EVENT: – LATE NIGHT TUFF GUY/HMC @ CIVIC SAT 25TH AUG (DEEP, CHICAGO, ACID HOUSE)


Picnic ONE NIGHT STAND w/ Late Night Tuff Guy (DJ HMC. Adelaide) PLAYING ALL NIGHT LONG

SATURDAY 25TH AUGUST

CIVIC UNDERGROUND

388 PITT ST, SYDNEY

$20 presale tickets through Residentadvisor.net

LINK: http://www.residentadvisor.net/event.aspx?381106

This is news that a lot of you have been waiting for. We have secured LATE NITE TUFF GUY (aka DJ HMC) for an ALL NIGHT ROID RAVE at our One Night Stand in August. One of Australia’s greatest disco, house and techno treasures, mister Carmelo Bianchetti will at long last be hopping on a plane in Adelaide to come and delight us at one of our favourite venues – Civic Underground. One of Australia’s best on one of the best sound systems! YEAH!

HMC first made his mark in the early ’80s, when he was one of the first DJs in the country to spin Chicago house and Detroit techno. He made his production debut back in 1991 with the 100% Juice EP on Juice Records, Australia’s first techno label. In 1995 he released "Phreakin’" as the first twelve-inch on Dirty House Records, which went on to become an international hit and put Adelaide on the world map as what people were calling the "Aussie Detroit". All of this spells one thing: PIONEER. It’s not often people can legitimately be labelled "The Godfather" of something, but not many people will dispute the title being handed to HMC when it comes to Australian techno.

In recent years, Bianchetti has made a prolific return to producing, both as HMC and under the moniker Late Nite Tuff Guy. "I Get Deeper" had a truly massive impact all over the world, and his string of amazing releases on disco edits imprint Dessert Island Discs indicates that he’s back with a vengeance and a newfound excitement for sharing the music he’s passionate about. And what better arena to do that than at a Picnic One Night Stand? LNTG will be taking us on a journey from the moment the doors open until we eventually get dragged out into the unfortunate dawn light.

We need to see you all dressed up Roid Rave style, so start your pump regime and get those juicy muscles bulging…Don your most revealing gym gear and show us your guns!

Advertisements

CLASSIC HOUSE MIX: Frankie Knuckles – Live At The Gallery 21 (Chicago / 1987)


shot in chicago

shot in chicago (Photo credit: Wikipedia)

45mn oldschool session live from Chicago.

01. K.I.D. – Hupendi Muziki Wangu? ! (You Don’t Like My Music)
02. James Wells – True Love Is My Destiny
03. Exodus – Together Forever
04. Change – Glow Of Love
05. Ian DurySpasticus Autisticus
06. Mike T – Do It Anyway You Wanna
07. Don Ray – Standing In The Rain
08. General Johnson – Can’t Nobody Love Me Like You Do
09. Trussel – Love Injection

Thanks to Lobbykiller, ALX & Jacob for completing the playlist and bozman for sharing.

Download

Cajmere feat Dajae – BRIGHTER DAYS (Underground Goodie Mix)


English: A promotional photograph for Gary Num...

Image via Wikipedia

Always warms the floor hearing this one out, – BRIGHTER DAYS (Underground Goodie Mix).

Wiki Info on Cajmere

Curtis Alan Jones (born April 26, 1967, in Chicago, Illinois) is an American electronica and house music singer, songwriter and producer. His style of house music has been compared and inspired by the likes of Kraftwerk, Prince, Gary Numan, and Nitzer Ebb.

Jones is also known as Cajmere, Geo Vogt, Green Velvet, Half Pint, Curan Stone, and Gino Vittori.

Early years

Before becoming a professional musician, Jones studied chemical engineering at the University of Illinois. In 1991, he left a Master’s program at UC-Berkeley to move back to Chicago, releasing his first song (“Coffee Pot” on ClubHouse Records) the same year.[1] Up until this point, music had been a hobby fueled by cobbling together tracks on his “sixty-buck keyboard, a cheap four-track and a cheap drum machine”[citation needed] set-up while still an undergraduate at the University of Illinois. This DIY method of production was never taken seriously, and when childhood plans to become a doctor were shelved, Jones was firmly committed to a career as a chemical engineer. His father was an occasional DJ and eventually became a budding musician. As time went on, Jones discovered what was his innate love and understanding for house music, a sound that had grown throughout the mid-1980s out of Chicago’s deep-rooted house music scene. As a child he was into sci-fi movies and time-travel TV shows like Doctor Who and playing video games like Tetris and Galaga, and would spend hours pondering over the possibilities that this would open up. He played the saxophone at school and had a talent for trying to play with a keyboard but remained largely un-interested in what he saw as his father’s passion. It was this cut-up and tacky production style of the early house sound that Jones absorbed and translated[citation needed] into the Underground Goodies EP, his first release as Cajmere (the CAJ as in Curtis A. Jones[2]) put out in 1991 on his own recently started Cajual label.[1] A year later he had his first massive hit as Cajmere with the house tune “Coffee Pot (It’s Time for the Percolator),” which was also released on Cajual. He then teamed up with Chicago-based vocalist Dajae for “Brighter Days,” which entered #2 on the Billboard Hot Dance Music/Club Play,[1] a high-impact and mellower house tune that was released on Emotive Records.

Green Velvet transformation

Interested in making something totally different from his Cajmere moniker and other stuff, Curtis created Relief as an offshoot to his Cajual records in 1993. The first Relief release was also his first Green Velvet production, 1993’s “Velvet Tracks,”[1] which came from a name given to him by a girlfriend’s dad, emerged as the flamboyant, neon-haired electro punk, although in interviews he denied being linked to the Punk lifestyle and fashion, as he was more inspired by the likes of David Bowie and Sly and the Family Stone,[3] he created excellent mid-1990s hits such as “Preacher Man,” on which a Moral Majority-type of preacher spoke (the Reverend Clarence LaVaughn Franklin – father of Aretha Franklin and ally of Martin Luther King, Jr.[citation needed]); “Answering Machine,” a darkly funny house track consisting of taped messages from an answering machine, including a bad news message from a girlfriend and a noise complaint message from his landlord—all made with Jones’s voice; and “Flash,” which was a #1 US dance hit in 1995 and was included on many DJ-mixed compilation albums. After DJing under both of his now infamous monikers, he released his first album, Constant Chaos, with Belgian Music label Music Man in 1999,[1] which showed Green Velvet’s style of house progress into styles similar to Prince and Kraftwerk, his spoken-word monologues also took a bizarre turn. In Abduction he spoke about little green men turning up while washing dishes.

The Whatever era

By the time Constant Chaos was released, Jones had temporarily halted activity on his labels for almost a year. Still DJing as Cajmere he’d narrowed the Green Velvet persona down to live performances only, taking time out to re-group and work out what to do next. During 2000, Jones was briefly signed to Warner Bros. Records‘ short-lived F-111 imprint, where he released his second compilation album, the self-titled Green Velvet, which contained the double-A-sided single “Flash” backed with “Answering Machine.” During this time he gave Velvet a new hairstyle—from spiked, green foam nodules to yellow mohawk. Next, in 2001, he unleashed his second album, the dark Whatever, which was a step away from his Kraftwerk-inspired sound (although Sleepwalking had a similar style) to a darker, more political Punk-esque style. On the album he tackled such issues as racism (highlighted on the song When?), drug use (highlighted on Genedefekt and La La Land), alienation (highlighted on Sleepwalking), and being told what to wear and do by the system (highlighted on the heavily punk-inspired track Gat). The more punk-oriented songs on the album apparently came from hours spent listening to industrial bands such as Nitzer Ebb and Liaisons Dangerous, and lots of “underground American industrial stuff.” He released the single La La Land in 2001, originally designed as a wake-up call for clubbers to the dangers of pill-taking it became one of his most popular tunes. This was followed by Genedefekt. His live act had now became more like a rock band also, with the Curtis playing a keytar, and two other musicians (aptly named Nazuk and Spaceboy) backing him, playing heavily distorted synths. Initially Jones, as both Cajmere and Green Velvet, was receiving more attention in Europe than he did in the USA, playing a Radio One live session on the Jo Whiley show and playing a host of festivals.

Recent projects

After appearing under a host of different names for his various remixing and side projects, Green Velvet released his third album, Walk In Love, in 2005. This album had a more house music-oriented style to it, but the odd Prince- and Punk-sounding tracks still remained, as Curtis actually got a live guitarist to play on “Come Back” and the closing track “Pin-Up Girl” had a similarity to New York-based Electroclash group Fischerspooner. After Walk In Love, Green Velvet produced and remixed releases for fellow Relief Records artists and himself, and played a host of DJ session live shows in 2006.

In a shocking turn, after staying quiet in the music scene, Green Velvet revealed in 2006 he had become a born-again Christian after a serious overdose of a mixture of Magic Mushrooms, Marijuana and (allegedly) GHB,[3] and promised to turn his life around after this incident. His latest release, the single “Shake and Pop”, is a departure from the recent darker electronica style, as he claims he has found a brighter future since converting. In 2007, he released the online-only track “Love Peace, Not War”, a short ditty in response to the United States’ war in Iraq.

Jones has remixed artists such as Madonna, Orgy and Basement Jaxx.

Discography

Compilations

Album releases as Green Velvet

Full albums

  • The Many Shades of Cajual
  • Techno Funk
  • House Music All Night Long

12″ singles and EPS

Release title / Record label / year

  • Underground Goodies Vol. I  (Clubhouse Records, 1991) *2 versions
  • Cajmere Featuring Nané – Keep Movin’ 12″ (Clubhouse Records, 1991)
  • Under Ground Goodies Vol. II  12″ (Clubhouse Records, 1992)
  • Chit Chat (The Remixes) / Coffee Pot (Cajual Records, 1992) *2 versions
  • Cajmere Featuring Dajae* – Brighter Days (Cajual Records, 1992) *15 versions
  • Underground Goodies Vol. 4  (Cajual Records, 1992) *6 versions
  • Cajmere Featuring Derrick Carter – Dreaming EP (Clubhouse Records, 1992) *3 versions
  • Underground Goodies Vol. 3 12″ (Out, 1992)
  • Let Me Be 12″ (Af-Ryth-Mix Sounds, Clubhouse Records, Clubhouse Entertainment, 1993)
  • Underground Goodies EP  (Cajual Records, 1994)
  • Feelin’ Kinda High  (Cajual Records, 1994) *2 versions
  • Underground Goodies Vol. VI  (Cajual Records 1994 *2 versions
  • Underground Goodies Vol V 12″ Cajual Records 1995
  • Horny (Remixes)  Cajual Records 1995 *3 versions
  • Get Up Off Me  (12″) Cajual Records 1996
  • Only 4 U  Rhythm Republic 1996 *3 versions
  • Only 4 U / It’s Time For The (Percolator)  (CD, Maxi-single, Live, 1997)
  • Lookin’ For A Man (12″) (Live, 1998)
  • Feelin’ (12″) (Live, 2001)
  • Nasty  (12″) (Cajual Records, 2002)
  • Cajmere Presents Walter Phillips – Sometimes I Do 12″ (Cajual Records, 2004)
  • Cajmere Featuring Dajae* – I Need U 12″ (GEM, 2004)
  • Nude  12″ (GEM, 2004)
  • Powered 12″ (GEM, 2004)
  • House-Werk 12″ (Relief Records, 2004)
  • Cajmere featuring Walter Phillips – Midnight (Remixes) 12″ (Cajual Records, 2004)
  • Come 12″ (Cajual Records, 2004)
  • Say U Will (Cajual Records, 2005) *9 versions
  • I Need U (Remixes) 12″ (Cajual Records, 2005)
  • Percolator – Special Edition (Dirtybird/Cajual, 2010) *2 versions
  • Cajmere & Gene Farris – New Gotham EP – digital EP (Cajual Records, 2010)

DEEP CHICAGO HOUSE: Glenn Underground – Fallen Rain


Glenn Underground is the founding member of the Strictly Jaz Unit. He was raised on disco classics and freeform jazz in Chicago’s Southside, the place where house music was born. Taking inspiration from Chicago’s original pioneers, Larry Heard, Ron Hardy, Lil’ Louis, and the like, Glenn has produced some of the most well respected deep house music of the past five years. His releases for Cajual, Prescription Guidance and Peacefrog have set the standard for sophisticated dance music. He is one of the few DJ’s who can walk the line between deep jazz house, disco influenced house, and the kind of classics featured at the legendary parties of late 70’s Chicago.

GLENN UNDERGROUND – 5 MAGAZINE INTERVIEW

Sept 2009 LINK

When I get to Glenn

Underground’s house (myspace, label, discogs) his roommate Boo Williamsopens the door. The studio has been moved since the last time I visited and seems to have gotten an upgrade. Glenn, Boo and I chill for a little and they play a few classics for me. Boo starts to look for a record I asked him about a couple of years ago and I figure it’s as good a time as any to launch into the interview.Glenn (or GU, one of his many monikers) is soft-spoken, despite tales of his bluster. Opinionated and intelligent, he is easy to talk to and he readily shares his thoughts on matters big and small.

What is your take on the difference between analog and digital sound?

It’s harmonic distortion versus ones and zeros. A UC-Berkeley professor made analog and digital recordings of bird sounds and then played them back for the birds. The birds didn’t respond to the playback of the digital recordings; it seemed that they couldn’t understand them or hear them. However, when the analog recordings were played back, the birds began to chirp/sing back as if there were other birds in the room with them.

I’ve worked with a lot of producers and I’ve never seen anyone work on the MPC as fast as you. How did you get so good?

Debrice King introduced me to the MPC. Before that I was working on different workstation/sequencers like the Alesis HR16, the Kawai K5. One day, Boo brought the MPC 60-II to my house and left it and I just started playing with it. Once I figured out what makes it work and what makes it work for you, I would be on it day and night – like 24 hours a day – to the point that my mother would be yelling at me to turn that shit down or turn that shit off. That was about 1991. Before that it was just about MIDI’ing a keyboard into a drum machine and beating out the notes on the drum pads.

Lets talk about sounds. Your sounds are really warm and it sounds like you take sounds that others don’t have or sounds that they do have and twist them to make them yours. Where do you get this wide library of sounds?

Back then I used the classic drum machines. Now I use samples. Roger Linn took beat-making to the next level because instead of taking a set, processed sound, he made it possible to take a kick or snare or another part from a disco record and break it up. From there you can create your own drum sound which makes everything go beyond authentic. Now you’re creating your own sound within this sample-based unit (the MPC). Recently, I just used a kick (from a well known ’70s Jazz/Fusion producer) for a song I did because I was looking for that ’70s sound.

Lets get some of the regular stuff taken care of. When did you first start spinning out?

Well, I started spinning around 1984. My uncle used to play at DingBats and he got me started. I started spinning “out” around 1986. On a fluke, I lucked-up on a chance to play at a place named the “It’s House Social Club” at 71st and Paxton. From there it was the hotel parties on up to the Powerhouse on 22nd Street.

When did you start the CVO project?

The CVO (Chicago’s Very Own) name started around 1991 but the first release was about 1994-95. It’s the more techy/ambient/driving (but also jazzy) side of Glenn Underground. CVO is like my alter ego.

Are you still using the CVO moniker?

Yeah, actually I just brought the CVO sound back into play with a project I just did called “Vision” on a label Boo and I have called Strictly Jazz Unit (SJU) Music.

Now you know we’ve got to talk about Dust Traxx. When did you first start doing recording with those guys?

Around 1996-97. It started out that he (Radek, CEO of Dusttraxx Records) was just a fan, a little young raver guy that came to me and Boo to buy our mixes to sell at raves. At the end of 1996, he dropped a wad of cash on us and said, “Put some people together and give me a good compilation album.” At that point it was cool, but it went downhill from there. I still chit-chat and kick it with the owner and I have no ill-will toward him but it’s like good food. You either make it last or go overboard. He went overboard.

The upside is, you put out a bunch of quality records on Dust Traxx and you can get paid off of that music forever.

Yeah and I own my own publishing, 100% (after a term). I learned from the Chicago greats and New York greats: since they (the label) weren’t in the studio with you when you cut the record, they didn’t have any input on the song, so they don’t get any publishing. That goes for any label, major or independent. Unless they can keep my refrigerator full until Jesus comes, they can’t have my publishing.

Was the finishing off of your business relationship (with Dust Traxx) the fist fight at Green Dolphin?

You were there that night?

I did promotions for those Thursday night parties.

Yeah, that was the “say-all and end-all”. We tried to put some unity together after that but if you don’t understand this scene – and this is no racist thing – but if you don’t understand this thing, concerning Black music, and if you’re from another race or ethnicity, you can make mistakes with it. Because a lot of Black musicians produce from our heart and with our pain and our love and everything around us. When you take our music and treat it like it’s the bottom of your shoe, I’m gonna have a problem with it. It’s like me going to Italy and fucking up some Italian guy’s pizza parlor. I can’t tell him anything about that because that’s what he does, that’s his thing that he brought to the world for the world to experience and if you do it, do it his way. You’ve got to stick to the protocol.

Well, what’s the protocol?

If you’re going to do it, do it right. In any genre, when music gets commercialized, it goes bad. It gets twisted. People with money try to capitalize off of a fabrication rather than the truth and they fuck it up. The music gets lost.

Where have you played overseas?

Everywhere. The only two places I haven’t been where there is a dance scene are Israel and Russia. I won’t go to Israel because it’s not time for Black DJs yet. It’s the hottest place on Earth (as far as war goes) and you don’t know if you are playing for the opposition of some group and the next thing you know, they’re flying your body back home. I haven’t played in Russia yet but if they stop bootlegging Black music from America, I would. It’s hard to sell units and this is what I do for a living. At this point, bootlegging is at an all-time high. I put out a Boo Williams track named “Tazer” and the next day it was up on a Russian site for free. Every artist should set up a Google account with alerts for all the names you record under so you can keep track of any unauthorized releases.

Bootlegging is not just limited to consumers. DJs do it too. Now I can say that I openly give music to Louie Vega because I know he’s gonna play it and he’s not gonna give it out to people. But among others, I’m sort of defensive about my music because now its out of control. You want people to have your music but you have to hold on to it.

I challenge every DJ and producer – if someone gives you something, lead by example and don’t give it away. Show courtesy to the person who gave you that track by keeping it just for you. I’m not a stranger to people saying “no” to me. If I don’t have the song, I don’t have it and I may love the song more than… food. And everyone knows that Glenn Underground – Mr. Crocker – is a master at saying “no” to yo ass.

The question has been asked, do you think you’re bitter and/or have a sense of entitlement? Give me your thoughts.

Some would think that I have a sense of entitlement because I’m sure of me but that doesn’t entitle me to anything that’s not mine, so no, I don’t think that I have a sense of entitlement.

And am I bitter? If so, it’s at Chicago for not being professional. Lets take the nightclub scene for example. A nice club opens and they base success not off of how may heads are there having a good time, staying out of trouble, but instead on how many people are drinking. Or Chicago will put a lot of money into a club but have a whack-ass sound system. Or Chicago will put a lot of money into a club but have a tired-ass DJ – not one tired-ass DJ but like 20 tired ass DJs in a month, one DJ on the first Sunday of the month or Hip-Hop on Wednesdays – all of that.

You used to be able to identify a club with the DJ. Ron Hardy was the Music Box. The Pleasure Dome became Andre Hatchett’s house. Louis was at Exit all night. The DJs used to spoil you back then. These days you can’t get spoiled. These days there are too many DJs in a night or throughout the week, one thing on one night and another thing on another night. Also, many DJs don’t let music play and so they give the wrong interpretation. It makes people restless.

Which DJs are your favorites in Chicago?

Great DJs in Chicago: Boo Williams, Ron Trent, Anthony Nicholson, Terry Hunter, Andre Hatchett, the veteran interviewing me (Charles Matlock), Elvis Armstrong, Darren Brandon… But people don’t come out to support our own as much as out-of-town DJs. Now this is no diss, because Louie Vega is my man, but when Louie or another New York DJ or a DJ from overseas comes to Chicago, people come out.

Do you include yourself in that class?

Well, we don’t get hired as much. I’m not saying “Hire me” – I could give a shit if you hire me or not, I’m gonna get mine anyway. I like playing in other countries. But I’ve had people contact me here and say, “All we’ve got is $400. How much do you charge?” In that order. I say, “If I’m in America, I’ll do it for a fair price: $2,000. But for you, I’d do it for $1,000.” They say, “Man, $1,000? That’s too much.” I say, “But you just brought in Tom, Dick and Harry from New York or overseas, and you dropped $4,000 if they’re giving you a play. And on top of that, you’ve paid for plane tickets, a night at the W or some other ritzy hotel, you had to take them out to dinner, pay for gas to get to and from the airport… Muthafucka, I live here, you don’t have to pay for my food and I’m using my own gas to get to your club and back and you can’t pay me $1,000?!”

How many releases do you have out? Albums and singles?

Six albums with about 12 songs each and over 100 singles. The reason I do this is because I like to entertain people and that’s the only way I know how to do it. Don’t be mad at me because of my personal views or if I don’t know you when I’m out, unless you introduce yourself. As far as the way I feel, I don’t hate anybody but if I don’t agree with you, don’t use that as a tool to bash my sound. Separate the man from the music. And really, if Michael Jackson had taken the time to befriend everyone, he wouldn’t have had any time for himself. I’ve got a life too, so respect that. But if you support my music, I love you and you’ve got my gratitude for it.

What do you get for playing overseas?

Minimum: 5 stacks. Average: 10 stacks.

Anything else you’d like to say?

Just support the sound. If you meet me, and we gotta respect each other, its cool, you can support me, cause I’m gonna always support mankind. Support the sound if you like my sound. If you don’t, its cool, I’m okay with that, it’s just an interpretation of me. And for the deephousepage people, the ones who hate, the non-genuine: For the record, Glenn Underground doesn’t hate gay people. I don’t have to agree with the lifestyle, but I’ve got a lot of gay friends. And I know its status quo for people to say that – like “I’ve got a lot of Black friends” – but I’ve got a lot of friends that are gay who I can say are my friends. You’re not going to agree on everything when it comes to life, and I don’t hate these people. And I don’t hate White people either. For the people who say that, some of my ex-girlfriends have been as “white at the driven snow”.

What gives you hope?

Music. It’s like knitting a perfect sweater… and DJing is the needle that sews it all together. Music calms the savage beast.

CHICAGO HOUSE CLASSIC: Adonis – We’re Rockin Down The House (Original Trax Record Version)


Adonis – We’re Rockin Down The House

Another classic 303 cut by Adonis on Trax Records.

Whenever I hear this I always think back to the times I heard Simon Caldwell drop this one at Mad Racket on the wooden dancefloor at Marrckville Bowling Club Sydney, it has been a while since I been to one of their parties but they always deliverd with the music, one of the few parties still flying the flag for chicago & deep house sounds  in Sydney.

Rockin’ Down The House (Toby Tobias & Hardway Bros Re-edit)

I also been hearing this re-edit around in mixes and on dancefloors a bit, remixed as part of the Trax Re-edited selection featuring edits by Greg Wilson, Leftside Wobble, Leo Zero, JD Twitch, Andy Blake, Swag, Ray Mang, Justin Harris, Neville Watson and more

Released by: Harmless
Release date: Feb 7, 2011

Download

CLASSIC HOUSE TRIBUTE MIX: RIP Darryl Pandy & Kenny Hawkes: A Tribute Mix for NOICE!


Acapella (song)

Image via Wikipedia

download

Darryl Pandy & Kenny Hawkes Tribute Mix for NOICE! (Episode 231)

Tracklist:
01. Nightlife – Kenny Hawkes & David Parr Remix – Skat
02. Bad Enough Acapella feat. Darryl Pandy – CZR
03. Play The Game (Extended Mix) – Kenny Hawkes, Louis Carver
04. Joy (Nightcruiserz Mix) – Darryl Pandy, Dutch Johnson
05. Love Is What You Need feat. Darryl Pandy – The Pussy Gourmets
06. Why – Kenny Hawkes, David Parr
07. Gemini – Kenny Hawkes, David Parr
08. Love Can’t Turn Around (Houseappella Mix) – Darryl Pandy
09. The Boobytrap (Serge Santiago Remix) – Kenny Hawkes
10. Undagroundiscofunk feat. Darryl Pandy (Rmx Remix) – CZR
11. Human Race (Electric Press Mix) – Kenny Hawkes, David Parr
12. Sleaze Walking (Rob Mello Edit) – Kenny Hawkes
13. Feel It/Playing No More Games (PNut Edit) – Darryl Pandy, Nerio, John Spring
14. Bad Enough feat. Darryl Pandy – CZR
15. Big Fun (Kenny Hawkes Remake) – Inner City

CLASSIC CHICAGO HOUSE: Lil Louis – French Kiss


There is only one Lil Louis!

Chicago based DJ and producer.

One of the most popular Chicago house producers during the late ’80s thanks to his massive club hit “French Kiss“, Lil’ Louis was also the only Chicago producer to successfully deal with the major labels; he released two albums for Epic, and only left the label at his own instigation. Born in Chicago, Louis was the son of guitarist Bobby Sims, who recorded for Chess and appeared with the psychedelic-soul unit Rotary Connection. He grew up with nine siblings and played both drums and bass as a child, then began DJing in the mid-’70s (he earned his nickname after appearances at the club River’s Edge while still in middle school). By the end of the decade he had his own club, the Future, where he began working on his editing techniques, thanks to a cassette deck and later a reel-to-reel recorder.
By the 1980s, Lil’ Louis was hosting the biggest house parties in Chicago, and he began recording his productions around that time as well. His first single “How I Feel” appeared on his own label, and he began collaborating with Marshall Jefferson on several tracks – “Seven Ways to Jack” by Hercules, Byron Stingily‘s “I Can’t Stay Away”. In 1987, his new single “French Kiss” became a local hit, then a platinum-selling international classic after being licensed to CBS and ffrr. The success triggered a major-label contract through Epic, and the release of his debut album “From the Mind of Lil’ Louis” in 1989. Charting a course across jazz-fusion and R&B as well as house, the LP was one of the best produced by any of the Chicago figures, and included session contributions from Larry Heard, Die Warzau and his own father on drums. From the album, the moody single “I Called U” became another club hit. His follow-up LP, the more stylistically unified “Journey with the Lonely”, didn’t fare as well and Lil’ Louis retired from recording for over four years, preferring instead to set up his own studio in New York and work on production with Babyface and Me’Shell Ndegeocello. He returned by collaborating with “Little” Louie Vega of Masters At Work and also worked on production for Black Magic.

Download: Lil Louis French Kiss (original)

Download: Lil’ Louis- “French Kiss” (Backup Your Conversation)

More rare versions and dope write up on Lil Louis @ Hashmoder online.