This album “Non Stop Rhythms” by Tom Carruthers was released in 2021. L.I.E.S. presents his first album like this: “Blinding double pack of heavily old school influenced bleep, direct from the depths of England by prolific young producer, Tom Carruthers. These are heavily sample based mpc productions that harken to the carefree days when the pills were pure and the music was fresh and never stopped. When house was techno and techno was house, this long player takes the best elements from say Chill Records, early-Warp and the best Nu-Groove creating timeless dance tracks made for the warehouse dj. Essential stuff here.” Initially it seemed like a copying of some classic electronic and bleep techno records! Listening and listening to his productions, I understood that they weren’t so obvious: in fact it seems like a sound that echoes the past, but performed by a very young boy and in the present day! In 2023, “Future Wave” was released, an exceptional triple album: a reconfirmation, that is, a cool “cult” sound that harks back to some myths. I keep wondering how he managed to come up with certain sounds and rhythms! He certainly has talent, a good ear and technique. Recently my friend Raoul managed to release two acid house tracks on one of his labels, so I asked him to help me interview this good and curious producer. Happy reading, happy listening! We Never Stop Rhythm…


RAOUL: Hi Tom, you’re one of the talents of the new underground electronic scene, maintaining a sound that harks back to the roots of Chicago and Detroit with a very personal attitude, and you manage to create a unique sound. I personally discovered you through Ron Morelli’s L.I.E.S. in 2021 with the album “NonStopRhythms”. How did your collaboration with Ron Morelli start, and how is it going since then, considering two more LPs, “Programmed World” and “Future Wave,” have been released?

TC: So long story short, basically I was just doing my own thing, in my own lane and fully locked in producing tracks everyday. Ron hit me up just saying he liked what I was doing and from there we started to chat.

Ron took a chance on me and gave me the platform to release my music. I was a 20 year old kid that nobody knew, so it was a risk.

RAOUL: In 2020, your label NonStopRhythm was born, where you create a true team of artists with periodic releases. I also had the pleasure of being part of it, and I immediately noticed that you tried to create connections with the artists and to grow your roster without big names. What is your idea of managing a label, and did it form over time or did you already have clear ideas?

TC: I’m selective with who joins the label. I don’t like the idea of just cherrypicking names that will make quick cash. Labels like that have no identity and don’t really interest me. They come and go. All the classic legendary labels had an identity that made them stand out, they developed artists.

For most guys on the label it’s their first ever release, and I like the idea of everyone growing from the ground up. It’s more of a tight-knit operation where we all help each other.

RAOUL: NonStopRhythm was one of your starting points, but where did the idea come from to integrate different Sub Labels like DataSync and Chip Records, and especially what’s cooking?

TC: I was sat on some material that didn’t quite fit with what was happening on non stop rhythm, so i decided to branch out the label and set up a few sub labels to cater for the material that doesn’t fit. These are new projects so we’ll see how they get on in the future.

RAOUL: The sound that distinguishes you is very old school, and like me, you didn’t live through the 80s and 90s for age-related reasons, so I would like to know what prompted you to make this type of music and who are the artists that inspired you to get involved?

TC: I think just that sound resonates with me. There’s a reason those classic tracks are still listened to 30+ years on.

RAOUL: It’s 2024, and social media is an integral part of our work as producers and DJs, but I see you going in the opposite direction, only posting the bare minimum and preferring to share only with the people close to you without constantly being in the spotlight. What do you think about this?

TC: That’s just my personal preference but each to their own. It’s a useful tool so people who utilise it how they see fit.

RAOUL: You’re a very strong producer, and tracks of very high quality keep coming out constantly. What is your workflow in the studio? Hardware or software that you can’t do without?

TC: Mostly software based, but I’m thinking of getting into the live performance style stuff.

RAOUL: I think a strong point of your productions is the Basslines. List me three fundamental tracks from that point of view for you.

TC: It’s all about the bass. 3 tracks with bass lines I love, maybe “Rhythim Is Rhythim – Nude Photo”, “Joe Smooth – Inside My Mind” and “Shawn Shegog – Love Traxs”

RAOUL: Do you have any live performances scheduled soon?

TC: Currently no, but I’m open to it in the future once I feel confident in the performance and find my workflow.

Tom Carruthers intw. 05.2024 Family House.
Thanks to Raoul


DJ Dax Nul3000 Design Week 2024

Nul3000 / DESIGN WEEK PARTY 19.04.2024 / Milano
Opening Set 22:00 – 00:15

Grazie a @anaisldc che alla festa Nul ha portato un registratore digitale.. Finalmente, dopo un’attesa biblica, eccoVi un nuovo mix registrato “live” di ben due ore! Non è sempre facile cominciare da zero una serata, soprattutto quando fai da intro ad un concerto/performace, ma devo dire che me la son cavata bene! Questo sound mi è molto rappresentativo: una esperienza unica, un viaggio elettronico, acid, deep e funk.. Vinili vecchi, della tradizione & vinili nuovi. FarVi ballare con queste sonorità, è stato bellissimo e profondo: inoltre, ho conosciuto nuovi amici e ricevuto un sacco di complimenti. Special thanks a Tyler di Nul, Carlo Mognaschi del Q Club e tutti Voi! Magic Moments #daxdj



info, booking:

K’ Alexi Shelby – Chicago House Music


As far as my young career goes, I was very much so blessed day and as I am now to have started with the pioneers of this thing called “house” and what Chicago knows to be techno, I started off of the inside like drum machine and was making beach tracks, because that was all we made back then and was more than happy with just that. I don’t even think we understood how much the rhythm played a part in what we would come to be no now, about this thing of hours, but it definitely helped.

I find myself, even though today, looking for the perfect date always: the hunt continues.


BMX was at the tone of the type of music that was kool to play, but My mom would win these “dance contest” and she would bring me home the records. At first I just thought it was cool getting gifts for my mom, but before I know it, I ended up with quite the collection. But after losing my collection, over the years to flood damage, I would say about three times, that was it my heart couldn’t take being broken anymore, plus maturing and moving around, made it hard to keep up with such things. So, I was more than happy seeing my teacher/friend Big brother Frankie Knuckles Dj on a flash drive. I was all too amazed to see someone of his caliber doing such a thing and to know, that you can carry all that music on such a tiny thing, with all the information about the record that you needed. Technology, such a wonderful thing.


Yes, then sonic drum machine well actually REAL Drums first and then the end sonic and then whatever drum machine that was that came before. The SP 12, then moving on to the whole road and family the 303 and the cast of others that would help shape my career. I think no drum machine to help me more than I would say: the 909 to 727 in the MPC 60.


He was definitely one of the godfathers, another one of my friends/big brothers, another one of my lucky encounters that I was blessed to even took the time tonight only listen to my little tracks, I was making but play them and play them, so well and so much, that people thought they were his. I miss him very much, I miss them both.


Big brother Frankie was then and now a big influence, but when I think of him, music isn’t really the first thing that comes to mind, his musical intellect Wasn’t doubtable, but I really just missed a genuine conversations, he and I, would have things happening in the singing out, but just life conversations.


There was a record store in Chicago downtown called “Imports” and they would have all the latest Italiano disco I know. What a joy it was to hear that style, even now, I enjoy a good Italian disco cut because of the skill and I imagine what a wonderful joy those sessions must’ve been.


As I said Import Records baby was undoubtably hands-down the best store for that type of music.


I didn’t catch Sean and fully give to digital for a while. I was really happy with regular pianos and drum machines or should I say life drumming until I realized how much I can get done by myself with everything going digital. I just made it easier for me being a kid back, then making noise they were later be turned into music dare I even say classics.


I would hope they would weed out those people who were only in it for the money, but I see right now the jacking off positions being done, to keep those people in power. Sad, really how the people have become so into things of the moment, instead of thinking long-term. No one really cares anymore, it seems about how the record was made, where it came from and what else that artist have done. This is now and always has been, a culture those who don’t respect, that are doomed to fail.


To get my music in as many films and other visual projects as possible.

The goal has always been to reach and teach as many as possible. I have always been one with the music & the people & NEVER thought I was bigger than ether, I am forever a fan of the culture.


Be on the lookout for my new music & label “Blueprint Klassik”.

Oh What A Lil Smoke Can Do – K ‘Alexi Shelby AKa El Chocalata

1. Make Me Wanna – Marvin Gaye ( Mr K ‘Alexi Edit )
2. Trance Europe Express – Kraft Work ( Mr K ‘Alexi Edit )
3. I Need Somebody 2 Luv – Sylvester ( Mr K ‘Alexi Edit )
4. You Stepped Into My Life – Melba Moore ( Mr K ‘Alexi Edit )
5. My Hart Heat Begins 2 Beat ( Mr K ‘Alexi Edit )
6. Lady Bug -Bumble Bee Unlimited ( Mr K ‘Alexi Edit )
7. You Gonna make me Luv Somebody else – The Jones Girls ( Mr K ‘Alexi Edit )
8. We Got the Funk – Positive force ( Mr K ‘Alexi Edit )
9. Just An Illusion – Imagination ( Mr K ‘Alexi Edit )
10. I Got A Big Bee – Bumble Bee Unlimited ( Mr K ‘Alexi Edit )
11. Native new Yorker – Odyssey ( Mr K ‘Alexi Edit )
12. Run Away Luv – Loleatta Holloway
13. Miss Broadway – Belle Epoque ( Mr K ‘Alexi Edit )
14. Give Me Ya Love – Sylvia Stripling ( Mr K ‘Alexi Edit )
15. Body Heat – James Brown ( Mr K ‘Alexi Edit )
16. Sing Sing Sing – Charlie Calello Orchesta ( Mr K ‘Alexi Edit )
17. Miss You – Rolling Stones ( Mr K ‘Alexi Edit )
18. Shack Yo Tambourine – Universal Robot ( Mr K ‘Alexi Edit )
19. Last Song <3

 K' Alexi Shelby Chicago House Music
~ K’ Alexi Shelby
 My 3 Labels:
#KKlassik #BLACK13
RESPECT the Klassik as you become the best
NEW Style…
Risqué III - Essence Of A Dream - Dark Entries
Risqué III – Essence Of A Dream – Dark Entries

From RH:

Repress from essential Chicago house anthem by K-Alexi ! K-Alexi’s musical journey began at the young age of 12, when he befriended Ron Hardy and Frankie Knuckles while frequenting the Music Box and Warehouse. In high school, he began to write songs and hone his poetic craft. “I recognized I had a gift to say what I was thinking. I would study Prince and Marvin Gaye, figure out what they meant and put my spin on it. The power of the word. I was writing love notes for all my boys in high school and making a killing. I would know what to say and what they should do.” In 1987, Shelby’s first solo release, Risqué III’s “Essence of a Dream” b/w “Risqué Madness,” was to be cemented in Chicago dance history. He was accompanied in the studio by his cousin and production mentor, Mr. Lee. The track’s effortlessly propulsive house rhythms (courtesy of the Roland TR-727, TR-707, and TR-909), salsa-inflected bassline, and oneiric strings fuse magnificently with K’Alexi’s steamy, Prince-esque verse. Due to tight studio schedule times, his vocals were almost omitted. Says Shelby: “The session was coming to an end and I said I wanted to put the vocals on there. They said, ‘We got no time unless you can get your vocals right in one take’. I said, ‘Let it rip’ and went into the vocal booth…they just stood there with their mouths open. The look on their faces was priceless.” The B-side’s “Risqué Madness” is a tribute to Ron Hardy, DJ at the Music Box and one of K’Alexi’s formative influences. The track opens with Shelby’s processed voice announcing “I’d like to talk to you about escape. Let me take you away, away to a place where rhythm is life, and life is a never ending sound.” This introduction captures how he felt dancing to disco every week at the Music Box. Hardy was known for playing an edit of Kikrokos’ “Life is a Jungle,” in which he looped the track’s lysergic breakdown. Shelby utilizes the same delirious loop but builds upon it with additional percussion, melodies, samples from Hardy favorite “Let No Man Put Asunder” by First Choice, and manipulated vocals taken from The Madam’s “The Sensuous Black Woman”, a recording used often in early Chicago house DJ sets and recordings. Both sides of this record perfectly reflect the spirit of Chicago house music. The sleeve was designed by Eloise Leigh, and features a never-before-seen photo of a teenage Shelby taken at his high school, with a bold font evoking 80’s house music covers. Also included is a postcard with lyrics, an additional photo from the same session as the cover artwork, and liner notes from Shelby.

Marcus Mixx interview


Hello! My name is Marcus Mixx & I’ve been making House music since 1987. I get my vibes & inspirations from any & everywhere. Since I grew up in a very diverse middle class setting here in Chicago, I love all forms & styles of music. When I record a lot of times it’s a blend of different flavors of sounds. Up until around 2013, I was drinking heavily everyday & that played a big factor too. I love to experiment & play around with sounds & effects regardless of where they’re based from. I do also get pushed by classic House tracks from the 1980’s & ’90’s as well.


I was very fortunate to be able to witness the planting of the seeds of House not from the very beginning, i.e., the original Frankie & Ronnie days in their venues. For one, I was in my early teens & I’d heard tons of rumors about it being a “Gay” thing only. But, when I starting finding out about their mixtapes in the streets & the whole concept of mixing songs together & never stopping the music @ parties, I got hooked very fast. I eventually didn’t care if my peers didn’t like the “Gay” aspect of it, because, the music was so outstanding & it took me over. As the years went on & was djing small parties & gigs, as well as, going to the big events 2 hours ahead of time just to meet & beg a lot of the legends in the making of House to let me open up for them for free. Back then, I was willing to carry their records in & out of their car, by them drinks, food, hang posters, pass out plggers, etc.

It was an amazing experience to beat & bang crowds of people that I’ve never met before. Very powerful & meaningful. Lastly, it was mega awesum to have some of the big boys play my records & seeing all of the folks jackin’ & slammin’ to them. That really helped sell my vinyl in the early stages. It was so pure & unstained by today’s commercialization of House. But, even today, House is mainly in my veins & arteries than any other form of music.


When WBMX started letting dj’s mix live on the air (& then on tape), it was the one & only thing to do get prepared for on Friday & Saturday nights regardless of the weather! The Hot Mix Five was perfect too, because, of the diverse styles & songs played by the different jocks. Some would scratch vinyl a little, some would blend right @ the breaks, some would remix two records for five minutes, some would play only the top club stuff, etc. Even in the most racist areas @ the time when it was warm/hot, every bodies car windows were down & crankin’ up WMBX & The Hot Mix Five. @ the beach, the parks, the neighborhoods, even the rival gangs would pump & push the sounds for a while & forget about the bull crap of fighting all of the time! I also noticed that in the clubs. WBMX ran the city for a long wonderful time & even people who hated R&B, slow jams & rap during the regular week, would definetly tune in on Fridays & Saturdays! People also recorded those mixes to whomp on boom boxes & cars, as well as, trade them around & make copies. People from outside of Chicago would pay & beg to get Hot Mix Five tapes.

The Best Of Ron Hardy Volume I – Streetfire Records


Ron Hardy was not only a House music legend, but, he was really cool to me & he always played my test pressing as soon as i gave them to him in the clubs. I was very lucky to have him give his input & suggestions on a couple of my most popular tracks. He always liked the deepest versions of my music & I paid him for his advise & gave him mixing credits for them all with his permission. I never went to the original Music Box in the early days, due to be underage & not ever being in a “Gay” atmosphere. Once again, name calling back then to a high school kid was redundant like it is now. But, when I turned 18, I was taken over by his style & knowledge of what it took to please & romance a House crowd!


Frankie, just like Ronnie was so fuckin’ great to me! He was more open & fun in a sense that he would sometimes joke around. I have a great sense of humor too, but, when I first met him & was next to him, I was shaking like a little kid. One time I asked him could I carry some of the records from the he came into the a venue. he said “O.K.!” As I was stuggling carrying 2 rates he said “If you drop my records, I’m gonna kill you!” I then got really nervous & he started laughing with his friends & said “I’m not worried about you doing anything bad!” – “Thank you!” He, like Ronnie had a unique style of spinnin’, but, Frankie took it way beyond belief some nights by playing The Doors, Zepplen, Pink Floyd & everybody in the club might pause for a second in the beginning of hearing something like that way of out left field, but, we all jacked up up even harder & truly loved whatever he played! He was like a big teddy bear & I didn’t care who saw me drooling of this god with a small g! Simply the best!


The Italo Disco & Italian House was very influential in so many ways! One key factor was the simple fact that it was Italian based.


Tons of DJ’s & House heads really liked the fact that House music was getting so popular around the globe & that the sounds from Italy were adding more bricks to the foundation that started in Chicago. Also, a lot of those songs were getting tons of regular rotation & play on commercial & college radio, because, of the vocals & the easy mid & final breaks. We would remix the hell out them sometimes use them to recharge the crowds. The various tempos of a lot of those tracks also played a big card & drum beats that weren’t always your typical “Four on four” pace.


I first had hands on experiences with drum machines, synths & sequencers thru L.I.A.M/Gitano Camero @ Head Studios. In the beginning, he only had a 707 & he never used it. His studio (Head Studio) was mainly recording rock & metal so the bands would use real drum kits. When he patched in a beat for me when I recorded my first song “I Wanna House”, he thought that I was nuts. Not only the simply foot, but, why so damn loud & thick. After my first session with him, he insisted that I keep my money & come back for free the following week so that he could learn more about House! I left him a cassette tape of one of my mixes & when we saw each other again, he was a hooked Househead. We played around with his synths & sequencers by adding lots of flange, distortion & whatever else the booze called for. These days, I mainly record on my MacBook, but, the digital versions of those components are just as cool to play around with.

9. LOST LABELS: Missing Dog Records, Missing Records (I Wanna House!)

The labels that I started mainly with LIAM weren’t taken seriously by us, especially me, because, I was getting most of the pub, praise & money for all that was going on. I didn’t focus on building a brand/solid label, mainly because, it was more like a hobby. Even though I’d get orders from the landmark Chicago record stores & distributers, I’d just party the money away & release more stuff @ unknown times & schedules. Even though we recorded scores of other really good House songs that are in the range of “The Spell” to “T.A.P.”, I was doing so many other things, like promoting parties, drinking, DJing, drinking, being with babes, drinking, & so on! I also never went to to any of the founders of House like TRAX & DL International Records, even though they wanted some of my material. I really regret not building up one of the labels that I started & let go so quickly! Pure laziness & of course the booze! All I wanted & needed was to party!

Let’s Pet Puppies – Chicago


Well, currently, I’m living out a dream project in a way, because, I’m making music for “TRAX Records” & “Let’s Pet Puppies Records” in Chicago & “WakeUp! Music Group” out of Miami. There are a lot of big House & Nu House legends like Matt Warren, Screamin’ Rachael, Joe Smooth & more that I’m not only recording with, but remixing & also making music videos. My dream project would be to continue to work with old & new skoolers in House without all of the negative crap that usually comes about. It’s too much fun & money for all who want to be “In Da House”!


Marcus Mixx Shannon intw. 06.2019 Family House.

Jerome Derradji’s present “A Gram Of Boogie” The Story of Lee Moore

Hi Jerome Derradji! I’m very happy about your hard work reissuing old unknown/hard to find gems!

Thank you. My pleasure really!

1. First tell us about your love for futuristic boogie …

Well, yeah futuristic boogie is this music that just makes you dance. It combines so many elements taken from disco, soul, r’n’b and jazz with a heavy splash of electronic synths and drum machines. The perfect combination in my humble opinion and a great influencer of all things House. Magic stuff I believe.

2. How did you find Lee Moore?

That’s a really long story…. In short I first found Paul Zaleski, who is living in California, he was the engineer and VP at Score Records. From that we’ve tracked down Lee Moore and I ended up on the phone with Lee. We hit it off real fast and started working with Lee right away.

3. From blues, gospel, soul: B.B. King, Johnny Cash, Elvis Presley, Aretha Franklin, Jerry Lee Lewis, Al Green, Tina Turner, Booker T. & the M.G.’s, Otis Redding, Isaac Hayes … tell us about Memphis boogie funk.

Memphis is really a special city. A cradle for a lot of music and all things soulful. Boogie was a logical evolution of the soul and disco sounds of the time. Lee Moore just pushed it further by changing the way it was produced, engineered and recorded. Lee spent more time in the studio than promoting himself or his label Score Records. But at the time, in Memphis, he was very known for his music.

4. “A Gram Of Boogie”, theres more than a gram …

Indeed. That’s all thanks to Lee Moore.

5. Do You Feel Like A Party

It’s a tune that Lee wrote and released initially on LM Records out of New York. Lee wanted his music to sound more like a New York dance record than a Memphis record. By that he meant less stripped down and raw and more produced with a heavy basslines and kicks. I believe it’s one of his most known records for a good reason. It’s excellent.

6. Reachin Out For Your Love

Lee’s first 12” for Source Records – a major a the time. It was his attempt to break into the US charts. A killer disco track that defined Lee Moore’s sound. Although it reached the Bilboard charts, Source didn’t put enough efforts in promoting it and Lee moved on to launch Score Records.

7. Sometime theres differences between versions from 7 to 12 Mix. Tell us about as nowadays its impossible to find multiple version of a track on new releases.

Yeah, it’s very normal for music made in this era. Lee was surrounded by amazing musicians – most of them being seasoned Stax musicians. So you would always get a shorter 7” mix, a longer 12” mix, instrumental, dub etc… I still think a lot of dance labels operate this way with different mixes and remixes.


Subway Featuring Wave – Ten Toes Up 12" SOLD OUT

8. Whats In The Dark Will Come To Life

One of my personal favorites. It still sounds like the future of soul and funk. Magnificent stuff really. But honestly there’s so much great music with each of Lee’s releases.

Jerome Derradji – Still Music / Past Due Records / Stilove4music – Chicago
interview 10.2017 Family House.

A Gram Of Boogie
The story of Lee Moore – Score Records & LM Records
Memphis, 1979-89.
Cat # Pastdue5LPBox02
Format – Vinyl + Insert

HOUSE NATION CHICAGO Chris “The Incredible” interview

Un post condiviso da @house_nation_chicago in data:

1. Introduce yourself

My Name is Chris.  I am from the south side of Chicago.  I have been DJing and collecting Chicago House records since I was 15 years old (about 23 years).  I started @House_Nation_Chicago to share my record collection and educate new people about Chicago House, Italo, and Deep House Music.  I hope to use these records to tell the stories of the evolution of Chicago House Music.

Un post condiviso da @house_nation_chicago in data:

2. Where do you get your inspiration

I have another instagram page @kanamit_mpc where I service and sell drum machines.  I follow a lot of producers and sample cats.  I would always see guys post their records and it was always soul or jazz.  I didn’t see any page dedicated to House music, so I decided to make @house_Nation_chicago. As a DJ, I get my inspiration from old WBMX mixes by Farley Jackmaster Funk.  If I’m trying to produce something I study the greats like Marshall Jefferson, Mr Fingers, Farley, DJ Pierre, etc.

Un post condiviso da @house_nation_chicago in data:

3. Chicago House Music scene past/present

Chicago House Music was able to grow because of the clubs like the Warehouse, The Playground and The Music Box.  Those were special places where Frankie, Ron, Jesse and Farley could be play the music they wanted. They could experiment and try different styles of music. Once the city of Chicago changed the laws on juice bars they could no longer operate and that almost killed the scene here.  There are always house parties going on in the city.  Of course there are certain clubs that always play house, but I don’t think anyone can duplicate the feeling or sound of the Music Box.  A few times a year there will be a big Hot Mix 5 party or Farley’s B Day bash. The biggest event of the year is the Chosen Few Picnic.  It takes place in a park by the lake.  Theres no dress code and no age limit.  I think that is really where people can go and just be free with the music.  There’s young and old, black and white.  People just go there for the music and to have fun.

Un post condiviso da The Chosen Few™ DJs (@chosenfewdjs) in data:

4. I heard from Mike Huckaby (Deep Transportation – Detroit) that several Detroit djs moved to Chicago with their car almost every week to listen to Chicago’s legendary WBMX AM & FM. Talk about this radio and the incredible music shared on their radio shows.

In my opinion WBMX is the big part of the puzzle that really gets overlooked.  You see, Chicago was a very segregated city.  You have black neighborhoods, white neighborhoods, Mexican, Puerto Rican, etc.  People stayed in their own neighborhoods. Back in the 80s The Warehouse was a gay black bar. Most people were not going to party there. Wbmx is very important because it allowed the music to reach everyone in the city. WBMX Program director Lee Michaels had a city wide dj competition. Everyone submitted tapes, even Frankie Knuckles. Lee selected 6 DJs with different styles to represent the different parts of the city. The DJs he picked became known as the HOT Mix 5. (The 6th guy never showed so they ended up with 5) Instead of going to a club you could hear this music on Friday or Saturday night from you car or bedroom. This is what really helped get the music to everyone around the city.  The type of music they played, how they played it, and the skill that they had was never ever seen or heard before.

Ron Hardy Channel On WBMX.COM

5. Ron Hardy and Music Box, the key, the only godfather of house music

Everyone loves Frankie and there wouldn’t be a movement without him and the Warehouse, but it was Ron Hardy who made Chicago house as we know it today.  Anything that Marshall Jefferson made he took to Ron.  Ron was playing these tracks and no one ever heard of Virgo or Marshall Jefferson.  Dj Pierre gave Acid Tracks to Ron.  Ron played it 4 times.  The first 3 times no one danced.  The fourth time the crowd went crazy.  He was a pioneer.  I don’t think house would have evolved the way it did without him.

Un post condiviso da @house_nation_chicago in data:

6. Frankie Knuckles “Warehouse”

Chicago didnt have any club scene in the 70s.  Chicago was dead compared to New York.  It wasn’t until Robert Williams opened the Warehouse and invited Frankie to be the resident.  This was where it all started for Chicago.  Frankie was playing underground disco.  People started to talk about it and went to experience the music.  They didn’t care that it was a gay club.  The music became so popular guys would go into Imports Etc and ask for that house music.  Referring to music that was played at the warehouse.

7. Sadar Bahar currently the ambassador of Chicago Disco, Boogie

Sadar Bahar has stayed true to the original meaning of house.  That is the underground disco that was played at the warehouse. He is known for possessing some of the rarest records from that time. He created his own identity by doing the opposite of everyone else.  DJs would all play the same popular cuts and he did the opposite and started digging for rare obscure tracks.  He definitely is in a class of his own.

Sadar Bahar ∞ Domenica 30.07.2017 #partyhardy Disco Dancing Chalet Paola Perarock Festival

8. How Italo-Disco influenced Chicago House Music

I think Italo Disco had a major influence on the Chicago House sound.  The Hot Mix 5 was playing alot of Italo Disco and imports.  Jesse Saunders and Farley played imports at the Playground.  You can really hear the similarities in the drum patters in songs like Chi Chi Liah – Proud Mary or Alessandro Novaga – Electronic Drums.  That music heavily influenced early house production.

9. When European, Italian sound appear in US Chicago Record Stores

Those records started to show up around 81 – 83.  They were not available in every store.  There were only 2 places in Chicago where you can get imports.  One was the legendary Imports Etc and Loop records.  A good example is Hypnotic Tango.  I think they sold 30,000 copies of that record here.  They kept the pressing plant open just to supply the stores in Chicago.

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10. Your music experience drum machines, synthesizers, sequencers

I’m always working and learning.  As I said I buy and sell drum machines.  Mainly the mpc.  I currently work on the MPC 3000, Roland Tr8, Roland TB03, and a Korg Minilogue.  I have experiences with all of the MPCs but like using the 3000.  I don’t use any software for creating. I think all of the advances in technology have killed creativity.  Its not always true, but simple is better to me.  Listen to the music that was made with a 909 and a jupiter (Mr Fingers Can You Feel It). Everyone is doing too much now.  Faster workflow yes but not necessarily better music.

Un post condiviso da @house_nation_chicago in data:

11. Talk about the House Music documentary you create

I have not made any documentaries yet.  I have been very fortunate that I have made some relationships with guys like DJ Pierre and Jesse Saunders.  If i get the opportunity I would like to do a documentary focusing on how the music was made or how the relationships were formed.  These guys were kids and were taken advantage of.  theres a lot people don’t know about.  Im interested in the gear that was used and the ideas behind some of the songs. Many of those stories never get told because everyone documents the same thing over and over.

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12. Enlighten us on your dream project

My dream project is to release a Jack Trax EP on Afro Acid which is DJ Pierre’s Label.  Releasing an EP has always been a goal of mine but to do it with the Legendary DJ Pierre on his label would really be something special to me.

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Sadar Bahar ∞ Domenica 30.07.2017 #partyhardy Disco Dancing Chalet Paola Perarock Festival

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SADAR BAHAR (Soul in the Hole – Chicago)

Sadar Bahar è molto più di un Dj. Sadar Bahar è un pezzo della storia di Chicago, dei suoi club e delle sue sonorità. È difficile etichettare il sound di questo artista, perché come lui stesso ha dichiarato:

“Mentre tutti i dj andavano da una parte, io ho scelto una direzione diversa”.

E questa strada lo ha portato a creare uno stile tutto suo, ribattezzato “Soul in the Hole”. Influenze: soul, funk, boogie, disco arricchite dal suo gusto e ricerca; lunghe ore passate nei negozi di dischi, mercatini per scovare suoni dimenticati, “nuovi”. Una caccia ossessiva, che lo ha portato a essere un vorace collezionista di vinili.

” YOU HAVE TO DO .. YOU! ” SADAR BAHAR CDR Berlin interview

“Massì, voglio semplicemente diventare uno dei più grandi collezionisti del mondo” …

Sadar Bahar te lo dice ridendo, perché in lui il buonumore è continuo e contagioso, ma in realtà sta affermando una cosa maledettamente vera. Il suo arsenale di vinili è praticamente sterminato. Chicagoano, cresciuto inevitabilmente col mito di Ron Hardy, ad un certo punto si è reso conto che i dj della sua città tendevano a comprare tutti gli stessi dischi negli stessi posti. Lì è partita quella che lui chiama “…una malattia lunga ormai più di trent’anni”: cercare di tutto, essere un cacciatore maniacale di vinili. La differenza? Li suona divinamente (Damir Ivic).

Bahar è stato definito da Theo Parrish “il DJ dei DJ”.

Musica calda, seducente, piena di melodie cosmic e vodoo funk, Vi aspettiamo al Perarock!



RA event

Joe R. Lewis Target Records Chicago intw.

1. Why and When did you start to produce music?

True story: back in elementary school, house music wasn’t my first love of music; in fact, it was rock and roll music. I use to get teased for listening to this style of music, not only from the guys, but from the girls too! While everyone was listening to either R&B or dance (disco) music, I was listening to rock and roll music. I use to play my rock and roll music on a very large boom box (everywhere I went) and were wearing my Kiss T-shirts too! One day, I eventually knew and heard my calling (to attract the girls) not only to DJ, but to also through some of the biggest “house music” parties that Chicago has ever known and loved.

At “The Loop Roller Disco Skating Rink”, I re-named it “The Loop Machine” where I was DJing and organizing pack to capacity house music dance parties by the thousands, every Friday and Saturday night, also booking other Chicago house music legendary DJ’s, such as, the godfather’s of house music “Frankie Knuckles and Ron Hardy ‘aka’ Ronnie”, the king of house music “Farley “Jackmaster” Funk”, Steve “Silk” Hurley, Mike Dunn, Armando Gallop ‘aka’ Armando, etc. I also hosted my very own bi-level house music dance club in Chicago named “The Jungle Club” and the rest was history.

2. Where do you continually get your inspiration?

I continue to and always will get my great inspirations from two of my greatest music influences: Larry Heard ‘aka’ Mr. Fingers and Byron Walton ‘aka’ Jamie Principal.

3. Talk about Target Records.

In 1981, I was fed up with a few of the labels here in Chicago due to their mishandling practices of money that I decided to venture off on a label of my own. I confided my greatest intention to a great friend of mine, the grand high priest of Chicago’s house music “Craig S. Loftis” who regularly DJ’d here in Chicago alongside the godfather of house music “Frankie Knuckles” about my decision. Craig thought my intention was an intelligent one, and in fact, he named my label and “Target Records Chicago” was now born.

DJ Joe Lewis is the president, C.E.O., and founder of “Target Records Chicago” since 1981, which was ideal only for me, but I decided to help or gather up a few other inspiring DJ’s and artists along the way, such as, Larry Heard ‘aka’ Mr. Fingers, Paul (Leighton) Johnson, and Melvin Meeks, just to name a few. That was one of the smartest and intelligent idea I have ever made.

4. Love Of My Own and Change Reaction EP seminal House Music Productions.

In 1986, The Love of My Own was highly anticipated due to my meeting with Larry Heard ‘aka’ Mr. Fingers, whom I meet through the help of his younger brother (baby fingers) back in high school. While in school, baby fingers, told me that Larry was his older brother, I was a non-believer.
One day, after school, baby fingers invited me over to the family’s house (within walking distance from the school) with great excitement and much disbelief, I accepted. At the time, I didn’t know what Larry really looks like or if he would even be there at all, but I was determined to find out about him anyway. I was soon invited to walk into an off to the side bedroom (of which was Larry’s) and there was a guy, who I now know as Larry, creating this wonderful masterpiece “Mystery of Love” for the first time being recorded, ever! I was mesmerized by the sights and sounds of his incredible work of art.

I was so amazed that I also created my magical masterpiece “The Love of My Own” a style I believe symbolizes Larry’s with a dream that he would work with me on this project and, in fact, he did. Two years later, in 1988, I simply wanted to create a house collector’s E.P. album titled “Change Reaction” of which it was and still is today a highly collectable E.P. album. This is one of my most sought after E.P. album, if you are very blessed to own one. The prices for this incredible work is sky rocketing high everyday and soaring from 3 to 4 figure sums on EBay, happy hunting.

5. Talk about Repress, Bootleg, your new record on Clone.

I believe repressing of great quality house music, such as, club music that receives much more radio play is a good thing. Not only does it help the DJ that could buy a brand spanking new copy to replace the scratched, worn out one that he or she banged to death in the club. It can help with fond memories, re-living, or re-birthing of those great house music parties and moments. It also will help the new generation, who may not have heard of this great style of house music played before or may not have known of this quality work of art from various artists, to further educate them about the making and the history lesson of house music, and to keep the house music culture that we helped build alive, because the newer generation is our future DJ’s and recording artist’s.

Far as bootlegging, I’ve been bootlegged once or twice before, nowadays, who hasn’t. I win settlements in or out of court. Just remember this; if anyone chooses to bootleg me for any reason at all ever again, without express written consent from “Target Records Chicago”, we’re going to come after you (all around the world) in a court of law, no excuses, period! With my approval, I have three re-releases that are out or either scheduled to come out in the near future on two of the most well respected labels, such as, “CHIWAX and Clone records”. The CHIWAX re-release titled “Chi-House” is out not, so go and reserve your copies today and the Clone record releases titled “Lost In Tracks” and “Change Reaction” originally released on “Target Records Chicago” in 1988, will be re-released very soon. All three of these re-releases were hard to find, but now will be a must have again and will continue to be a crowd pleaser as usual. They are very highly sought after and anticipated and will sell out fast, so don’t sleep on these beautiful gems.

6. Tell us about Chicago music scene past/present.

The Chicago house music scene of the past is the “Holy Grail” and shouldn’t be compared to the Chicago house music scene of the present, which would be an insult! We shouldn’t even be comparing the two in the same sentence. That’s like trying to mix oil and water, those two will never mix. Just like this comparison, there is none! The past history of the Chicago house music scene was the originators, who helped pave the way for D.J.’s and artist’s, such as myself and countless others. They helped to create, form, and shaped this culture and dance music craves, that’s being felt all over the world today! The house heads here, we use to look forward to clubs in the past, such as, the warehouse (the original location), the music box, the candy store, C.O.D.’s, etc. We use to look forward to the greatest D.J.’s of all times, the godfather’s of Chicago’s house music and beyond “Frankie Knuckles and Ron Hardy ‘aka’ Ronnie” and the founding father of Chicago’s house music “Lil Louis”. No matter where these three D.J.’s / Artists played, ALL D.J.’s here (no matter how big or small their D.J. name was or is) came out to hear these three legends play every time, even me. We miss good, productive radio station dedicated to the game of house music such as, Saturday nite live, ain’t no jive, Chicago’s number one dance party, heard on 102.7 F.M. W.B.M.X. Oak Park / Chicago. We also remember there was a record shop that we all loved and supported throughout the many years of house (young or older people bought records here) “Imports, etc. records”.

The present history of Chicago house music scene is not being felt, loved, and respected in the same way that it once was. Although, the nightlife scene has been down and climbing up steadily, it seems to be going in the right direction now with the new breeds on hand: D.J.’s, Artist’s, dance venue’s, and even the record sales are on the rise too! We (Chicagoans) have to stick together much better to make this thing we love, call house music that we helped build, work again! We have to be the trendsetters from the past and carry it into the present (looked up to again) like we us to.

7. Drums, Synthesizers and Sequencer.

There are a lot of amazing drum machines, synthesizers, and sequencers out there, but there are quite too many to mention right now. As to the pacific gear I use, that’s for me to know and for everyone else to find out (very mysterious), one love and respect for the artist and the house music creation.

8. Which artists are you currently listening to?

While I have no favorites, I listen to every artist from around the globe that is very dedicated in making quality house music, especially those artists who use live instruments in their creations, such as I, and such as, club music.

9. Your best place for music .. around the world?!

Where I’m DJing (I’m back!), where the beat and the house music take me, to a well-advertised dance venue with thousands of patrons in an attendance, or a quality recording studio, anywhere around the world (I’m releasing new music).

10. Enlighten us on your dream project?

At the moment, I have no dream projects in sight (I’m releasing new music again!) I’m not a big dreamer, but I wouldn’t mind collaborating again with Larry Heard ‘aka’ Mr. Fingers or I wouldn’t mind doing a project with Byron Walton ‘aka’ Jamie Principal. I would be up for doing a project with DJ’s or artist’s, such as, Stacy Kidd, Glenn Underground, Sheree Hicks, Brain Pope ‘aka’ DJ Pope, Dmitri Bronson, and Elise Gargalikis, just to name a few.

Target Records Chicago – Facebook Page

Joe Lewis – Facebook Profile

Joe R. Lewis Target Records Chicago intw. 06.2016 Family House.