Bio
First In, Last Out…
1986. I mix New Orders “Blue Monday” and “Bizarre Love Triangle” on old belt drive Technics with a Radio Shack budget mixer. What a rush. It all made sense. I had just met DJ Ed Fritz who had a basement studio with 10,000 records and was mixing though a Yamaha PA console – left and right channel faders for each one of 3 turntables…and he nailed it. What are all these records? “That’s the way they play in Montreal”, he says. So we’re off to Club Business on Rue St Laurent in the Porsche to check it out – incredible.
Come home and sell car to buy a Roland TR-707, Yamaha DX7, Korg Poly-61M, Juno 106 and Korg SQD1 sequencer. Made some truly stiff Techno! Whaddya mean these keyboards only do one sound? Techno and House music scene is growing and spend all my money on records and gear and get skinny. Get out of restaurant business to pursue DJ’ing.
Still the 80’s. Grandparents kept writing me about the coast of Spain. They live near Gibraltar. Want me to come check it out in summer. Islands in the Med? Majorca what? Ibiza where? Coasta Da Soul?
Playing New England clubs and heavily into Belgian New Beat, Acid House scene. Totally inspired by Djs like Kevin Fennelly, Ed Ffritz, Willy LeMay, Sean Sweeny. Need a change of scene though, need more color.
Move to San Diego Fall of 1991. Thank you Carla. Turns out to be about as good timing and a positive career move as anything could be. In one word – RAVES. Within a couple of months am headlining every SoCal Rave and Rave Club – Narnia, Opium, Microraves, Global Underground, Rubber, Barbarella, Evar, and endless others. Ahhhh, the days of 25 new imports and five gigs a week. It all clicked. Appear in every URB Mag. It all started then – Touring/guest DJs, Lasers, Intelligent lighting, Flyer Art, Smart Bars, the Logo T-shirt and the Surfer club-kid look, record boxes, record bags, flyer racks in stores, mix tapes. Then the whole country started getting it and promoters looked to California for a model and I started touring. SF, LA, Denver, New York, Montreal, Toronto, Chicago, Texas, Portland OR, Seattle, Ottawa, DC, MD, Mexico and the Carribean. A Tokyo gig was booked but work Visas never came through. Flew 150,000 miles.
Fall in love, move back to Boston 1993. Things a bit fast for my tastes in SoCal. Start throwing Raves with excellent Primary Crew. 333 Mgee. Make new friends. Meet the talented Benny Blanco and we release “Sedona – Pulsation” on OHM Records with a mix by Space Records’ Rob Vaughn that Sasha played quite a bit. Back in SD in 1995 Benny, Nate Asher, Daeman Connolly of Champion Sound and I release a trippy acid-tech track called “Analog Addict” which NY DJ Onionz licenses 7 years later and will be out Summer 2003 on Electrik Soul. He wrote me that its been in his record box forever and he’s played it all over the world. Nice!
Back out west 1994. Accept management / buyer offer at Deltra Distribution, London, LA offices. Rampant Recordings’ Paul Grogan and I remix “Coast”, a track Benny and I wrote and is released on Rampant which was their best selling record of all time. Accept plush new job at mega sample-CD firm soundsonline.com in Beverly Hills. Nice. Meet Jim Lang and work on “Hey Arnold” for Nickelodeon.
Miss DJ’ing, LA club scene is not happening. Get nearly tackled at a desert rave DJ’ing in San Diego – whot the f@#k? Touring heavily in Canada now. Meet and tour w/Max Graham. He in turn shows me how to mix records again. Back to Boston. 1998. Jed and I form Element Recordings and release “Too – The Emit EP” which gets terrific reviews and we hear Digweeds playing “In The Making”. Burn out. Take a break to have Jaksen….
2001 - Matt McKenna and I release “The Frog King” and "Time Beings" - double A-side on our Syncopate Label which was played again by Digweed at WMC 2002. Convert studio to all digital using all Emagic Logic, Native-Instruments, Linplug, Waves, Soundforge, PPG, Mercury 1, Pro 53 and PSP vsti’s and plug-ins.
1986. I mix New Orders “Blue Monday” and “Bizarre Love Triangle” on old belt drive Technics with a Radio Shack budget mixer. What a rush. It all made sense. I had just met DJ Ed Fritz who had a basement studio with 10,000 records and was mixing though a Yamaha PA console – left and right channel faders for each one of 3 turntables…and he nailed it. What are all these records? “That’s the way they play in Montreal”, he says. So we’re off to Club Business on Rue St Laurent in the Porsche to check it out – incredible.
Come home and sell car to buy a Roland TR-707, Yamaha DX7, Korg Poly-61M, Juno 106 and Korg SQD1 sequencer. Made some truly stiff Techno! Whaddya mean these keyboards only do one sound? Techno and House music scene is growing and spend all my money on records and gear and get skinny. Get out of restaurant business to pursue DJ’ing.
Still the 80’s. Grandparents kept writing me about the coast of Spain. They live near Gibraltar. Want me to come check it out in summer. Islands in the Med? Majorca what? Ibiza where? Coasta Da Soul?
Playing New England clubs and heavily into Belgian New Beat, Acid House scene. Totally inspired by Djs like Kevin Fennelly, Ed Ffritz, Willy LeMay, Sean Sweeny. Need a change of scene though, need more color.
Move to San Diego Fall of 1991. Thank you Carla. Turns out to be about as good timing and a positive career move as anything could be. In one word – RAVES. Within a couple of months am headlining every SoCal Rave and Rave Club – Narnia, Opium, Microraves, Global Underground, Rubber, Barbarella, Evar, and endless others. Ahhhh, the days of 25 new imports and five gigs a week. It all clicked. Appear in every URB Mag. It all started then – Touring/guest DJs, Lasers, Intelligent lighting, Flyer Art, Smart Bars, the Logo T-shirt and the Surfer club-kid look, record boxes, record bags, flyer racks in stores, mix tapes. Then the whole country started getting it and promoters looked to California for a model and I started touring. SF, LA, Denver, New York, Montreal, Toronto, Chicago, Texas, Portland OR, Seattle, Ottawa, DC, MD, Mexico and the Carribean. A Tokyo gig was booked but work Visas never came through. Flew 150,000 miles.
Fall in love, move back to Boston 1993. Things a bit fast for my tastes in SoCal. Start throwing Raves with excellent Primary Crew. 333 Mgee. Make new friends. Meet the talented Benny Blanco and we release “Sedona – Pulsation” on OHM Records with a mix by Space Records’ Rob Vaughn that Sasha played quite a bit. Back in SD in 1995 Benny, Nate Asher, Daeman Connolly of Champion Sound and I release a trippy acid-tech track called “Analog Addict” which NY DJ Onionz licenses 7 years later and will be out Summer 2003 on Electrik Soul. He wrote me that its been in his record box forever and he’s played it all over the world. Nice!
Back out west 1994. Accept management / buyer offer at Deltra Distribution, London, LA offices. Rampant Recordings’ Paul Grogan and I remix “Coast”, a track Benny and I wrote and is released on Rampant which was their best selling record of all time. Accept plush new job at mega sample-CD firm soundsonline.com in Beverly Hills. Nice. Meet Jim Lang and work on “Hey Arnold” for Nickelodeon.
Miss DJ’ing, LA club scene is not happening. Get nearly tackled at a desert rave DJ’ing in San Diego – whot the f@#k? Touring heavily in Canada now. Meet and tour w/Max Graham. He in turn shows me how to mix records again. Back to Boston. 1998. Jed and I form Element Recordings and release “Too – The Emit EP” which gets terrific reviews and we hear Digweeds playing “In The Making”. Burn out. Take a break to have Jaksen….
2001 - Matt McKenna and I release “The Frog King” and "Time Beings" - double A-side on our Syncopate Label which was played again by Digweed at WMC 2002. Convert studio to all digital using all Emagic Logic, Native-Instruments, Linplug, Waves, Soundforge, PPG, Mercury 1, Pro 53 and PSP vsti’s and plug-ins.
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