I always loved ghetto house, cut-up disco house, UK breakbeat music and hip hop. So when I was working at Berlin‘s Hard Wax store and the first footwork releases from Chicago hit the shelves I fell in love with it instantly. So many styles and samples and sounds I thought I was familiar with were in there, but the way they were used was crazy and fresh, particularly in connection with the rhythms that seemed to be all over the place, yet completely locked you in.
Over the years I gathered a digital collection of footwork and juke, but as I am still playing vinyl in clubs, most of it was only for my ears. But then I decided to get creative with it and do some digital mixes. The result is this, my favourite tunes spread out over twelve sets. The selection is really subjective and quite determined by my fascination with how especially disco and soul was sampled in this field, but there are other styles in there as well.
Heavee x H.E.R. – Could’ve Been
DJ Diamond – Ready Motherfucker
Traxman – See Things My Way
Elmoe – Lost And Found
DJ Rashad – Well Well Well
DJ Earl – Y U Do Dat
Taso Teklife – Spell On You VIP
Traxman – Elements Of Style
Traxman – Know Da Truth
Sirr TMO THANKYOUGOD9999 – Come Into Knowledge
DJ Earl – Souf Side Daydream
Sirr TMO THANKYOUGOD9999 – Don’t Look Away
Sirr TMO THANKYOUGOD9999 – Unforgettable
EQ Why – Just 2 Good
DJ Earl & King Agee – Scared 2 Come Outside
DJ Wicked – Thoughts (Flame 2022)
EQ Why & Cuenique – P.O.M.
DJ Earl & King Agee – New Pack Landed
EQ Why – When It’s This Good
Traxman – Setbacks
DJ Earl & King Agee – F**ck Da Haterz
DJ Manny – Hard Drive
Sirr TMO THANKYOUGOD9999 – Metropolis
DJ Tre – My Cry
DJ Clent – Let Me Hit And Freak
DJ Earl – Woke Up
EQ Why – 17 Inside
Cuenique – Some Problemz
EQ Why – Chilling
DJ Oreo – Rocket Man Stevie Intro
Comfort Noise – Don’t Hold Back
Heavee – Show’s Over
DJ Earl & King Agee – Turn My Musik Up
Traxman – Too High (Over Da Edge Funk Rework)
DJ Rashad, Tripletrain & DJ Spinn – Pass That
Traxman – Lady In My Life (Mics Supa Rework)
DJ Oreo – Call Your Name (Imma Call You)
DJ Oreo – Rocket Man Stevie (I Still Love You)
DJ Rome – Show Me
Traxman – U Taken Me
EQ Why – Count Me Out
DJ Manny – Where Are You
Sirr TMO THANKYOUGOD9999 – See You In The Morning
DJ Phil – Get Over
Traxman – Zang Ga Zoo
EQ Why & DJ MC – We Got Grandz (Street Mix)
DJ Rashad – Walk For Me
EQ Why – Juke Signs
EQ Why – Don’t Come Back Hot
Traxman – We Can Go Anywhere
EQ Why – How Do You
Jana Rush – Old Skool
Cuenique – It’s A Revolution
DJ Acey – Blue Light (Fallin’)
DJ Earl – Freak Da Beat
DJ Clent – Saturday Luv
DJ Clent – Strings Of My Life
Traxman – Goddest!!!
EQ Why – I Keep Wild Wild (No Wild Wild)
Sirr TMO THANKYOUGOD9999 – What’s Yo Phone Numba
Traxman – With Each Beat
Traxman – Toast To Da Foolz
Dj.Mc – Payback Is A Dog
DJ Clent – Piece Of My Mind
Curren$y – Don’t Miss This Jet (DJ Earl Remix)
DJ Rashad x DJ Spinn x Taso – Nothin’s Gonna Stop Me
To Underground Resistance’s early fans, it wasn’t surprising when the Detroit outfit released club music with vocals. Mike Banks produced the garage house group Members Of The House, which released a 1987 album and a string of acclaimed vocal EPs. The first release on UR’s main label, Your Time Is Up, featured the singer Yolanda and a take on the sound Kevin Saunderson made popular with Inner City, backed with remixes that hinted at what the determinedly underground techno sound would become.
When they released “Living For The Nite” in 1991, again with Yolanda, it was already clear that vocal house was an integral part of UR’s sound. It worked with their rolling, pumping grooves. But the success of their pure techno overshadowed these moments, especially when the European press portrayed UR as a Detroit techno counterpart to hip-hops‘s Public Enemy, noting the masked personas of Mike Banks and Jeff Mills, and their unmasked political attitude. Different strands of the UR sound were eventually channeled into separate outlets, and thus Happy Records came into being, serving as the label for house productions from 1992 to 1994. (It was followed by the sister label Happy Soul.)
Happy Records soon established itself with positive releases produced with frequent collaborators like Niko Marks, Yolanda and Bridgett Grace, the latter a former vocalist of the 1989 club hit “Take Me Away” by the UR predecessor True Faith. Her “Love To The Limit” was a fine example of how well Banks’s production worked with an anthemic vocal. And yet those accomplished records, even if they were recognisable as UR productions with a distinctive signature sound, could still be placed in the early vocal house canon of 1992, before house music reached the huge crowds of later years.
In 1992, vocal house was not as punchy as it would become. Most garage records paired their sweet melodies with swinging, elegant grooves. Usually, the “main mix” of a track was that tune in all its glory, while the more daring ideas were kept for the dubs and instrumental versions. But then Davina‘s “Don’t You Want It” arrived, produced by Mike Banks. It was a mighty tune that worked within the conventions of vocal house while also shaking its foundations.
First, there was the intro, where dynamic chords were waiting to be teased by the DJ. When I heard the intro for the first time, it reminded me of David Morales’s mix of Black Sheep’s “Strobelite Honey,” albeit on another level. The track unfolds into a hybrid of uplifting, soulful garage and UR’s deeper techno sound (heard in tracks like “Sometimes I Feel Like” and “Jupiter Jazz“), adding layers of bittersweet pads and dramatic starts and stops.
And Davina? Unlike most vocal tracks, she isn’t heard until a heavenly break around three minutes in. The track was already perfect, but the magic really happens when she begins to sing. The lyrics neglect conventional verse-refrain structure, instead choosing a direct, personal conversation with the dancers. At seven minutes, the track certainly isn’t short, but I’m sure I’m not the only one who’s sad when it fades out.
The high point for any producer is to make a track that reaches classic status. It’s even better when that recognition comes from different scenes and styles. “Don’t You Want It” works within almost any context, from small night to a large rave, uniting more crowds in instant happiness than almost any other. As soon as you hear it, you will definitely want it. And more of it, again and again.
I wish I could say it was in a club where I had a life changing experience bla bla bla, but it was actually a much more ordinary scenario. I was buying some birthday records on Juno just after it was repressed in 2009. I didn’t know much about Omar-S at that point, had heard the name once or twice, but that was about it. So the answer to that question is – the first time I heard this song was on the mighty Juno player.
What drew you to it? The simplicity of the groove? The addictive synth line? How it erupts into a heartfelt song? Or something else? Or all of it?
All of it! The vocal and the beautiful rolling pad in particular though, then the nice toms and the clap, too! I just think it’s a beautiful track, it can make you feel so happy and grateful. I love singing so I just start belting out along with it as soon as I hear it or even when I play it in a club. It is just so simple but so powerful.
For me this is foremost a prime example of a very fine Vocal House record. Lyrics, singing and sound work perfectly with each other. It seems nothing is missing, and there is nothing to improve. But is it really as simple as it sounds?
Yes and no, there isn’t that many elements which I guess is what makes it simple, but it is cleverly constructed. I always think that spreading a synth line across four bars creates more interest because it gives room for all the other elements to play without sounding too loopy and repetitive, even if it is that way. Also let’s not forget what a great vocal can do to a track, in some cases it can completely transform it.
I think his track „Who Wrote The Rules of Love“ with Colonel Abrams also comes close to what Omar-S achieved with „Set It Out“. Are you a fan of his in general? Are there other tracks you like nearly as much?
I agree, that’s also really good and again a perfect example of a good Vocal House track, if I’m putting it down to just a feeling though, I prefer „Set It Out“ but they are so close! These are probably my two favourites. I do like a lot of his others as well, he has done soooo much! One of my other favourites is him and Kai Alcé’s „Not Phazed“.
I like that Omar-S is absolutely not very fussy about either producing or marketing what he produces. He is not very concerned about other opinions on what he does either. Is this the way out of modern PR obligations, just delivering the tunes?
I think part of it is a way of delivering tunes! Imagine if he did the whole PR thing every time he released a record, especially at the start when he was releasing lots, it would be a PR overload! And now people trust him and will probably buy his records anyway.
There is whole lot of discourse about Detroit in club culture. But does the origin of Omar-S really matter with „Set It Out“?
To be honest, I’m not sure. To me it just sounds like Omar-S!
UK also has a healthy tradition with Garage House, even if it evolved into something different. But to my ears the production of this track is not too dissimilar to UK club styles, or am I wrong?
I actually think there are other more garage-y tracks from Omar-S that sound more similar to UK styles. „Set It Out“ is quite straight and I always think of UK Garage House as a lot more swong. But I guess that“s the beauty of music, eh? Everyone hears it in they’re own way.
What is important if you infuse a dance track with vocals?
Tricky, I will always notice a good vocal track if I like the vocal and the way that it’s been placed on the track. It’s very important that it’s effortless and soulful but not trying to be too gimmicky and „classic house vocal’. Also sometimes it helps if they use the whole accapella, like in „Set It Out“, or if it’s a vocalist that they arrange with more of a song structure. I like the way it sounds when it’s chopped as well but it has to be done right. Basically, it has to to work great and not just for the sake of it.
I must admit that I much prefer this kind of vocals in a dance track to the majority of tracks of recent years that include a singing style usually more associated with indie records. But I would not go as far as to maintain you cannot create a good club song without a Soul aspect. But what does a good club song actually require?
For me it requires a physical and an emotional aspect. So a really good groove that you just can’t help but dance to and a melodic aspect of some kind. I’m not saying it has to be super melodic with noodly bits everywhere, although that’s the route I tend to take because I just can’t help myself. But something to go along with the groove that’s making you dance your ass off.
Is there a way that „Set It Out“ is reflected in your own productions?
Maybe yes, it’s probably influenced me in more ways than I know considering that I have listened to it so many times over the years!
The defunct Face magazine used to have these little messages at the bottom of their last page. I always have this one particular issue in the back of my mind where it read „Vocals matter“. But do they still?
I really don’t like all these convenience product edits of rare or popular Disco and Synthpop material. With a bit of experience and practice you can learn the skills necessary to handle the original irregularities of drummers or sloppy rhythm programming, and maintain the already well executed aspects of the original arrangement over the DJ service straightness of most edits. I like people who deconstruct the source material and turn it into something else, even if it is only a respectful variation. I just do not see much merit in keeping the original and just streamlining it for better mixing. I am perfectly aware that this criticism may seem pointless, as most of today’s club setups for mixing are designed to have the choice what to play next as the only task left for the DJ, if at all. I have Zager and Evans’ In The Year 2525 in my head, predicting “some machine is doing that for you”.
When DJs began to make their own edits of tracks they liked to play in the late 70s, better mixing purposes admittedly played a role. But mostly the editing process was determined by personal preferences concerning the arrangement of a track, not determined by the aim to reduce every track to the same groove and functionality, regardless of arrangement. So they took out tape and scissors, and made intros end up in a kick drum in time, extended or cut breaks and other parts, dropped instruments or vocals they did not like, and often improved the source with individual versions and interpretations.
Many daring edits of that era were officially released, but the most radical approaches were to be found in the catalogues of the remix services. Disconet led the way in 1977, and soon all over the US and Europe DJs and producers were splicing reel-to-reels to let a certain track shine in the best possible way, and the remix services like hot Tracks, Razormaid, Ultimix, Art Of Mix, C.S., Landspeed and countless others gathered the results and distributed them back to the clubs. The records compiling the edits often contained original tracks and medleys as well, and tracks were segued to make the work for the DJ easier, who often played for hours on end in those days, several nights a week. The selection of the tracks per release was often frustrating. With a few sublime reworks there were also tracks included that were well cheesy to begin with, and did not get better after being worked on. Eurodance cheese, weird rock songs trying to cross over to the dance market, and lots of one hit wonders, with questionable hits. There was no other reason for the tracklisting than songs being pushed regardless of quality, and of course the individual taste of the editor at work. The edits also varied in quality, a lot were even rather crude, or as forgettable as the original material. But there were also a lot of edits that reconstructed what they were given to work with to a whole new level. Take Razormaid’s edit of the Pet Shop Boys’ West End Girls for example. The intro is easier to mix in their version, but were the official Shep Pettibone remix arguably sacrifices the song’s special appeal for dancefloor credentials, Razormaid manage to keep the tension by rearranging the elements and still achieve a track that works a treat in a club context.
I’ve been collecting remix service records for quite some time now, and starting with Hot Wax 026, I would like to dedicate an irregular series of shows to my personal favourites in that field.
Mix for the fine All City label from Dublin. For no particular reason I decided to contribute a mix with Hip House instrumentals.
Doug Lazy – Let It Roll – (Dub Version) Reg Raw – I’m Housin’ (Pump It Go Dub) Lord KCB – I’m Housin’ It (Dub Version) Royal Party – Can You Party (Instrumental Dub) Long Fellow – This Is Penis (Instr.) Brooklyn Funk Essentials – Change The Track (Brooklyn Bomb Dub) Faheem – Must Be The Music Dub Laurent X – It’s Magic (Funkstrumental) Too Nice – I Git Minze (Extended Dub Mix) Kraze – The Party (Tunnel Mix) Cool House – Rock This Party Right (Tyree’s Beats 4 Now Mix) Mix ‘n’ Tel – Feel The Beat (Instrumental Mix) Fast Eddie – Yo Yo Get Funky (Woo Yea!) Fast Eddie – Yo Yo Get Funky (Use To Hearin’) Rashiid – I Go To Work (Supermix) Mix Masters Feat. MC Action – It’s About Time (Tyree Cooper Mix) Tyree Feat. J.M.D. – Move Your Body (Tyree Lost His Vocals Mix) Tyree – Turn Up The Bass (Instrumental) Tyree – House Music Is My Life (Instrumental Mix) Precious – In Motion (Dub Dub-Rob Hanning Mix) Rob Base & DJ E-Z Rock – Get On The Dance Floor (The Surgical Sky King Dub) KC Flightt – Jump For Joy (Underground Dub) Doug Lazy – H.O.U.S.E. (Red Zone Mix) 2 In A Room – Do What You Want (Morales Slammin’ Dub Mix) Fast Eddie – Make Some Noise (Joe Smooth’s Club Instrumental Mix) Maurice – This Is Acid (Deep Dub)
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