. We have an 11-year-old daughter who is also here along with our two cats and one dog. So, the house feels full which is nice. Staying in touch with friends and family has been great to help keep everyone connected and sane. I am also spending a lot of time organizing. My office has never been so neat before. I also have parents in their 90s, so we are doing our best to look after them as well. Mostly, I continue to pray, give to those in need and support everyone as much as possible. I do believe we are in this together and together we will be stronger when we emerge. Importantly, there is no better time to share music with everyone, so I am recording more and really enjoying all of the live streams each week. Let’s just keep the music going and we will all be okay.
GO BANG! Magazine: I’m so proud of you cuzzo!
Tune in to VINTAGE HOUSE on WNUR 89.3 FM or follow on Facebebook @VINTAGE HOUSE on WNUR 89.3 FM
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
Reprint:
Robbi Promoter
23-44a 93rd st
Queens, NY 11369
UPDATED STATEMENT ON THE 2020 CHOSEN FEW PICNIC & HOUSE MUSIC FESTIVAL
April 24, 2020
We regrettably want to share with you all that due to the ongoing COVID-19 pandemic, we are canceling the in-person Chosen Few Picnic & House Music Festival scheduled for July 4, 2020 in Chicago’s Jackson Park. In its place, we will put on the VIRTUAL Chosen Few In-House Picnic & Festival on Saturday, July 4th, featuring live-streamed performances and DJ sets from the Chosen Few DJs, and more.
The decision to transition our beloved “Woodstock of House Music” from a mass in-person gathering to a virtual one this year was not an easy one. Like many of you, we want nothing more than to get together with our fellow House Music lovers in person, just as we have done for the past 29 Julys. However, given the extraordinary time we are in, and the critical health dangers associated with large gatherings, we know this is the safest course of action for our Picnic attendees, guest performers, vendors, and neighbors. We will hold off on celebrating our official 30th Chosen Few Picnic Anniversary celebration until we convene again in person in 2021!
If you purchased a $25 Early Bird ticket(s) for 2020, you may either hold on to your ticket for the 2021 Picnic, or request a full refund from our ticketing partner, See Tickets. All ticket holders will be receiving an email from See Tickets today concerning the refund process. You may also click here to access the refund form. Please note that to be eligible for a refund, all refund requests must be submitted to See Tickets by May 22, 2020 at 11:59 pm (CDT). If you have any questions concerning any hotel reservations you may have made for the Picnic, please contact our Hospitality Director Toy Foster at Toy@fsgtravel.net.
The VIRTUAL Chosen Few In-House Picnic & Festival coming on Saturday, July 4, 2020 will be a free event, although we will accept donations and will be contributing a portion of any donations to charity. We will be in touch over the coming weeks with more concrete details about this event. In the meantime, we pray that you and your loved ones are taking good care of yourselves and each other, following public health directives and advice, and keeping music close to your heart.
Yours in the music,
The Chosen Few DJs – Wayne, Jesse, Tony, Alan, Andre, Kim, Terry, and Mike
What does Micheal Jackson, Lenny Kravitz, Crystal Waters, Erykah Badu, Martha Wash and Ultra Nate’ all have in common? All of them have been produced by Teddy Douglas.
The Baltimore native DJ/Producer began his DJ career professionally in 1983 at the hottest clubs in Baltimore D.C. area. While traveling around the globe to DJ booths from famed Yellow in Japan to Ministry of Sound, Teddy Douglas continues to wow his hometown audiences at the legendary club Paradox in Baltimore. The long running “Salvation Party” is 14 years strong.
Recently, he teamed up with long time collaborators DJ Spen and Karizma for the bi-annual party called “Respekt” at the Paradox. Teddy Douglas is also a key figure in the development of the Baltimore “House” Sound. In 1985, he met Jay Steinhour and Thommy Davis who later went on to form The Basement Boys Production Company. The Basement Boys have produced countless dance classics like the 1991 gold single “Gypsy Woman” (La Da Dee, La Da Da), which has been sampled to this day by everyone from R&B Gospel duo Mary Mary, to Pitbull, to T.I. in 2006.
In the mid 90’s, Teddy Douglas and Jay Steinhour opened Basement Boys Records. The label is responsible for club anthems from Teddy Douglas featuring Francesso “The Violin”, Jasper St. Co. featuring Ann Nesby, Those Guys, and countless others from Kenny Bobien, Taja Seville and more. In 2012, the label relaunched with Mudfoot Jones.
In 2006, Teddy Douglas started his own label, Save your Soul Records, which produced Margaret Grace, and the 2013 Teddy Douglas project featuring Maysa, Marcel, Natalie “The Floacist”, and The P-Funk Horns.
GO BANG! Magazine: When and how did you first get an interest in being a DJ?
Teddy Douglas: My interest began as a DJ as a high school senior, in 1982. Already a massive record collector, I was a part of a crew that snuck into the most famous nightclub in Baltimore, “Odell’s.” That was the inspiration that lead me to wanting to be a DJ. The resident jock was Wayne Davis. My first gigs were mainly at house parties. I joined a DJ crew that did private events, etc. That is when I knew I had something special. Soon after high school, I landed a gig at a bar called “Hats.” This was where I learned how to program records.
GO BANG! Magazine: What influence, if any, do you feel you have brought to House music and how has House music influenced you?
Teddy Douglas: The influence I feel like we brought to House music is live instruments. Ultra Nate’s “It’s Over Now” had a live sax player on it, a heavy bottom and gospel influenced lyrics. House music has not influenced me, but it has changed my life.
GO BANG! Magazine: You’ve had the opportunity to travel around the world, in the name of House. How would you describe House’s acceptance in other countries, in comparison to here in the States?
Teddy Douglas: Wow, it is like the disco era that was here in the states, late 70’s into the early 80’s. (There) Everyone’s excited to come out and dance until 6am in the morning. Here in the states, that does not happen much anymore.
GO BANG! Magazine: When did you know that you wanted to be a producer?
Teddy Douglas: The day I knew I wanted to be a producer is after doing two live shows to promote our first record on Jump Street Records entitled “Love Don’t Live Here Anymore.” I was the lead singer. (lol) I sang the demo, the record company loved it, and insisted that I sing the record. After doing two shows, we knew that we needed to find singers to sing the songs, and the production company was born.
GO BANG! Magazine: Over the years you morphed from being only a DJ. You’ve accomplished great success as a producer. You’ve worked with many icons in the music industry as well, including Micheal Jackson, Lenny Kravitz, Crystal Waters, Erykah Badu, Martha Wash and Ultra Nate.” Please describe what it felt like to produce songs for artists of this high caliber?
Teddy Douglas: I feel incredibly grateful. I feel really proud to have discovered two dance music icons in Ultra Nate and Crystal Waters.
GO BANG! Magazine: After working with such high ranking artists over the years, are there any other artists, current or classic, that you would love to work with?
Teddy Douglas: Oh wow! There are two artist that I would love to work with, Chaka Khan and Patti Labelle.
GO BANG! Magazine: The Basement Boys primarily consists of yourself and Jay Steinhour. How did you guys meet and why did you decide to form a company?
Teddy Douglas: The original members are Jay Steinhour , Thommy Davis and myself. After Thommy left the company in the early 90’s, Dj Spen joined the production company, and then Karizma. These days on the road, Karizma and Spen are often with me .
GO BANG! Magazine: Having two international music industry moguls working together has got to be an exciting venture. How does the individual notoriety of each of you complement each other and enhance your business?
Teddy Douglas: Well from day one, we all have roles. I am mostly the creative concept person and Jay runs a lot of the business. So I would say we complement each other very well.
GO BANG! Magazine: What are the Basement Boys currently working on?
Teddy Douglas: Right now, we have an LP coming out, “Monday Night Studio Sessions.” It’s a compilation of artists that performed at my Monday Night Studio Sessions @ Rockwell, an event here in Baltimore. Every first Monday, we feature an artist to join my partner Dj Tanz and the band, Davon McCoy and Charles Dockins, for a jam session that is unique and super fun!!! (We’re) also working on a project for Quantize Label called “Baltimore Philadelphia International,” a collection of Philly Tunes performed by Baltimore artists.
GO BANG! Magazine: In conclusion, the COVID-19 pandemic has caught the world off-guard. How are you dealing with it?
Teddy Douglas: For sure wow! All of my gigs have been cancelled. My studio sessions have been postponed. I am dealing the best way possible. I want to stay creative, so I am working in my home studio for now.
You can follow Teddy Douglas on Facebook @TeddyDoulas, Instagram @djteddydouglasemail or follow The Basement Boys on their website www.BasementBoys.com.
For bookings contact Dan Kiely Dan@connectedtalent.com
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
The Basement Boys is an American House music production team that was formed in Baltimore, Maryland, United States. The founding members are Jay Steinhour, Teddy Douglas and Thommy Davis. Current, the members are Jay Steinhour and Teddy Douglas.
CONTACT: (410) 808-4004
GO BANG! Magazine: When and how did you first get an interest in the DJ’ing and the music industry?
Teddy Douglas: My interest began as a DJ as a high school senior, in 1982. Already a massive record collector, I was a part of a crew that snuck into the most famous nightclub in Baltimore, “Odell’s.” That was the inspiration that lead me to wanting to be a DJ. The resident jock was Wayne Davis. My first gigs were mainly at house parties. I joined a DJ crew that did private events, etc. That is when I knew I had something special. Soon after high school, I landed a gig at a bar called “Hats.” This was where I learned how to program records.
Jay Steinhour: I really started to DJ in about 1974. I got interested because I enjoyed going to the club, and had an ear for good music. So it wasn’t long before I wanted to be the DJ, programming the music. By the late 1970s, I was playing in a few DC clubs (as a part time gig) and joined Eardrum’s record pool in DC (Tables of Distinction). As I became more involved in my side job of DJ’ing, I started to learn more about the music industry. In the early 1980s, I started going to the New Music Seminars every summer in NYC to learn more about the industry and meet people.
GO BANG! Magazine: What influence, if any, do you feel you have brought to House music and how has House music influenced you?
Teddy Douglas: The influence I feel like we brought to House music is live instruments. Ultra Nate’s “It’s Over Now” had a live sax player on it, a heavy bottom and gospel influenced lyrics. House music has not influenced me, but it has changed my life.
Jay Steinhour: Not sure it is my place to judge what Basement Boys have brought to House music. But, from my perspective, I feel we brought a lot of soul to House music. We always tried to incorporate live instrumentation and soulful vocals in practically everything we produce. I love House music (along with other genres like jazz, soul, and R&B), it is such a misunderstood genre of music. It is energetic, uplifting, often soulful, and you can dance to it, how primal is that!
GO BANG! Magazine: You’ve had the opportunity to travel around the world, in the name of House. How would you describe House’s acceptance in other countries, in comparison to here in the States?
Teddy Douglas: Wow, it is like the disco era that was here in the states, late 70’s into the early 80’s. (There) Everyone’s excited to come out and dance until 6am in the morning. Here in the states, that does not happen much anymore.
Jay Steinhour: I have traveled some, in our early years as producers. I was slowly retiring from DJ’ing, leaving that to my superstar partner Teddy. My skills could not stand up to those of Teddy or our other original partner Thommy Davis (both outstanding DJs). Though on one trip to London, near my retirement from DJ’ing, I got to play a set in the bar of the Ministry of Sound. It was a high point in my DJ career. But to answer your question, from my perspective, as most of my travel was only to London and Paris, House music seemed much more accepted overseas, especially in London. It’s not a big surprise.
GO BANG! Magazine: When did you know that you wanted to be a producer?
Teddy Douglas: The day I knew I wanted to be a producer is after doing two live shows to promote our first record on Jump Street Records entitled “Love Don’t Live Here Anymore.” I was the lead singer. (lol) I sang the demo, the record company loved it, and insisted that I sing the record. After doing two shows, we knew that we needed to find singers to sing the songs, and the production company was born.
GO BANG! Magazine: When did you know that you wanted to be a composer/producer?
Jay Steinhour: I started to know in the late 70’s as I started to play with the studio equipment and utilize modern sampling techniques to create ideas. I do not feel I could be a totally independent composer/producer, but what I do can contribute to a creative team. Starting off as more of a tech guy, it was in the context of that niche, where my creativity intertwined with others. Teddy is definitely more of the concept guy, the creative source of what we do.
GO BANG! Magazine: Over the years you morphed from being only a DJ. You’ve accomplished great success as a producer. You’ve worked with many icons in the music industry as well, including Micheal Jackson, Lenny Kravitz, Crystal Waters, Erykah Badu, Martha Wash and Ultra Nate.” Please describe what it felt like to produce songs for artists of this high caliber?
Teddy Douglas: I feel incredibly grateful. I feel really proud to have discovered two dance music icons in Ultra Nate and Crystal Waters.
GO BANG! Magazine: You’ve accomplished great success as a composer/producer. You’ve worked with many icons in the music industry as well, including Diana Ross, Crystal Waters, Byron Stingily, Lady Alma, Ultra Nate, Tony Humphries, and many more. Please describe what it felt like to compose/produce songs for artists of this high caliber?
Jay Steinhour: Well it has just been amazing. Someone like Crystal Waters, we basically discovered her, and our collaboration was very successful. The same can be said with Ultra Nate, who was our first discovery as producers/song writers. It is always exciting creating and working with other creative people, icons or not. It is such a high honor to work with people who are at such a high level. It feels rewarding to be working with successful artist, who you look up to and are fans of.
GO BANG! Magazine: After working with such high ranking artists over the years, are there any other artists, current or classic, that you would love to work with?
Teddy Douglas: Oh wow! There are two artist that I would love to work with, Chaka Khan and Patti Labelle.
Jay Steinhour: I have to leave that question up to Teddy. It is always so exciting to work with other creative people, and there are so many who would be great to work with. I would hate to start rattling off names.
GO BANG! Magazine: The Basement Boys primarily consists of yourself and Jay Steinhour. How did you guys meet and why did you decide to form a company?
Teddy Douglas: The original members are Jay Steinhour , Thommy Davis and myself. After Thommy left the company in the early 90’s, Dj Spen joined the production company, and then Karizma. These days on the road, Karizma and Spen are often with me .
GO BANG! Magazine: The Basement Boys currently consists of yourself and Teddy Douglas. How did you guys meet, why did you decide to form a company, and why name it Basement Boys?
Jay Steinhour: As I started to build a home studio, Thommy Davis, our former third founding member, and I were both DJs and friends. Thommy was a good friend of Teddy’s, so he decided to bring him around. Both Thommy and Teddy were record salesmen, so I knew Teddy from the record store. The three of us got together, not really thinking of starting a production company. We were three DJ friends creating tracks we could play in the club. We had no idea, until Cynthia Cherry, A&R at Jump Street Records in NYC, heard one of our rough tracks and asked what we wanted to do with it. We were not shopping for a record deal, it is a long story how she got a hold of the tape. One day she called me, out of the blue, at my job at the City of Baltimore. On our drive to NYC to meet Cynthia, we decided we needed to have a name. Many were batted around the small car we were in. Since our studio was in my basement (besides our music was kinda underground), and of course we were all boys, Basement Boys just seemed to resonate. That is what it had to be, it was unanimous. I designed our logo. As our first record deal with Jump Street proceeded, we started to have a vision of becoming a production company. To do business, you have to become legit and form a company. Through other contemporaries in NYC, we found a good music lawyer who was heavily involved with dance music creators and who was key in making many important business decisions.
GO BANG! Magazine: Having two international music industry moguls working together has got to be an exciting venture. How does the individual notoriety of each of you complement each other and enhance your business?
Teddy Douglas: Well from day one, we all have roles. I am mostly the creative concept person and Jay runs a lot of the business. So I would say we complement each other very well.
Jay Steinhour: We have been in business over 30 years, an especially long time for a creative partnership in the music business. Just as your question implies, we complement each other. We are on the same wave length, when it comes to taste in music and musical goals. I greatly respect Teddy’s musical creativity, as well as he respects my musical taste and the skills I bring to our business. We work well as a team and have mutual respect for each other. I also do the promotional videos.
GO BANG! Magazine: What are the Basement Boys currently working on?
Teddy Douglas: Right now, we have an LP coming out, “Monday Night Studio Sessions.” It’s a compilation of artists that performed at my Monday Night Studio Sessions @ Rockwell, an event here in Baltimore. Every first Monday, we feature an artist to join my partner Dj Tanz and the band, Davon McCoy and Charles Dockins, for a jam session that is unique and super fun!!! (We’re) also working on a project for Quantize Label called “Baltimore Philadelphia International,” a collection of Philly Tunes performed by Baltimore artists.
Jay Steinhour: I will also leave this question for Teddy, as the creative director it is his agenda as to what we are working on. He can best describe our current projects.
GO BANG! Magazine: In conclusion, the COVID-19 pandemic has caught the world off-guard. How are you dealing with it?
Teddy Douglas: For sure wow! All of my gigs have been cancelled. My studio sessions have been postponed. I am dealing the best way possible. I want to stay creative, so I am working in my home studio for now.
Jay Steinhour: Four years ago I moved to DC, and Teddy stayed in Baltimore, his home town. I felt I could move to DC, where I wanted to live, as our roles had changed when we had to sell our studio. We are still close enough to meet at least once a month. The restaurant where we have our monthly meetings closed the day of our March meeting. Now we are doing everything virtually, and through the mail. The studios Teddy works in are also closed down due to the pandemic. Business goes on, but projects have ground to a halt with studios closed.
YOU CAN FOLLOW THE BASEMENT BOYS ON FACEBOOK @BASEMENT BOYS
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
Born and raised in the Chicago suburbs through high school, Jay played sports like tennis and basketball, as well as played baritone horn in the band. In 1970, Jay graduated after four years at Washington University in St. Louis, studying Architecture.
After college, Jay worked in urban planning and graphic design in San Francisco, Baltimore and ended up in DC in the mid-70s. In DC, Jay worked as a graphic designer, while developing a part time interest in DJ’ing. By the late 70’s Jay secured some small venue gigs. As his interest in DJ’ing grew, he joined DJ Eardrum’s Tables of Distinction, a DC record pool. Jay enjoyed DJ’ing so much that he decided to learn more about the music business. He traveled often to NYC to record shops and attended clubs like Better Days and the Paradise Garage. In DC, Jay became a member of the legendary Club House. Having little understanding of the industry in the early 80s, Jay started to attend the yearly New Music Seminars in NYC, to learn as much as he could and meet people. Around 1980 Jay moved back to Baltimore working as a graphic designer for Baltimore City’s Department of Planning. He also continued to DJ at some influential House parties and ended up head DJ at a small club in Baltimore (Hats).
Pursuing his growing interest in the music business, Jay, working with Club House DJ Mandrill, began to develop an idea to syndicate a morning mix show/workout for R&B radio. He managed to secure the help of a prestigious music lawyer in NYC who gave him a lot of support. Jay also took a studio engineering class at Sheffield Studios, outside of Baltimore. In pursuit of producing this radio show, Jay began to collect equipment and create a small studio in his basement. As the studio developed, DJ friend Thommy Davis and Jay began to experiment in the new studio. They developed tracks that they could exclusively play at their gigs. Thommy’s friend, record store co-worker and DJ Teddy Douglas, joined them in the studio. There was no plan, just three friends having fun creating exclusive tracks to play at their own gigs. The radio project fell through the cracks after, quite by chance, a cassette tape of one of our tracks fell into the hands of Cynthia Cherry, A&R for Jump Street Records in NYC. While working at Baltimore City’s Department of Planning, one day, out of the blue, Cynthia called Jay at work. Within a few weeks, Teddy, Thommy and Jay drove to NYC to meet Cynthia. As the saying goes, the rest is history. Not only had they suddenly become producers, their first record featured Basement Boys as artist (“Love Don’t Live Here” one hit wonders as artists). In 1986, they became incorporated and officially became Basement Boys Inc..
After their 1991 international hit “Gypsy Woman” by Crystal Waters, produced by the Basement Boys (all in Jay’s basement studio), Jay was able to leave his job at the City of Baltimore and make Basement Boys a full-time endeavor (as did Teddy and Thommy). Thommy, around this time, decided to pursue a different career direction, leaving Teddy and Jay to continue with an ever growing lineup of work.
In 1993 the Basement Boys bought a building in their downtown Baltimore neighborhood of Seton Hill and built a state of the art recording studio. As the music business was changing in the mid 2000s, the Basement Boys started their own underground dance label. As our run with major label projects evaporated, the studio overhead became too much to handle. Just before the recession of 2008, they sold the studio and regrouped. Teddy continues to produce records for Basement Boys Records, using local studios. Jay continues handling business and graphic design tasks for Basement Boys Records and Publishing Company.
Jay and Teddy continue the Basement Boys legacy, as we continue releasing records on our label, working with other labels, and maximizing our publishing company.
GO BANG! Magazine: When and how did you first get an interest in the DJ’ing and the music industry?
Jay Steinhour: I really started to DJ in about 1974. I got interested because I enjoyed going to the club, and had an ear for good music. So it wasn’t long before I wanted to be the DJ, programming the music. By the late 1970s, I was playing in a few DC clubs (as a part time gig) and joined Eardrum’s record pool in DC (Tables of Distinction). As I became more involved in my side job of DJ’ing, I started to learn more about the music industry. In the early 1980s, I started going to the New Music Seminars every summer in NYC to learn more about the industry and meet people.
GO BANG! Magazine: What influence, if any, do you feel you have brought to House music and how has House music influenced you?
Jay Steinhour: Not sure it is my place to judge what Basement Boys have brought to House music. But, from my perspective, I feel we brought a lot of soul to House music. We always tried to incorporate live instrumentation and soulful vocals in practically everything we produce. I love House music (along with other genres like jazz, soul, and R&B), it is such a misunderstood genre of music. It is energetic, uplifting, often soulful, and you can dance to it, how primal is that!
GO BANG! Magazine: You’ve had the opportunity to travel around the world, in the name of House. How would you describe House’s acceptance in other countries, in comparison to here in the States?
Jay Steinhour: I have traveled some, in our early years as producers. I was slowly retiring from DJ’ing, leaving that to my superstar partner Teddy. My skills could not stand up to those of Teddy or our other original partner Thommy Davis (both outstanding DJs). Though on one trip to London, near my retirement from DJ’ing, I got to play a set in the bar of the Ministry of Sound. It was a high point in my DJ career. But to answer your question, from my perspective, as most of my travel was only to London and Paris, House music seemed much more accepted overseas, especially in London. It’s not a big surprise.
GO BANG! Magazine: When did you know that you wanted to be a composer/producer?
Jay Steinhour: I started to know in the late 70’s as I started to play with the studio equipment and utilize modern sampling techniques to create ideas. I do not feel I could be a totally independent composer/producer, but what I do can contribute to a creative team. Starting off as more of a tech guy, it was in the context of that niche, where my creativity intertwined with others. Teddy is definitely more of the concept guy, the creative source of what we do.
GO BANG! Magazine: You’ve accomplished great success as a composer/producer. You’ve worked with many icons in the music industry as well, including Diana Ross, Crystal Waters, Byron Stingily, Lady Alma, Ultra Nate, Tony Humphries, and many more. Please describe what it felt like to compose/produce songs for artists of this high caliber?
Jay Steinhour: Well it has just been amazing. Someone like Crystal Waters, we basically discovered her, and our collaboration was very successful. The same can be said with Ultra Nate, who was our first discovery as producers/song writers. It is always exciting creating and working with other creative people, icons or not. It is such a high honor to work with people who are at such a high level. It feels rewarding to be working with successful artist, who you look up to and are fans of.
GO BANG! Magazine: After working with those artists over the years, are there any other artists, current or classic, that you would love to work with?
Jay Steinhour: I have to leave that question up to Teddy. It is always so exciting to work with other creative people, and there are so many who would be great to work with. I would hate to start rattling off names.
GO BANG! Magazine: The Basement Boys currently consists of yourself and Teddy Douglas. How did you guys meet, why did you decide to form a company, and why name it Basement Boys?
Jay Steinhour: As I started to build a home studio, Thommy Davis, our former third founding member, and I were both DJs and friends. Thommy was a good friend of Teddy’s, so he decided to bring him around. Both Thommy and Teddy were record salesmen, so I knew Teddy from the record store. The three of us got together, not really thinking of starting a production company. We were three DJ friends creating tracks we could play in the club. We had no idea, until Cynthia Cherry, A&R at Jump Street Records in NYC, heard one of our rough tracks and asked what we wanted to do with it. We were not shopping for a record deal, it is a long story how she got a hold of the tape. One day she called me, out of the blue, at my job at the City of Baltimore. On our drive to NYC to meet Cynthia, we decided we needed to have a name. Many were batted around the small car we were in. Since our studio was in my basement (besides our music was kinda underground), and of course we were all boys, Basement Boys just seemed to resonate. That is what it had to be, it was unanimous. I designed our logo. As our first record deal with Jump Street proceeded, we started to have a vision of becoming a production company. To do business, you have to become legit and form a company. Through other contemporaries in NYC, we found a good music lawyer who was heavily involved with dance music creators and who was key in making many important business decisions.
GO BANG! Magazine: Having two international music industry moguls working together has got to be an exciting venture. How does the individual notoriety of each of you complement each other and enhance your business?
Jay Steinhour: We have been in business over 30 years, an especially long time for a creative partnership in the music business. Just as your question implies, we complement each other. We are on the same wave length, when it comes to taste in music and musical goals. I greatly respect Teddy’s musical creativity, as well as he respects my musical taste and the skills I bring to our business. We work well as a team and have mutual respect for each other. I also do the promotional videos.
GO BANG! Magazine: What are the Basement Boys currently working on?
Jay Steinhour: I will also leave this question for Teddy, as the creative director it is his agenda as to what we are working on. He can best describe our current projects.
GO BANG! Magazine: In conclusion, the COVID-19 pandemic has caught the world off-guard. How are you dealing with it?
Jay Steinhour: Four years ago I moved to DC, and Teddy stayed in Baltimore, his home town. I felt I could move to DC, where I wanted to live, as our roles had changed when we had to sell our studio. We are still close enough to meet at least once a month. The restaurant where we have our monthly meetings closed the day of our March meeting. Now we are doing everything virtually, and through the mail. The studios Teddy works in are also closed down due to the pandemic. Business goes on, but projects have ground to a halt with studios closed.
YOU CAN FOLLOW JAY STEINHOUR AND THE BASEMENT BOYS ON FACEBOOK: @Basement Boys
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
A leader in global dance music, Louie Vega has painted an award-winning career from a palette mixed with everything from house, salsa and afro-beat, to jazz, hip hop, gospel and soul.
What distinguishes the Grammy winner and 7-time nominee as one of the best living house music deejays is his ability to evolve alongside the times, distill the current musical landscape through his unique taste and put his own timeless spin on all the music he creates.
“Little” Louie Vega, as he is sometimes affectionately known, was born in the Bronx into a musically gifted family (his father is a jazz saxophonist and his uncle, Salsa King Héctor Lavoe). The “Little” moniker is ironic, given the fact that by the 80s he was deejaying at clubs he wasn’t even old enough to attend, holding residencies at Studio 54, Devil’s Nest, Heartthrob, Roseland and playing at the Palladium, Area, 1018 and other seminal New York City Clubs. Soon Vega was producing his own remixes, which included Information Society’s “Running”, “What’s On Your Mind”, Noel’s “Silent Morning”, Cover Girl’s “Because Of You”, and Debbie Gibson’s “Only in my Dreams.”
Then in 1991 he joined Atlantic Records and recorded an album — hitting the mainstream. Teaming up with an up-and-coming Marc Anthony, he produced “Ride on the Rhythm” co-written with India & Derek Whitaker. An immediate club hit, the single put Vega and Anthony on the map. The duo would rock the club circuit with their success culminating when they opened for Tito Puente at his 100th Album concert at Madison Square Garden.
One of the keys to Vega’s success is his refusal to be boxed into any one category, marked by the various styles his songs play with and by his fruitful collaboration with other artists.
More success came in 1991 from the production team he created with Brooklyn-based deejay Kenny “Dope” Gonzalez. Masters at Work, as they were called, were responsible for the critically acclaimed albums “Nuyorican Soul” and “Masters At Work – Our Time is Coming. ” Not to mention the duo found the time to remix and/ or produce for Michael Jackson, Luther Vandross, Madonna, Jamiroquai, Tito Puente, India, Janet Jackson, Tania Maria, George Benson, Black Eyed Peas, Femi Kuti, Jocelyn Brown, Los Amigos Invisibles, Bebe Winans and Earth Wind & Fire.
Vega, always hungry for a challenge, expanded into a new role of record label owner. Featuring a roster that included Anané Vega, Luisito Quintero, Elements Of Life & E.O.L. Soulfrito (his live bands), Mr. V, Boddhi Satva, Hugh Masekela, Roberto Roena, Lisa Fischer, and Cindy Mizelle, Vega Records has released over 180 singles and 11 Full Length CD / Albums. In addition, Louie Vega has released over 30 compilations (with over 2 million cds sold) on the industry’s most revered imprints, including Ministry of Sound Recordings, Defected Records, Kingstreet, Azuli, Division (Italy), BBE, Concept, R2, and Strictly Rhythm records.
Like his businesses, Vega’s music also flourished. In 2006, he received a Grammy Award for his remix of Curtis Mayfield’s “Superfly” on Rhino Records. Then, not more than a year later, Cirque Du Soleil approached him and the house-music group Blaze to compose and produce a song for a once in a lifetime event. Anané Vega sang the lead and the Elements Of life band performed the song “One Dream” to the acrobatics and art of Cirque Du Soleil during the 2007 Super Bowl Pre-Game Show to over 70,000 people at Miami’s Dolphin Stadium. The performance was viewed by 145 million television viewers.
…Yet as we move through the twenty-tens, Louie shows no signs of slowing down…
Vega’s global fandom requires the famed producer extraordinaire to be in many places at once. Radio was a natural extension to his dj performances. In 2010, Vega and Kevin Hedge started a show, Roots NYC Live Radio Show on WBLS 107.5 (New York’s longest running and biggest R&B and soul radio station). Rated the #3 radio show in New York on Friday night, they air every Friday from 10PM – Midnight (stream live www.wbls.com). To keep the music flowing on all continents, Vega can also be heard every Friday from 8pm – 10pm at House Fm on the Dance Ritual Radio show with (www.housefm.net) in London, and every Saturday since 2010 at 10pm via KAYA FM’s Dance Ritual with Louie Vega (www.kayafm.co.za) in Johannesburg, South Africa.
Ever the music innovator, in 2013 Vega released Elements of Life – Eclipse on the legendary Fania records. The record, 4 ½ years in the making, keeps the style of Vega’s earlier albums intact (African, Jazz, Latin, World), but is mixed with Soul, R&B, Gospel and Blues sounds. Featured artists on the album include Anané Vega, Josh Milan, Lisa Fischer, Cindy Mizelle, Ursula Rucker, Jose Mangual Jr., Luisito Quintero, Oveus Maximus and an all-star cast of musicians.
The album’s occasion was momentous because it was the first ‘new artist’ album Fania released in years. In Vega’s words, “…It really comes full circle now, being able to be on the label my uncle Héctor Lavoe was on and the Fania All Stars who are all great inspirations for me. Fania Records is to Latin music what Motown is to R&B and Soul, so to even be a small page in this encyclopedia of music is a dream come true.”
2016 was a monumental year for Vega. His emblematic 2016 album Louie Vega Starring… XXVIII was nominated for a Grammy award for Best Dance / Electronic Album. After 30 years in music, Vega has reached a distinct and unmatched level in his career. He knows where global sounds live and hide. And he skillfully capitalized on relationships with the leaders of those sounds by understanding what they represent and how they can be infused. There are few times in an artist’s career where their sonic pallet and connections with other artists reach a level of pure magic. This album is the latest testament to Louie’s growing legacy as a master bricoleur. Starring…XXVIII is a dual disc conceptual record featuring over twenty-five artists on twenty-eight different songs. Collaborators on the album are George Clinton & Funkadelic, 3 Winans Brothers & the Clark Sisters, Josh Milan, Ananè Vega, Lisa Fischer, N’Dea Davenport, Caron Wheeler, Monique Bingham and more.The record is Louie Vega’s first solo album and a contender for his magnum opus.
And music critics aren’t the only ones celebrating Vega’s influence and impact. Kanye West released his seventh studio album, “The Life of Pablo” to ravishing fanfare and spectacle. One of the album’s standout tracks and fan favorite was “Fade,” which finds West diggin’ in the crates to sample two Vega and Barbara Tucker classics – “Deep Inside” by Hardrive featuring Barbara Tucker and “I Get Lifted” by Barbara Tucker. Vega and West fans alike will rejoice thinking of the amazing studio sessions involved in creating the original and the contemporary remix of the classic. Once again, Vega constructing bridges that traverse boundaries and bring people together through music.
It’s worth mentioning that Kanye wasn’t the only hip hop superstar lending his raps to Vega’s sound. Compton- MC Kendrick Lamar jumped on the remix of “Ain’t That Funkin’ Kinda Hard On You”, the standout track from Vega’s 28 album featuring the pioneering funk legends, Funkadelic and their leader, George Clinton. The power of Vega’s ability to serve as a sonic liaison on full display.
2018 is gearing up to another MONSTER year for Vega. He’s in the the studio with fellow jet setters and dj duo The Martinez Brothers working on a new album project. Their first release “Shut The Door” features the vocals of Hector Lavoe on an energetic techno track is hitting dance floors worldwide, truly bringing together 3 generations. Vega and Kenny “Dope” Gonzalez (Masters at Work) are also gearing up for new releases with Kenlou, Masters At work and commemorating the 20th anniversary of Nuyorican Soul. Vega is also releasing in June 2018 his new album “Nyc Disco” on Nervous Records paying homage to the sounds of disco and the infamous Sam Records Catalog. The creative collective Elements Of Life and E.O.L. Soulfrito are hitting the road live soon. Vega provided a sneak peak of the tour’s energy in October 2016 when he played to a crowd of 22,000 people over the course of two days at South Africa’s Delicious Food and Music Festival. Vega brought along featured artists such as Lisa Fischer, Josh Milan, Anané Vega, Monique Bingham, Bucie and Adeva. Other Vega projects include album and or single collaborations with The Martinez Brothers, Joe Claussell, Joseph Capriati and a future jazz project with some surprise artists and producers. On the solo production side, Vega is producing new releases for Luther Vandross, Bebe Winans & the Winans Brothers, Karen Sheard Clark, Josh Milan, Anané Vega, Cindy Mizelle, Sharon Bryant, Monique Bingham, Barbara Tucker, & Rochelle Fleming.
Louie and Anané will carry on tradition with Sunset Ritual aka “The Ritual”, an outdoor party held at prestigious indoor venues and beach clubs around the world and drenched in the sounds of House, Global Disco, Afro tech and Old School. Sunset Ritual has toured the Mediterranean every summer since 2010, including a two-year residency at the Blue Marlin Beach Club in Ibiza. They played at the famed Ushuaïa Hotel and released a Sunset Ritual cd/dvd. Anané & Louie Vega continue the party’s legacy during summer 2018 coming back to Ibiza for their second year residency at Heart “The Ritual With Ananè & Louie Vega, and the continued annual touring of the Mediterranean. Guests at The Ritual Heart Ibiza have included Moodymann, The Martinez Brothers, Joseph Capriati, Soul Clap, Nicole Madauber, Henrik Schwartz, Jazzy Jeff, Kenny Dope, & David Morales.
With all the good fortune he’s received, Vega finds it crucial to give back. During most of his free time he donates Vega Memorabilia to auctions, deejays at fundraisers and serves as a goodwill ambassador for the Cristian Rivera Foundation.
Breaking down musical barriers and bringing people together through a love of music has always been Vega’s aim; after more than 20 years in the game his contributions continue to positively influence global dance music. Listen closely as the best has yet to come from Louie Vega!
GO BANG! Magazine: When and how did you know that you had a LOVE for playing music?
Louie Vega: Playing music, I knew as a child. I’d say 10 or 11 years old checking out the block parties and jams in the Bronx. I saw DJs like Jazzy Jay on the ones and twos playing all the break beats and records we call classics today.
GO BANG! Magazine: Please explain to our readers how a child DJ evolved into an international DJ and a super-producer.
Louie Vega: I evolved into an international DJ and producer because I was driven. If the opportunity was there to sit and learn from the masters at that time, I was in a studio or at a club watching bird’s eye from the booth what would be happening on the dance floor. If I was invited to a studio by a producer, I’d sit in back and absorb. I was lucky to be in NYC, which was the Mecca of dance music being made. But as a DJ, I worked hard since my teenage years and eventually started doing my own parties with many people, which then led to playing at clubs. I was making a name for myself in NYC. So many were hearing about what I was doing and how I played music.
GO BANG! Magazine: When you are producing a track, what in particular, musically, are you trying to achieve?
Louie Vega: When I produce a track, I try to achieve making a record that will stand the test of time and have longevity. Production is important here. You must use or make all the right sounds and record them properly, as well as record the musicians properly, if you’re not using synths. But I usually combine the best of both worlds. Recording is an important factor as well, getting to the mixing stages, and making it sound good. So I really want to make records that touch people and that you’ll be hearing 10 or 20 years from now.
GO BANG! Magazine: How would you describe the LOUIE VEGA sound?
Louie Vega: There is a soul to my sound, and as far as styles, it can vary. I would say a bridge between sounds. Of course it’s a Latin Soul sound, with inflections of many sounds.
GO BANG! Magazine: Over the years, you’ve morphed from only being a DJ. You’ve also accomplished great success as a producer and remixer. You’ve worked with various artists from multiple genres in the music industry as well. You’ve remixed and/or produced Michael Jackson, Luther Vandross, Madonna, Jamiroquai, Tito Puente, India, Janet Jackson, Tania Maria, George Benson, Black Eyed Peas, Femi Kuti, Jocelyn Brown, Los Amigos Invisibles, Bebe Winans and Earth Wind & Fire. How did it feel to work with artists of this caliber?
Louie Vega: It was a “dream come true!” As a child, I’ve always dreamt of working with artists in my record collection and when it happened it was surreal. I mean getting a call from Mick Jagger was deep, working with Luther Vandross, Donna Summer and George Benson to name a few, was surreal! In the end, it was a mutual respect and professionalism that came about. It’s truly awesome.
GO BANG! Magazine: After working with such high ranking artists over the years, are there any other artists, current or classic, that you would love to work with?
Louie Vega: I’d like to work with Stevie Wonder, D’Angelo, Herbie Hancock and Chic Corea. I mean, it can be a brand new artist. If they move me with their talent, I’m in!
GO BANG! Magazine: Why is it important to you to produce music from various genres and eras?
Louie Vega: Variation is key, and that’s just me.
GO BANG! Magazine: Being a DJ myself, as well as a songwriter, I know how the DJ ear helps in producing a song. How has your DJ ear helped you when producing new music?
Louie Vega: DJ ear is special. You just know what works for your dance floor, so when making a record, you know when it’s right. Then there’s also arrangement. I learned a lot from DJ’ing and listening to my record collection. In terms of sound, you also know what your record should sound like, and the DJ ear has helped in this case.
GO BANG! Magazine: Who are some of the DJ’s and producers that inspire or motivate you?
Louie Vega: There’s many from the past, which’ve made a difference, and some that I was lucky enough to experience. There’s Larry Levan, David Mancuso, Walter Gibbons, Gamble & Huff, Quincy Jones, Steely Dan, Vince Montana, Jay Dilla, and so many more.
Some here today, Tony Humphries, David Morales, The Martinez Brothers, Kenny Dope, Todd Terry, Moodymann, Kerri Chandler, Anané, Sting International, Joe Claussell and Manoo. Many, in different ways, bring out inspiration.
GO BANG! Magazine: You are recognized as one of House music’s pioneers. What influence, if any, do you feel you have brought to House music and how has House music influenced you?
Louie Vega: I think many have been inspired by my way of DJ’ing and the way I produce music. House music has influenced me since 1984!
GO BANG! Magazine: You’ve had the opportunity to travel around the world, in the name of House. How would you describe House’s acceptance in other countries, in comparison to here in the States?
Louie Vega: House is loved worldwide. I have been to many countries, various times, and it’s now turned into generations of people following my music, djing, and my career. I mean it’s really serious to many, and a way of life. The States have their thing going. I mean, it’s on the come up again, as it was years ago, but much bigger internationally.
GO BANG! Magazine: In your opinion, what is the difference in Chicago’s house scene, in comparison to New York’s house scene, as far as the music and the dance styles?
Louie Vega: New York House scene and Chicago House scene have similarities, but also have their own thing. We have classics in NYC that may not be a classic in Chicago, and Chicago has classics that may not be a classic in NYC. But, we also have some that live in both of those worlds. But it has a similar history, legendary DJs and producers that made a difference!
GO BANG! Magazine: You are a GRAMMY® winner, as well as a 6-time GRAMMY® nominee. When others in the entertainment industry reach the level of success that you have, some of them go “Hollywood” and become arrogant and cold-hearted. You seem to have not gone down that path. How have you maintained your levelheadedness and why is that important to you?
Louie Vega: It’s all my upbringing. I come from an amazing family who were always humble and good people. I’m just the same. I flow in and out of those worlds, but I’m always myself no matter how big it gets.
GO BANG! Magazine: What can our readers expect in the near future from you?
Louie Vega: I have a new album coming out on Nervous Records entitled “Expansions In The NYC.” It’s inspired by my Wednesday night, weekly, 6 hour journey parties that I’ve done in 2019 and continue to do.
My friends have joined me on this album. Some amazing collaborations with Bernard Fowler (formerly of the Peech Boys), Unlimited Touch (the original band), Robyn, Moodymann (singing on the album), Kerri Chandler (singing on the album), Honey Dijon (vocals on the album), Lisa Fischer, and a special collaboration with my son Nico Vega, who has a single out now on the “Expansions In the NYC Ep 2.” These co-productions are on point!! Album is due out in a few months.
Vega Records also just had a release of the “Eclipse” album by Elements Of Life, with remixes by Lost Souls of Saturn (Seth Troxler, Phil Moffa), Dj Spen, Gary Hudgins, Soul Clap, Gilles Peterson and David Harness. It’s out now on all digital and streaming platforms.
GO BANG! Magazine: In conclusion, the COVID-19 pandemic has caught the world off guard. How are you dealing with it?
Louie Vega: Together at home with my family. Thank God we are healthy. Musically, I took a few weeks from music, but kept my radio shows going (“Roots NYC Live” on 107.5 WBLS, Kaya FM in Johannesburg, “Dance Ritual With Louie Vega” On House FM, and “Open Air Sessions with Louie Vega” on worldwidefm.net)
Worldwide FM is Gilles Peterson’s station, which I’ve had my show on for almost two years and I do it monthly. It’s streamed live from my studio, Daddy’s Workshop, audio and video. So it’s on worldwidefm with amazing quality audio, and it’s on Facebook Live as well, from Daddy’s Workshop in New Jersey.
A few weeks ago, Gilles Peterson asked me if I would be interested in a daily show, two hours a day. I thought about it and said” let’s do it for 4-6 weeks.” Now we also have “Louie Vega Lockdown Sessions” on Worldwide FM Live, every day, Monday’s thru Friday’s from 1pm – 3pm NY time, and 6pm – 8pm London time. Gilles had this idea to end his radio day with my show. His show plays earlier. So every day is a different musical style:
Monday: “Disco & Boogie”
Tuesday: “House Classics”
Wednesday: “Expansions In The NYC Sounds”
Thursday: “Eclectic Trips”
Friday: “Unreleased Jams, Tributes and Label Highlights”
I’ve already played April 20, 21, now on the third show. The audience seems to like it and I’m on radio every day now, so my fans have somewhere to follow, listen and enjoy. Hopefully I can help bring up everyone’s spirit and enlighten their day!!!
You can catch the show on http://worldwidefm.net or LIVE on Facebook, and soon on Twitch!
Pierre A. Evans is a freelance writer of Entertainment, Music, Art, Culture, Fashion and Current Events, and previously for SoulTrain.com, NDigo.com, ChicagoDefender.com, EmpireRadioMagazine.com, and UrbanMuseMag.com, an author, singer/songwriter, actor, model, poet, dancer, and DJ. He is also the Owner of Pinnacle Entertainment Productions and the Owner/Publisher of GO BANG! Magazine. Follow him on Facebook @Pierre Andre Evans, Twitter @Playerre, and on Instagram @Pierre_Andre_Evans.
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