Joey Negro integrated his passion for disco music into house music as both a producer and as a remixer, causing many to call his music disco-house. Negro released music under a plethora of monikers for a multitude of record labels throughout the ’90s and into the next millennium. Just as importantly, he curated several crucial compilations that gathered underappreciated dance music from the ’70s and ’80s.

Born as Dave Lee on England’s Isle of Wight, Negro’s lifelong relationship with dance music began in the late ’70s, when he began collecting disco, soul, and funk records. In 1986, he moved to London and began working at a record store, Smithers & Leigh. The store closed down a year later, however, and Negro began working for Rough Trade Distribution, starting its dance department, Demix, and working with labels like Rhythm King. Negro started his own label in 1988, Republic Records, and released his first production, M.D.EMM’s “Get Busy.”

Negro would go on to release most of his early productions on Republic over the next few years. His first release as Joey Negro came in 1991, “Do It Believe It,” released on Nu Groove, followed by “Do What You Feel,” released on another of his labels, Z Records. Virgin eventually released “Do What You Feel” and the song became both a club hit and a pop hit, resulting in an album deal with the major label. Throughout the remainder of the decade, he continued releasing his productions under an array of monikers and had even more success as a remixer, not to mention his DJing. The compilations of rare disco and post-disco he assembled include Jumpin’ (two volumes on Harmless), The Soul of Disco (two volumes on Z), Disco Spectrum (three volumes on BBE), Disco Not Disco (the first two volumes, for Strut), Destination: Boogie (Z), and Backstreet Brit Funk (Z).

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2010 SEPTEMBAR 2010

Babel

A.b + Rob Regan
(NightChild Records)

1992 ITALIA NETWORK CLAIM.

Berghain / Panoramabar
Arguably the best club in the world right now, this place is quite simply a mecca for the most avant-garde underground deep house, minimal and techno. Set in an imposing old power plant, which previously hosted a fetish club until 2003, the industrial Berghain main room is of colossal proportions, defying the 1500 capacity, and is clad in steel and concrete with not one single mirror. The hedonism makes Studio 54 look like a boy scout’s meeting – people (gay men mainly) make no secret about having sex in open – and cameras (even on phones) are strictly prohibited. These conditions, coupled with only the finest Grade A artists from the underground scene, make for a unique rave experience. Upstairs is the more intimate and lighter house sounds of the Panoramabar, although when I say lighter we’re including guests like Carl Craig, Guy Gerber, Shinedoe and Paul Woolford in that description.  

Location: 70 Am Wriezener Bahnhof Friedrichshain
Berlin, BE DE 10243
www.berghain.de

Originating at the turn of the 1980s as a leader of the lite-jazz movement, Everything but the Girl became an unlikely success story more than a decade later, emerging at the vanguard of the fusion between pop and electronica. Founded in 1982 by Hull University students Tracey Thorn and Ben Watt, the duo took their name from a sign placed in the window of a local furniture shop, which claimed “for your bedroom needs, we sell everything but the girl.” At the time of their formation, both vocalist Thorn and songwriter/multi-instrumentalist Watt were already signed independently to the Cherry Red label; Thorn was a member of the sublime Marine Girls, while Watt had issued several solo singles and also collaborated with Robert Wyatt.

Everything but the Girl debuted in 1982 with a samba interpretation of Cole Porter‘s “Night and Day”; the single was a success on the U.K. independent charts, but the duo nonetheless went on hiatus as Thorn recorded a solo EP, A Distant Shore, while Watt checked in with the full-length North Marine Drive in 1983. EBTG soon reunited to record a cover of the Jam‘s “English Rose” for an NME sampler; the track so impressed former Jam frontman Paul Weller that he invited the duo to contribute to the 1984 LP Cafe Bleu, the debut from his new project, the Style Council.

Everything but the Girl’s own beguiling 1984 debut, Eden, followed on the heels of the single “Each and Every One,” a U.K. Top 40 hit. The jazz-pop confections of the group’s early work gave way to shimmering jangle rock by the time of 1985′s Love Not Money, while a subtle country influence crept into the mix for 1986′s lush, orchestral Baby, the Stars Shine Bright. The beautifully spare Idlewild followed in 1988, spawning the single “I Don’t Want to Talk About It,” a poignant cover of a song by the late Crazy Horse guitarist Danny Whitten which became EBTG’s biggest hit to date, landing at the number three spot on the British charts.

Watt and Thorn traveled to Los Angeles to record 1990′s slick, commercial The Language of Life, produced by Tommy LiPuma and featuring a guest appearance by jazz great Stan Getz. After a return to pop textures with 1991′s Worldwide, Everything but the Girl mounted a series of club performances which resulted in 1992′s Acoustic, a spartan set of covers (including Elvis Costello‘s “Alison,” Bruce Springsteen‘s “Tougher Than the Rest,” and Mickey & Sylvia‘s “Love Is Strange”) which presaged the coming ascendancy of the “Unplugged” concept. In the wake of the record’s release, Watt fell prey to Churg-Strauss Syndrome, a rare auto-immune system disease which brought him to the brink of death; after a year in recovery, he wrote several new songs which the duo recorded for inclusion on Home Movies, a 1993 hits collection.

In 1994, EBTG collaborated with trip-hop innovators Massive Attack on their LP Protection; Thorn‘s vocal turn highlighted the hit title track, and the cinematic Massive Attack sound clearly informed Everything but the Girl’s own 1994 effort, Amplified Heart, another strong and eclectic outing featuring an appearance by guitar great Richard Thompson. In 1995 the soulful single “Missing” was innovatively remixed by Todd Terry, and after first becoming a club sensation the track blossomed as a major international hit, reaching the number two position on the U.S. pop charts. More importantly, Terry‘s remix, combined with the lessons of the Massive Attack sessions, launched the duo into an entirely new — and equally satisfying — musical direction: with 1996′s brilliant Walking Wounded, Everything but the Girl dove headfirst into electronica, crafting sophisticated, assured excursions into trip-hop and drum’n'bass. In 1999, the duo reappeared with Temperamental. Back to Mine was issued by Ultra in spring 2001.

Every day, our best music selection !!!

SOUNDBASS from 4 to 11 September 2010.

IN THIS PICTURE: CHRISTIAN HORNBOSTEL, SONIA PISANO, LUCA BELLONI, MOKA and MR MUPI.

Razzmattaz
Huge Barcelona club, in terms of both size and reputation. Located a short taxi ride from central Barcelona, this old factory houses 5 distinct club spaces covering all musical tastes from techno to rock to chillout to disco. If you don’t manage to get lost inside, you’re a legend and one of The Loft , Lo*Li*Ta, Razz Club, Rex Room and even the Pop Room will provide you with something that appeals.

Address: Almogàvers, 122/ Pamplona, 88 – 08005, Barcelona, Spain,
www.salarazzmatazz.com