“He is also known to stop records while they are playing to talk to the crowd. In many of his gigs he would stop the music, scratch the vinyl on the decks then lift the record and speak to the crowd informing them how his women prefer 12”.”
Waist
"...I agreed that what really matters is what you like, not what you are like... Books, records, films -- these things matter. Call me shallow, but it's the fuckin' truth."
www.facebook.com/officialhomework
Bookings: jo@jackmode.de Homework
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Bookings: jo@jackmode.de Homework
“Larry Heard (born May 31, 1960, Chicago, Illinois) is a Memphis, Tennessee-based musician widely known for the Chicago-based house music he produced during the mid-1980s and continues to produce today. He was leader of the influential group Fingers Inc. and has recorded solo under various names, most notably Mr. Fingers.
Born on the South Side of Chicago, Heard grew up hearing jazz and Motown at home, and could play several instruments from a young age. Before beginning his solo musical career in 1983, he was a member of the bands Infinity (a jazz-fusion covergroup that included Adonis) and the Manhattan Transfer. He also worked for the U.S. government as a benefit authorizer, which enabled him to buy his first studio equipment. Although he has created much music and his career is ongoing, he is most well known for recording these songs, mostly from the mid-1980s:
“Can You Feel It”
“Bring Down the Walls” (ft. Robert Owens)
“Mystery of Love”
“Washing Machine”
“Donnie” (as the It)
“Closer”
“What About this Love”
Much of Heard’s music is released and re-released under different names, which include Fingers Inc., Mr. Fingers, Loosefingers, Fingers, House Factors, and Trio Zero. Robert Owens was the vocalist on many of those tracks. Heard was also part of the duo known as the It, along with street poet Harry Dennis.”
Zip
“Dexter Gilman Wansel (born August 22, 1950) is an American keyboardist, raised in Philadelphia, Pennsylvania. He contributed to the development of the Philly Sound and worked with producers Gamble and Huff at Philadelphia International Records. Wansel led the musical group, Yellow Sunshine. He has worked with Phyllis Hyman, The Jacksons, MFSB, Teddy Pendergrass, Patti Labelle, Grover Washington Jr. and Lou Rawls amongst many others. He also wrote The Jones Girls 1981 soul music song “Nights over Egypt” and Patti Labelle’s 1984 #1 R&B hit, “If Only You Knew”, with Cynthia Biggs.”
Zip
“Theodore DeReese “Teddy” Pendergrass (March 26, 1950– January 13, 2010) was an American R&B/soul singer and songwriter. Pendergrass first rose to fame as lead singer of Harold Melvin & the Blue Notes in the 1970s before a successful solo career at the end of the decade. In 1982, he was severely injured in an auto accident in Philadelphia, resulting in his being paralyzed from the waist down. After his injury, the affable entertainer founded the Teddy Pendergrass Alliance, a foundation that helps those with spinal cord injuries. Pendergrass commemorated 25 years of living after his spinal cord injury with star filled event, Teddy 25 - A Celebration of Life at Philadelphia’s Kimmel Center. His last performance was on a PBS special at Atlantic City’s Borgata Casino in November 2008.”
Zip
“Jesse Gould’s funky anthem from 1981 utilies the distinctive production sound of Billy Nichols and a bass-line similar to “Seven minutes of Funk” byThe whole Darn Family. It’s also a throwback to another monster cut from 1976 - his own “Out Of Work”, which for many years nowhas been something of a cult disco 12”. Save the lirick, bass and toned-down mix, this could almost be the same record. Gould recorded a couple of other small label 12”s during the 1980s and even returned to the Queen Constance fold (P&P released “Out Of Work”) for “Let’s Do It, in 1984.”
Zip
“Primarily a bassist, multi-instrumentalist, and producer, Marcus Miller has worked on hundreds of sessions — crossing jazz, R&B, and rock — and has released several solo recordings since his late ’70s beginnings with Bobbi Humphrey and Lonnie Liston Smith. Despite the many hats he has worn — improviser, interpreter, arranger, songwriter, film-music composer, bassist, clarinetist, saxophonist — none of them have been put on for the sake of the whim. Never one to merely get his feet wet, Miller has been a utility player in the most extreme and prolific sense.”
Waist
“One of only a handful of British techno acts ostensibly pursuing a legacy of British techno firmly rooted in its Detroit pre-history, B12 are also (perhaps resultingly) one of the few British techno acts also hailed by the Motor City’s aesthetic elite. Notoriously shy of the music press, the London-based duo of Mike Golding and Steve Rutter have quietly made their contribution to post-rave techno by updating Detroit’s signature optimistic/dystopian futurism for a digital age, constructing tracks of glinting, heavily syncopated electro-techno with a strong base in melody and mood. A relatively young project, the group have made an impact despite a comparatively conservative release schedule. They issued their first handful of untitled 12-inches — attributed to a loosely structured catalog of pseudonyms like Redcell, Musicology, and CStasis — on their own B12 label, and were immediately hailed alongside U.K. techno acts like LFO, the Black Dog, Sweet Exorcist, and Tricky Disco as heralding something of a new age of post-acid house techno-based electronic music. Included on the Warp label’s somewhat disastrously titled Artificial Intelligence compilations (the pair signed with Warp in 1992), Golding and Rutter were also (somewhat unfairly) pegged as the sort of likewise artful noodlers the term “intelligent techno” has since come to signify. Their Warp debut in 1993 assembled the best of their early years, and the group followed the release with a three-year hiatus before releasing the like-sounding Time Tourist in 1996. Outside of their relationship with Warp, the group keep all other B12-related music-dealings in-house — including distribution — which means their records can be somewhat hard to find. Their two full-lengths for Warp were reissued in the U.S. by Wax Trax!/TVT.”
Waist
“While many acts in the continuing electro-funk revival of the late ’90s hid behind aliases and updated the sound considerably, Ed Upton’s DMX Krew made few concessions — for better or worse — to music or graphic technology developed later than 1985. Turned on to electro in 1983 after buying a Kraftwerk seven-inch as a teenager, Upton began recording as DMX Krew in the mid-’90s, with his first album The Sound of the Street appearing in 1996 on Rephlex Records. Tracks like “Rock to the Beat,” “Move My Body” and “Dance to the Beat” were rough but effective pastiches of spare street-level electro from the glory days, while the high-profile status of Rephlex (the label founded by Aphex Twin) guaranteed Upton a degree of exposure. Rephlex’s commitment to electro (as witnessed by its retrospective of electro-bass pioneers Dynamix II) resulted in several additional DMX Krew albums, including 1997’s Ffressshh! and the following year’s Nu Romantix. We Are DMX followed in 1999. Upton also remixed an electro classic (Herbie Hancock’s “Rockit”) for Sony, recorded an EP of Kraftwerk covers and released tracks by Bass Junkie, Mandroid and Biochip C on his own label, Breakin’ Records.”
Waist
