“NO MATTER HOW HARD YOU TRY, YOU CAN’T STOP US NOW”
1998. This is the year of the peak of our re-birth. Our rebirth as “Disco”, as well as the rebirth of “HipHop”. The elevation of club and street culture continues, as we enter the long awaited GLOBAL 2000.
A couple of years behind us, ignorance dominated. We lived through and surpassed that period in our history we now call the “Dark Age”. We now live through this Freestyle renaissance, a period within the last couple of years that both young and old generations of DJ’s and producers have re-discovered our roots and turned today’s Electro HipHop back to Dance Music the same way it was done back in “83”.
For the past several years, many media sources have attempted to cover “Freestyle”. They have succeeded on giving exposure to anyone off the streets who jumped on a bandwagon and claimed themselves to be “Freestyle”. In addition, giving over exposed praise to individuals on an average scale. At times focusing on things that were not the best sides of the genre and overlooked factors that needed to be seen. In the 90’s alone, many changes have taken place at the same time that a younger generation would discover “Freestyle”. To go into the specifics would take a while to explain the “True” history of the past years. Nevertheless, facts have been changed and the history has been forgotten.
1998 is the year of Freestyle Music.Com.
This company and the website was established in August of 1996. Jorge A. Ojeda the founding father of Freestyle Music.Com is responsible for the creation and concept of the website. In December 1997, Jonpito (that’s me!) teamed up with Jorge who was looking for writers to help share their thoughts on the Freestyle Music Community. For someone who just walked in from of street with love for the music, I now share my ideas and interest to the Freestyle Community. It has been a flawless nine months for me now and so much has been accomplished. The success of the website has been a team effort with Jorge and Vic leading the way. What has started as a website comprised of experiences and dreams in the music business, became a source that REPRESENTS the Latin HipHOp Culture and all that derives from it.
A main purpose of the site is to represent the Latino in Dance music and to replenish the territories lost and facts that were forgotten or changed. The soul of the Freestyle Music.Com is a Latin HipHop foundation. The term that expressed and reflected the Hispanic presence in HipHop culture and musical structure that became known as the Latin HipHop sound. The combination of Afro-Latin percussion and early 80’s Electro HipHop beats. In order to truly represent the music that would be known as Freestyle, it was necessary to represent what it meant to so many as well as explaining its elemental structure and the world that surrounds it.
For many years Freestyle had served as a voice for young Hispanic kids as well as a voice for those of non-Hispanic origin that grew around them. The genre also served as an alternative for many whom wanted to hear good dance music. Through the years so many have contributed, but have been overseen. To make the story short, the FM.C website has gained the love of both new and old generations.
It has also gained the love from both current and former Freestyle artists and producers, as well as those of the future. In addition, the website has had a big response from other communities such as House, HipHop (Rap), Salsa, Rave and others from many walks of life. For so many, it has provided an alternative voice for the Freestyle Music Community.
Throughout the years we have seen Freestyle evolve into many different forms. We have seen a portion of the community evolve and merge into Latin HipHop House a/k/a Latin House during the late 80’s and early 90’s. We have witnessed the MicMac era, when the label was on top of the world. Then we witnessed the death of Freestyle on commercial radio, followed by an Italian invasion coming from Philadelphia, Canada, New Jersey, and Boston during the early part of the 90’s. Then there was the rise of the Filipino population in the West Coast. Towards the middle of the 1990’s, the resurgence of a new generation of young Hispanic DJs and artists, who would rise out from the underground and re-introduce something old as new. At the same time the Freestyle and Electro Funk sound began making its presence felt through out the world of clubland’s underground. Today we are strong. The seeds have grown. We are back were we began, but at the beginning of where we left off.
To understand where we are headed, we must go back to where it all began. We need to go back to the early 70’s, and focus on the early 80’s HipHop Movement. The movement of HipHop, basically was a combination of Graffiti, B- boy culture, DJ’s, and even now cars, which aside from lyrical skills, was sweeping the planet. Although it was mostly African American and Hispanic street kids predominating the scene, it was really a time of cultural and racial unity. Musically it was the time for experimentation. The Latino influence during this movement was visible in all aspects. The Hispanic population, specifically from New York’s Puerto Rican community were major contibutors to this culture.
What started as German records merging with African American and Latino musical influences, became the sound of the world. Electro Funk (a/k/a Electro HipHop) became the early 80’s HipHop sound. It later evolved into Dance or “Disco”music. This sound became more melodic and vocals were added. It would be the first steps towards Dance music since the late 70’s and helped claim back the “Disco” crown for America. This was a scene that obtained White producers, Latino DJ remixers, Black and White vocalists, and was supported by a predominant Hispanic crowd.
This was Freestyle 1983.
The story has been told over and over again. Many times the Freestyle factor has been left out, simply because those telling the story were not in a position to fully explain the details about the when, where, and why’s.
In the 70’s Kraftwerk, hailing from Germany, were known for delivering massive electronic styled music. While the masses were deep into Disco, Funk, and Salsa and rappers began to lay lyrics over Funk and Disco records, Kraftwerk’s “Trans-Europe Express” became a huge street record in the U.S.A. Its longevity would continue into the early 80’s as other European Dance records, many which would be influenced by classic American Disco (example: Donna Summer’s “I Feel Love” influenced others), would invade the U.S mainstream.
In 1982 Afrika Bambaataa and The Soul Sonic Force, producers Arthur Baker, John Robie and others would put out new types of records that would change the course of music history. What started out as a hybrid of Kraftwerkian influences, “Planet Rock” contained the new sound which combined African American musical styles as well as Afro-Latin influences. The formula would be Kraftwerk meets George Clinton and James Brown. The records were mostly coming from African American artists and held chants rather than vocal work. At times the chants on the records were compared to those found on 70’s Disco records (example: Village People) and were often seen as the link to the 70’s Disco and the level that would follow.
In 1983, after devoting the time to the Electro Funk records, Arthur Baker and John Robie would begin to produce a new sound. Unlike the previous records, the new records began to hold more melodies and vocal work. They would use the skills of DJ/remixers like the Latin Rascals and Jellybean Benitez to add the street influence to the production.
The records would be distinct and progressive from what most people were accustomed to (like what Goldie’s “Inner City Life” would be for many who have never heard Drum n Bass). Despite the fact that the records held “Black” vocals, many did not consider them to be “Black” music (ex: R&B) but for the first time in a long time “Disco”. Although the records contained the structure of the Electro Funk stream, there would be a large emphasis towards Latin percussion and melodies. This would only add to the fact that New York’s large Spanglish speaking population would support other records like “Numbers”, which held Spanglish along with so many others. The genre would have the “Salsoul” of the disco era, as in the mixture of both Latin and Black musical elements, which is a basic combination for “Disco” (a/k/a Dance).
Though the scene without a name was held by Latin’s, it also shared and held the presence of African Americans, Italian Americans, Chinese, etc. It was a time of unity and a time of musical experimentation.
Today, 1998, for the first time HipHop culture meets Rave culture. Once again it has become time for unity and musical experimentation. Although Freestyle has been overlooked in the eyes of both cultures, the genre of Freestyle has once again been able to reclaim its elements and transform Electronic HipHop into the future of “Disco” towards its fourth decade.
Welcome home! I usually always pour the Salsa over the funk. I like so many, like it saucy and Funky. Man do I have some stuff for every one this month. This month we start with Electro Funk. We owe it all to Electro Funk. Without it we would not have Freestyle, Miami’s HipHop Bass, we would not see the influences it had in House music, Detroit’s Techno, Trance, and so many other electronic musical genres. This is something that we are all a part of.
What better way to start September’s Issue, the month of my birth, with the compilation that simply reflects the birth of Freestyle.
A special report from the label that holds the crown of Freestyle in 98 (Timber!) and the label that started it out in “82” (Tommy Boy) with “Planet Rock” from Afrika Bambaataa and The Soul Sonic Force (WHAT’S THE NAME OF THIS NATION?), “Perfect Beats” is due out this month. This compilation contains a “true” reflection of the early 80’s. The compilation contains Electro Funk and early Freestyle records. What makes this different from other compilations is that it contains records that played a key role in the development of today’s club and street music. Most importantly this compilation is flooded with rare original Freestyle tracks. Some of the cuts are collectibles. Some have never been commercially released or on a CD before. It is a four-volume set packed with much flava! It is so packed; you can see the JAM seeping out of the CD case. Trust me, this will make you JAM uncontrollably. Best of all (I was going to keep it to myself), there is going to be a limited three pack vinyl of all four volumes. (I know my ass is going to get one RIGHT!)
Because it is a four-volume set, I have chosen to review volume one and two this month. Volume three and four will be reviewed in next month’s issue. Who knows, I might have the cover of the CD by then, along with the correct spelling of some of the people in this project. All I recieved was the CD . Everything I am writing is directly off the top of my head, so bare with me. Oh by the way, there will be some liner notes with the CD set and I will of course inform everybody about that, when I receive it.
Volume one contains Afrika Bambaataa and The Soul Sonic Force’s “Planet Rock”. This record started it off and spawned the most over used sample to this date. (I wonder why?) “LOOKING THROUGH THE MORNING DEW, A SMOKEY MOUNTAINS NOTHING NEW. LEAP INTO THE MOUNTAIN TOP, WE’LL WORK UNTIL ITS TIME TO STOP, OH BABY!”
Also included is Rocker’s Revenge “Walking On Sunshine”, which had the production talent of Jellybean Benitez as well as “The Mexican” which is also included here. “. AND I LAUGH! AND I LAUGH! A HA HA HA HA HA”.
Other songs found on the CD are ” Don’t Make Me Wait (another night, tonight I’M GOING TO LOVE YOU), “A Little Bit Of Jazz”, “Just An Illusion”, the original “Bostich” (which was remade as a rave record in the early 90’s by Yello), and many other rare tracks, including “Numbers”. Speaking of numbers “Uno” “Dos” this month “Tres” “Quatro” next month.
” YES I NEED YOU BABY. I NEED YOU AND I GET WHAT I WANT. IF I DON’T GET IT, IS BECAUSE I DON’T WANT IT. AND YOU KNOW WHAT? YOUR LOOKING, YOU’RE LOOKING REAL GOOD TO ME. WHOOOF!
WHERE’S THE BEEF?”
The beef could be found on volume two. Here is where the Freestyle kicks in with Shannon’s “Let The Music Play”, which was a break through for Dance music alone. The record that put Chris Barbosa and Mark Ligget on the map, while they were under Emergency records. It is said that “Let The Music Play” is the first Freestyle record. There is another record that would compete against that claim.
Also found is Man Parrish with “HipHop-Be Bop”, Dominatrix “The Dominatrix Sleeps Tonight”, the original “Dancing On The Fire” under Jellybean, and “Set It Off” by Strafe.
“EVERYBODY’S LOOKING, FOR THE RIGHT PERSON. NOTHINGS WRONG WITH THAT, I HAVE NO OBJECTION. ONLY TROUBLE IS, LOVE AIN’T ALWAYS KIND. LOVE CAN BE EASIER WITH THE EYE THAN WITH THE MIND”. Yes they did. Roller rink classic supreme, UpFront’s “Infatuation”. “WHATCHA GOING TO DO WHEN THE BEAUTY FADES? ARE YOU GOING TO RUN, ARE YOU GOING TO RUN OUT OF THE GAME?” This compilation is definitely going to make everybody feel as old as I am feeling right about now. (especially this month, it had to be this month)
On volume two you find Lolietha Holloway’s “Crash Goes Love”. Yes, Miss thang is all up in here too. There is no escape. She had a Freestyle record and it was JAAMIN. IT is good to see someone else digging out the dirt. Although not on any of the compilations, I would like to take this time to state that Madonna’s ” Sidewalk Talk” and Diana Ross’s “Swept Away” would have been good entries. But I am not bitching; some people could not handle this enough as it is. Volume two also has “Confusion” by New Order, “My Love Is Alive” (which was redone by 3rd Party), “Together Forever”, “Slack”, and “Moody”. Both volumes, one and two are works of art. I remember during this time I was 7 years old, running around with my Member’s Only jacket. I highly recommend this CD, not only is it a collectors item, but it can serve to educate and inspire today’s DJs, producers, and songwriters. It is our history. When someone takes the time and money to put out a compilation like this, it is only right that those with the true love for the music purchase a copy. “The Perfect Beats”. Stop looking, it’s all here!
Once a little Filipina girl from the West coast, quickly became a Freestyle princess with “I’ve Been Thinking About You” and “Make This Last Forever”. Today, she reigns as queen of the “NEW” Era. Now a grown woman, Jocelyn has kicked down doors for the Neo Funk and Freestyle at the commercial level. Her success has made her known as one of the divas of the 90’s, who will be seen as legendary in the years to come. While still causing panic in the mainstream with her participation on “If You Could Read My Mind” along side Ultra Nate and Amber for the “54” movie, she is still rocking the underground and some commercial markets with “Get Into The Rhythm”.
“Get Into The Rhythm”, has various sides for different appetites. The mixes that will blow you away and is the choice for the electronic underground arena is the Cibola mix and the version found on the album. The Cibola Mix has the Electro beats closer to each other and drives the record at a faster pace. This is spiced up with Jocelyn’s vocal edits, which blend smoothly with the crashes, drum rolls, and Electro trip sequences. This is the most danceable version and is the version often used in Freestyle mixes. Albert Castillo, Steve and Charles Chaves (B.K.A. Cibola) provide the Cibola mix. The album version is a slower paced version and is driven by Electro beats that are carried through the air by the Ambient/dream lines that elevate the whole mix. This version leans more towards the underground Acid Phunk sides. Other versions include the Harlem Knight Mix, which is a funky house side that holds the percussion, a tight house beat, ambient drones, and “Biggie” HipHop influences. And also worth mentioning is the CRE8TIVATORS mix provided by Mori Ninomiya and Rich Pangilinan. This mix starts off with a good House beat that is overcome by Jocelyn’s vocals. “The Rhythm” phrase is repetitive and dives through an ocean of House drones that merge with Electro edits that lean towards Techno. Towards the end it drops into a small break of Electro Break beats before jumping back to the House. This is the mix that is recommended for all underground joints. If you to get off, this is the version right here.
The good thing about Timber is that unlike so few record companies that only stick to one style, they know how to stroke different folks. They provide mixes not only for the “Freestyle” arena, but flava for the deepest ocean of the underground Dance. Unfortunately some DJs overlook these records simply because of the artist and because of their ignorance, they overlook some killer ass Trance and House sides. For example,”If I Had The Chance” by Cynthia. Let me tell you that as soon as you put the needle to the wax on the Edge Factor Mix, you will see the feather boas come out and the shirts come off. The house beats start to get you pumped up. Then the piano progressions begin to fade in. The beat stops and the melodies begin to unify with the piano progressions before merging with the beat again. By this time all hands will be in the air waving from side to side as people will be chanting to the chorus of the record. After this the record continues to WORK you. It’s simply a masterpiece to see Freestyle vocals merged with a style of House that is reminiscent of the forgotten “Club style Freestyle” that Miami had in the 80’s or even Evelyn Thomas’s “High Energy”. If you are not in the mood for vocals or in the mood for some deeeep grooves, then the Mixfactor dub is for you. This will elevate every part of your body. More on a side that would blend in nice with Daft Punk’s “Revolution 909”. I see all the kids trading their lollipops for this. Markus Schulz and C.L Mcspadden provide both the mix and dub versions.
On another note, the Timber mix is the only proper mix. This is the “Freestyle” version that is popping up on most turntables around the North American continent. Starting out with a House beat and synth that is quickly put to a stop with a drop in Electro elements, the record then jumps into Electro Funk beats mixed together with “Fix It In The Mix” and “Clear” samples. Adding to this flavor is the COWBELL. Yes people, as in MOOOO. The cowbell makes its solo day-view on the second verse. It sounds so sweet after years of not hearing a cowbell on a record. The track is backed up by a heavy Bass (old Miami style Bass) and contains drum rolls and the soul of the song, the harmonious melody. Also available is the Cruz & Lucci Krash mix, which is tight in production and holds good percussion’s and drum rolls.
This has a more of a percussive/ tribal side to it. The beats could be used to bridge the record to other tribal or Latin house sets, or used to spice things up. It’s cool. Finally there is the Slammin Sam Mix. I do not see why there could not of been a mix provided by Omar Santana, Noel W. Sanger, or even George Acosta. It would have been beneficial for the Freestyle genre, by exposing it more to the Underground and International Dance scene. Sam’s mixes are good, but here the shit sounds tired, played, and predictable. The sound is similar to almost every other record he has done. This is the Cynthia level. In my opinion if some one is going to remix for a key artist, they need to put a little bit more creativity into their work. People need to see the best sides of Freestyle. I am not going to say anymore.
All I got to say (and this is for everybody), if there is money involved spend it wisely on someone who could provide a mix that would serve as an inspiration to others. Something fresh and new to the ear, not just another mix that everyone’s already heard before. Most importantly, do not try to please the Freestyle crowd with names that they would only accept. Some times names are bigger than what they are and are usually followed by egos larger than the name itself. Unfortunately half of today’s “Freestyle” population has never seen good quality Freestyle or skilled individuals. Therefore when they see someone, who comes close to achieving that “old skool” quality, they praise them more than they should. As for the other half of the population, we’ve seen and done that and now its time to move to higher levels.
Up next we got the NEWEST face to jump in the scene. This month Timber introduces a new artist. A 25 year old ESTEE has her record out now (or soon to be out) called “Its All Because of You”. This shit is the fucking BOMB! Produced by Manny Mohr and JJ Flores with the executive production touch of Mohr and Joey Gardner, this record is definitely going to rock the box. (YOU PULLED ME OUT OF THE RAIN. I WAS DROWNING IN MY TEARS, SO CONSUMED BY MY FEARS. SO AFRAID I WILL NEVER LOVE AGAIN, UNTIL YOU CAME ALONG. I CAN FEEL IT COMING ON. SOMETHING SPECIAL, SOMETHING SO REAL…) this is tooo much. Starting with the Harlem Night Retro Electro Mix, we see ambient meets classic Electro Breakbeats as the structure forms into a scorching Freestyle shelltop. Drum rolls, handclaps, and several samples are found here. Although containing present Ambient influences it’s the Cre8tivator mix which would serve as an alternative to a more present Electro Freestyle (although reminiscent of “Pretty Tony/Trinere Syndrome”). These will be the scorchers for all the Freestyle and Acid Phunk heads. We have House mixes also that will be seen next week, but I have to mention the Raise the Roof Mix. The “Raise The Roof” mix, provided by Brian Kierulf & Sal Dano, starts off with a percussive House side that builds up before launching into an atmosphere of a dream. Then it pulls you back to earth and sends energy through out your body that is so indescribable. I would continue but we all want ESTEE back next month, Right? So we wait for more next month.
Jumping to the State Of Sunshine. After the big contributions and new faces that would pass through the Freestyle scene, Planet Soul, Acid Factor, Nadine Renee, and countless others, the elevation of the Freestyle sound would elevate. This would open new doors for dance artist to come into a new arena and practice what they do best. As the years passed, new faces that would or would not consider themselves to be “Freestyle” artist begin to have their share of the spotlight. None the less, the cultivation of Freestyle and Dance artist would continue.
As mentioned last month with the single “This Time” (Produced and arranged by Frank Lords’ formerly of Secret Society and now Latin Express), once again he is back with his rich deep vocal skills. Alabast3r Records main priority and Miami’s newest face,well in reality Rene is not “New”. The 26 year old Cuban born and Miami raised singer has been around for a while. He had a record at the age of 17 and was even signed to Pandisc records in Miami. He was present during Miami’s Freestyle era in the late 80’s and still is inspired by that time. “It’s Not Like Before” states Rene. “My record is being played in several stations across the U.S., everywhere except my own town and that sucks!” Despite the frustrations that the singer expresses about Miami radio not supporting their own, like many others he does not let it take the best of him.
This month he brings us “Talking In Your Sleep”. The record was originally a pop rock song in the 80’s by a group called The Romantics. Here Rene gives an outstanding vocal performance as he brings this piece to life. The mix to get your fix is the D n Cosmic Phunk in D Ghetto mix. Starting out with a tripish synth whipping its way up words that drops into a bed of house beats and drum rolls as Rene provides the vocal. By the second verse the house is replaced with a bed of funky beats and breaks. This holds an underground edge to it and should be favorable to all funkateers and Electro Freestyle junkies. Also provided is a Planet Rock version. Before any one throws a shoe, it is actually good. It has an ambient feel in it that makes it seem “Spacey”. Also the piano keys and drum rolls are favorable. There are also various House & NRG mixes that would be of interest to both DJs and radio people. The album version is nice. More musically in terms that it would cross to the adult contemporary interest. It’s more on the poolside groove. I believe in this record as much as I believe in Rene as an artist and any other artist I write about. Hopefully we all will hear from Rene, William Tejeiro, and Alabast3r in the future. If not, it will be a great loss. Sometimes people see things others don’t. I always look at what an artist could become.
For more info call (800) 464- 2271
It has always been natural for one artist to bring in another or to at least introduce another to a scene. In this case, if it were not for Rene, we would not have this lady coming up right here. Let me basically drop the bomb on you all. This girl trained since the age of 9 and was going to sing Opera. She left that to sing Dance music. That’s what you call love. With that alone Alegra has respect. She speaks five languages: Spanish, English, Italian, French, and German. She used to be a member of MTS, a successful Dance act. This 27-year-old blond bombshell puts so much energy in her stage performance; they have to keep fire extinguishers near by.
If Alegra sounds familiar to some of our readers, she should. A couple of month’s back she performed at a show (Club Taj) and basically appeared on the coverage that F.M.Com obtained from the performances that night. Recently she performed for the opening night of the Midem Miami Dance event (at the Shadow Lounge) along side Tito Puente Jr. and 3rd Party and others, where she performed her newest track called “FunHouse”. “Funhouse” is an upbeat house track that should with no problem get added to some radio stations play list. In fact it is a commercial House track (ala CeCe Peniston “Finally” level). The track would appear on her full-length album produced by Frank Lords and Antony Livoti. Also on this album one would probably find other tracks like the vocally blessed Drum n Bass “Time To Say Goodbye”, “The Ultimate”, “Crave” and the scorcher that brought her to attention. “My Love” is what you would describe as a record that leans towards Acid Phunk and Neo Freestyle.
In fact that is where it would probably be most successful. This record could become for today, what Samantha’s “Craving Your Love” was to this scene a couple of years ago. Layered over Electro beats and combined with the Alegra’s vocals – nuff said. People do not know what they are missing out on. For more info contact Carmine Cristofer @ (954) –983-5284.
Next we got some Acid Funk, New skool Breaks, trip Hop, or whatever people want to call it. It’s the new style. From the Kram roster rises Mariner. Mariner’s “So Real” appeared on “The Best Of Kram: The Underground Kingdom” CD, which was featured here a couple of months back. This month we have Mariners full blown album “Amphibian”, which was written and put together by Mariner himself. If you like Acidic Phunk, this is for you. I could see the b-boys and club kids begin to run towards this like there was no tomorrow. This is flawless. Eleven cuts of non-stop beat breaking acidic phunkiness that can take you to the stars, the moon, the sun and all the planet (Rocks).
The album contains cuts like “Submerge”, “Our Lives”, “Slap”, “Carcharodon”, “So Real”, “How Ya’ll Feel Out There”, the slamming “Ballenopera” and others. This is one of the highlights of the year, as for being one of my personal favorites. The CD is tasty indeed. It is recommended, a must have if you are into Electric Breaks, Funk, Freestyle Beats, Drum rolls, and so many other types of goodies. I should not have to be specific. By now every one must know what’s up.
Mariner is also going to be headlining the 98 Zen Fest: Elements Tour that should be sparking up right about now.
Next we got Unit 28 with “I Want My Freedom” out on Neurodisc. On vocals we have Lauraine Makintosh (Girl, where does one get a name like Makintosh. That’s so kool). Lauraine has worked with Mary J Blige, Donna Lewis, and Dianna King among others. Gary Miller is the other half of Unit 28. The production shores are in the hands of Gavin Henry and Nathan Locket (Baffled). The radio edits is a good pop house version as the Big Time has a more of a brass influence. The Big Time vocal and dub are good sides for House mixes. OK, the main attraction here for my funkateers is the Baffled Crispy Duck Mix (See now I’m getting hungry. But I do not like duck; it’s too greasy. I especially do not like it when they do not chop off the head. It looks at you while you are eating it). Anyway it is the Duck mix that leans towards the funky side of things. Good for your “Trip Hop” mixes. It is a record worth checking out.
Ok people, that is it for this month. Check out next month when we go over stuff that did not fit into this month. The reason is because the material needs to be seen in specifics. If I donate just one paragraph, I would probably be leaving out a lot of info. Next month we will cover BRIAN MIDDLETON and other material from Escape Entertainment. We will also focus on a District Records singer that goes by the name TORY BEATTY and his record “GO WITH IT” (Contains a hi- nrg mix by one of our very own LEWIS MARTINEE). Also more of “Greatest Beats” Vol. 3&4 on Timber. More ESTEE. We skipped the classic of the month, so that leaves us with 2 for next month. Next month we got a lot to cover. Of course always bringing in the best sides of Dance music especially today’s Acid Phunk and Neo Freestyle.
One more thing “Push it in, push it out”. Has any one seen Tira Black? Cuz those vocals sound familiar. In fact they sound just like ELISSA’s vocals. What are the chances that a artist records a record under another name and another company, who then sells it to another record company who blows it up and never gives credit to the “REAL” artist.
Check out Elissa’s column where she looks into the Canadian scene and shines light on people there. Also on events that take place in that region. One event was the Hot Rush concert that she performed in, as well as Ultra Nate, Jocelyn, and many others including every ones favorite Rockell, who suppose to have went up there representing NEW YORK.
Also check out our other writers:
Arturo Arreola – ” Desde La Bahia”
Elissa – “Freestyle In Canada”
Raul d’Ablaing – “The Studio Report”
Ivan Diller – “The Judy Torres Interview”
Jorge A. Ojeda – “Community Report”
Rob Sangiovani – “Freestyle In Texas”
Vic -Ten – “Dance X-tra”
Gina Vega – Gonzalez – “Women In Freestyle”
” IF IT’S NOT ON
IT’S NOT REAL”