Archive for DJ Low Key

Sunday, 5/15 -> Juan Lee Reed – Rhode To Heaven EP Release Party at Connected w/DJ Low Key + special guests J Reed on live trumpet & Nofrendo on live beats…

SUNDAY, 5/15 ->  Don’t miss the Juan Lee Reed – Rhode To Heaven EP Release Party at Connected w/DJ Low Key at the Hai Bar at Sushi Hai.  J Reed himself will be in the house playing live trumpet while producer/Chops Records founder Nofrendo will be on the live beats.  I’ll be holding down the rest of the night’s music with the best in R&B, soul music and fun stuff like that.  As usual, we’ll be rockin with the THICK happy hour, featuring sushi, apps, sake, beer, wine & more.  21+ /// 8:30-11:30pm /// 32nd & Lowell in the Highlands/// No cover.

The Denver Post/HeyReverb.com on Rhode To Heaven:

Indianapolis-born Reed — who counts the legendary Hugh Ragin among his teachers — is a lyrical trumpet player whose emotive style comes closer to that of a great jazz vocalist than to the usual pantheon of jazz trumpeters.

For his debut EP, “Rhode to Heaven,” Reed (a.k.a. J. Reed) teamed up with Denver DJ, beatmaker and producer Nofrendo (a.k.a. Joseph Mezey, a.k.a. DJ Scrub), to create a record that skillfully balances jazz, hip-hop and even some drum-and-bass elements. Though occasionally reminiscent of ’90s acid jazz (and occasionally guilty of some its sins, like prioritizing beat over melody), “Rhode to Heaven” — which will be released on Nofrendo’s Chops Records — is a thoughtful and tasteful collection that just might create some new jazz fans. A number of the tracks would play just as well in a dance club as in a jazz lounge, with Nofrendo’s crisp production and funky beats providing the ideal setting for Reed’s laid-back horn playing. “Cryin’ Sun” — with beautiful guitar work by Chops Records artist Andy Nicolai — epitomizes this unique collaboration.

Friday, 5/13 -> Get Dressed Denver Fashion Show w/DJ Low Key, LuckyIAm & more…

FRIDAY, 5/13 -> All y’all fashion heads might wanna check this out.  I’ll be DJing and hosting the 2nd Annual Get Dressed Denver Fashion Show at City Hall.  LuckyIAm (of the Living Legends) and DJ Nykon will be in from out West to perform, there’s gonna be a shoe donation drive for giveaways and the latest in fashions from Akomplice, Icelantic, Bambu, Company of Artists, Meglad & more. 18+ /// Doors at 8 /// More info at GetDressedDenver.com.

Every Sunday -> Connected w/DJ Low Key at the Hai Bar…The best in soul, R&B and more…

SXSW 2011 Recap…Shouts to Tanya Morgan, Che Grand, TiRon, Vibe, Billboard, DJ Trackstar & Lil’ Car, to name a few…

Pic by Lightworks, check out their full Rappers I Know SXSW photo booth at RappersIKnow.com

After a nonstop week of Colorado shows with Tanya Morgan, TiRon, Whygee & King F.O.E. on the Ahead of the Class Tour and throwing the Foreign Exchange’s Denver debut concert with RBMA midway through, it was off to Austin for my third SXSW trip.  As usual, things in Austin were RIDICULOUS; a ton of homies from all over the country scattered across the city that I wanted to link with, more shows you wanna see than you can physically attend and the craziness of Austin in general all fighting for your attention from the time you touch down.  With that said, me, Donwill, Von Pea & Dominic Del Bene were all so exhausted from the week before that we took our first night there easy, on some calm before the storm ish.

Rappers I Know showcase, check out more pics from the show courtesy of Mel D. Cole here.

Thursday, 3/17: After getting a good night’s sleep, we hopped in Lil’ Car (aka our undersized rental and parking blessing in disguise) and hit up the chaos that is 6th St/downtown Austin during SXSW.  I saw something on TV Wednesday night saying that the official attendance for the festival was up 30% and you could definitely tell by the parking mess and floods of people in downtown Austin.  We checked out the Fader Fort for a little bit and made our way to the Rappers I Know showcase for our show.  The crowd was mad cool at the showcase and thing were off to a good start until the entire sound board stopped working and the room went quiet during Donwill’s super long (48 bar?) verse on “Headphone Rock” .  When the music stopped, Don just kept rapping his entire verse without a pause and the crowd went fuckin’ nuts.  It was a great MC moment to witness and by the time he had ended the verse, the soundboard was back running again so we didn’t miss a beat.  We ducked out after we rocked to catch a quick and very fun Wallpaper show around the corner. After geeking out at the Wallpaper show, we came back to the Rappers I Know showcase and caught a surprise appearance from the Alchemist (for an Alchemist/Just Blaze soundclash at that), a Just Blaze/Saigon set and a very entertaining H.I.S.D. set to close out the night.

Friday, 3/18: Friday was probably my most hectic day of SXSW.  During the day I DJed for Tanya Morgan at the 2 Dope Boyz aka #Fuck2DopeBoyz showcase.  In one of the weirdest moments of my DJ career, the bouncer at the Dizzy Rooster initially wouldn’t let me into the venue with my DJ bag until after 10 or so tense minutes in which me, Meka from 2DopeBoyz.com and a variety of people tried to reason with the asshole bouncer.  Eventually the owner let me in and bought me a beer to apologize.  Our set was between Big K.R.I.T. and the Black Hippy Crew (Schoolboy, Kendrick Lamar, Jay Rock & Ab Soul) and we got mad love from the nearly packed house before wrapping up as a fight broke out between a west coast rapper who will remain nameless and the aforementioned asshole bouncer.

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Later that evening I linked up with the homie DJ Trackstar and we traded off as house DJs for the night at the RIDICULOUS Vibe.com/Cashmere Agency SXSW Showcase aka the Vibe House w/DJ Quik, EPMD, Slaughterhouse, Collie Buddz Blu, Shad, Dee-1 & more (shouts to DJ Hyphen & Jasmin).  We walked in the door and caught the end of Blu’s soundcheck before I was introduced to Dee-1, who I ended up DJing for later that evening.  I wasn’t familiar with Dee-1’s music before the show, but man, I was very impressed once I heard it.  He’s got that trademark New Orleans sounding flow a la Weezy mixed with a touch of incensey Common’s lyrical content but he rocks it in a style all his own.  Download his latest project, I Hope They Hear Me Vol. 2 to get more familiar with one of the better surprises of my SXSW trip.  I rocked a couple of intermissions between acts before handing the house DJ duties over the homie Trackstar the DJ so I could rush over to the Move Forward Music Showcase.  Check Trackstar’s recap over at djtrackstar.com for his take on the night, including when he played “What We Do” and Freeway tapped him on the shoulder to perform it live (I am a little jealous of that).

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I couldn’t be mad though, I got to the Move Forward Music Showcase and the spot was packed sardine thick.  Homeboy Sandman was putting on a rap clinic (if you’ve ever seen him live, you know what I’m talking about) while girls were practically headbanging to his set, it was quite a sight to behold.  Me, Tanya Morgan & Che Grand rocked a set to a dope response, punctuated by an extra intense Von Pea acapella to close out the set (I hope someone got video of that ish).

After the packed Move Forward Music showcase, I had to rush back to the Vibe House to DJ some more.  In maybe my biggest geek out moment of the trip, I got to meet Sway of Wake Up Show/MTV (but way more importantly, Wake Up Show) fame backstage before spinning a west coast set until DJ Quik took the stage.  After Quik’s set, EPMD hopped on stage for their SXSW debut and tore the house down to close out the night.

Pic by Jay Janner, imagine 6+ blocks this packed and dozens more nearly as packed, now times that by 4 days and that’s just the music portion of SXSW

Saturday, 3/19: The Saturday of SXSW is probably the craziest Saturday of the year for shows.  Everybody’s trying to go extra hard for the grand finale of the biggest music festival in the country and it’s overwhelming.  The main focus of the day was the DJing for Tanya Morgan at the Billboard Magazine showcase (check TM mentioned on the cover below and catch us rocking “And You Say” with Che Grand in the video below that) and for TiRon & Ayomari at the Vibe.com Respect The West Showcase.

During the day on Saturday, I got to meet Uzoy (check her mixtape and collabs with the guys from TM, Che Grand on our Fixtape Two and Denver Big Tune champ Boonie Mayfield), caught up with Skillz (it still bugs me out that he recognizes me and says what’s up, I grew up on dude’s music) and DJed for Tanya Morgan at the Rocksmith Showcase. After the show there, it was off to soundcheck (the only one I got in the 7 events I DJed at in Austin) for one of the biggest Tanya Morgan shows to date, the Billboard SXSW stage.

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More video from the Billboard Show: Alleye Need & Bang n’ Boogie /// The Yorker /// Laura’s Song /// We Be /// Love Junkie (Remix)

As you can probably tell from the video links above, the Billboard show was pretty damn good, definitely one of the best TM shows to do date.  From there, I rushed over to the Vibe.com/Cashmere Agency Respect The West Showcase to perform with TiRon and Ayomari.  That show was great as well.  It was the largest crowd I’ve ever rocked with them (a 2 level wall to wall packed Vibe House) and, in my humble opinion, the best show I’ve ever rocked with them energy-wise.  It was a great slot on a perfect bill and TiRon and Ayomari came out with their A-game.  The homie Brandon Cruz took some fancy looking, high quality video that I’m sure will pop up soon, stay tuned for it.

That wrapped up my work schedule for Austin and I spent the rest of the night running around a little too much.  Me, Von, Don & Che caught a brief Pac Div set and rushed off to catch part of the insanity that is Red Bull Thre3 Style Austin.  We caught the end of De La Soul’s set, most of Z-Trip’s set and then rushed back over to the Vibe House to try to catch Snoop, Warren G and DPG’s Nate Dogg tribute.  Snoop’s people must have shut shit down because we couldn’t get back in, even with my artist band from performing an hour earlier.  Devastated, we rushed back over to the Red Bull VIP area where I caught the homies D-JR, Mick Boogie & Kyle Berg spinning to close out the night.  I spent the rest of the night catching up with them, M-Squared, Marlon, DJ Scuba Gooding Jr and the only and only Keith Clingman before I grabbed some incredible tacos on 6th Street and it was time for me, Che and the guys from TM to call it a night.

Sunday, 3/20: The Park’s BBQ has become one of my favorite events of the year.  If you’re not up on them, the Park are an amazing band out of the Bay area who, along with the wonderful Ragen Fykes and producer Keelay (of ‘& Zaire’ fame) make up the group Grillade, who you definitely need to check out.  Anyways, the Park hosts and INCREDIBLE BBQ after SXSW wraps up featuring a bunch of their friends hanging out, eating, drinking and playing music on some too good to be true backyard jam session ish.  I was lucky enough to go last year and this year was even crazier.

Some of the highlights included the aforementioned Wallpaper rocking his “Love Junkie” remix with Donwill as well as covers of Montell Jordan “This Is How We Do It” and The Whispers “Rocksteady” like only Ricky Reed could that had the crowd cheesing, Von Pea, Donwill, Che Grand, Moe Green & STS (Sugar Tongue Slim) rocking the mic early, Ragen Fykes’ warm vocals, DJ Toure from Hieroglyphics hopping on the drums (I had no clue he even played) and The Park and A B and the Sea rocking music that had the whole party grinning ear to ear.  Wallpaper said it best on twitter “Havin the most musical BBQ throwdown today. SHAMING corporate shit.”

After that I spent a couple of extra days, post-SXSW madness in “regular” Austin too.  “Regular” Austin is a beautiful bubble of live music, quirky college town charm and all the possible good applications of the Texas state of mind (in a way that’s completely unique to all of Texas).  I was already feeling burned out from SXSW but it was well worth the extra days to catch up with my college friend Chisum, soak in the true Austin lifestyle & enjoy the magic of the County Line BBQ’s 5 meat BBQ combination, Taco Deli’s unbelievable variety, Mexican vanilla ice cream and the high fructose corn syrup free deliciousness of Mexican Coke and Dublin Dr. Pepper.

I also got a chance to check out Austin legend DJ Mel’s long running “hip hop night at Nasty’s” on Monday night (8+ years, clap for him!!!).  Pretty much everyone in Austin knows about Mel and his night, which had an awesome vibe (very similar to a great night at the Solution), featured a guest spot for my former RBMA Mr. X colleague Prince Klassen and was packed, despite being on a Monday, having a $4 cover and being at what might the roughest looking venue of the 30 or so plus that I’ve been to in my five Austin trips.  It’s always inspiring to see parties based around quality music and Mel’s is an institution, it had me excited to come home and work on four more unforgettable years of the Solution.  After one more day to wind down my Austin trip, it was back to Denver to play catch up from the busy weeks before Austin (which is part of why it’s taken me a month to knock out this post…LOL).

Shouts to the homies I rocked with, caught up with down there or met: Donwill, Von Pea, Che Grand, Dominic Del Bene, TiRon, Ayomari, Mario, Jasmin from Cashmere Agency, Trackstar the DJ, DJ Hyphen, Dee-1, Ragen Fykes, The Park/Grillade, Ricky Reed/Wallpaper, Chisum, Alex from Move Forward Music, Frank from Rappers I Know, Meka & Shake from 2Dopeboyz, JC & MZ from the Smoking Section, Billboard, Y-O, Jake One, Skillz, Brandon Cruz, Homeboy Sandman, Brandun Deshay, Add-2, YC, Nicknack, DJ Mel, Prince Klassen, Uzoy, The Are, Scuba Gooding Jr, Mick Boogie, D-Jr, Kyle Berg, M-Squared, Marlon, Truth Live, Moe Green, the Audible Treats crew, STS, DJ Toure from Hiero, DJ Flash Gordon Parks from H.I.S.D., Jarrell from Clear Soul Forces, the guy who owns the house for the Park’s annual BBQ, whoever it was who let us into the Fader Fort so we didn’t have to wait in that crazy line and anybody I forgot, sorry there’s way too many names to remember a month later.

P.S. It was definitely different this year at SXSW than the last two.  This post is already long enough with my recap, but I’m gonna post up an article that sums up the differences pretty well shortly.

SXSW Addendum: “On Lil B, Diddy, Odd Future And SXSW” from TSS…

SXSW was still incredible this year but it was blatantly different from years passed.  Below is a great read on how and why from David D at one of my favorite blogs/sites, The Smoking Section.

Pics via Houston Press

There was something different about SXSW this year that was hard to put a finger on at first. Parking was more difficult. Drinks were less potent and there were suddenly women showing up on 6th street at night wearing short skirts and stilettos. The indie event was starting to feel like a tourism spectacle, but the changes were mostly subtle.

That was until Diddy cooked.

Let’s rewind. Heading into SXSW, I knew I had to see Lil B and witness firsthand the madness he creates when he does a live show. As I’ve said before in no uncertain terms, B makes horrible music but I do respect his ability to navigate the attention given him and am fascinated by his following. So when I saw that B would be headlining the Fader Fort on Saturday, I was there.

When I walked into the Fort, the buzz was already permeating from the tent. Four white guys next to me had computer paper with “SWAG!” written in technicolor while about a dozen other fans were waving egg beaters and spatulas in the front row before the prolific rookie even hit the stage.

Before the crowd could cook with their anti-hero, Diddy shocked everybody by coming on stage doing B’s dances and introducing him as “the future of Hip-Hop.” When Lil B hit the stage, the crowd came unglued.

B defenders have argued that the rapper has two personae: the “deep” or “complex” lyricist and the Based God that has hoes on his d*ck because he looks like Jesus. It was clear which artist the fans came to see. When Lil B opened with “Age Of Information,” the crowd kind of just stood around perplexed. But as soon as the lights changed and B started cursing and swearing that he was the greatest rapper alive, the Fort exploded. Once “Wonton Soup” started up, it was a tremendous party, and, admittedly, I had a blast. For a few minutes, I was enjoying the most fun show at SXSW in 2011. Then, Lil B The Rapper reared his ugly head again. He spit over ambient noise and tried his hand at the pseudo-lyrical music, but you could tell the crowd was just waiting for songs like “Bieber” and “Like A Martian.” Lil B’s set was truly a tale of two shows with fans coming unhinged for the Based God then standing silently for everything else.

Then the show got weird. Lil B ended his set by talking about the environment and pitching his book – his first go as a “book author” – before quietly walking off stage to a slightly confused crowd. Enter Diddy, who came out to ostensibly hype Lil B’s performance, while promoting himself and rocking the stage for his “Oh Let’s Do It” verse, “Mo’ Money Mo’ Problems” and a few other tracks before bringing out Odd Future to perform “Sandwiches”. Tyler had a can thrown at him. He threatened to beat up fans. And then they plunged into the crowd, knocking people around.

I left the Fort feeling like I had witnessed something important. Diddy proclaimed the future of Hip-Hop to be two young entities that are as divisive as any artists we’ve ever seen. In the same way that Jazz and Funk had to deal with new artists, Hip-Hop seems to be undergoing a changing of the guard. The arrival of Lil B and Odd Future presents Hip-Hop’s first generational gap. As fans, we’ve always been able to adapt with the changing music and newcomers, but this is different. Lil B and Odd Future present a new, different Hip-Hop that the traditionalists – myself included – are struggling to understand. And, just like our parents told us about what we listened to growing up, this new music sounds like noise. Even Diddy had to stand at the back of the stage and try to understand what was going on when Odd Future took over. The lyrics are more profane and have somehow raised the bar on appalling – Odd Future raps about God being cancer while Lil B blasphemes about how him looking like Jesus garners him more sexual exploits. And for the life of me, I don’t see the reason for all of the fuss. But that’s part of their appeal. Odd Future and Lil B are rebelling against the music Hip-Hop grew up on, and their SXSW takeover means their emergence is undeniable.

A more immediate change that March 19th brought was the possible end of the Indie-era of SXSW. When the highlights of the final night are Diddy, Kanye and Snoop, the event stops being about independent artists. It was only a matter of time, but the mainstream has invaded SXSW, much to the chagrin of skinny jeans-donning anarchists across the country. SXSW is apparently no longer anti-establishment. The establishment has taken over and the worry is that new artists are going to get lost under the wave of mainstream acts trying to raise their street cred by mixing it up with the common folk. The day Diddy cooked and Yeezy made people wait until 2am for a show marks the end of the SXSW underground.

That doesn’t mean the event has lost its way. Since there are so many venues, the fan still dominates the news. Sure, you can wait in line for G.O.O.D. music, but you can also walk into a small bar and discover the next great music. The beauty of SXSW will still always be seeing artists like Yelawolf, Gibbs and Kendrick Lamar grow each year and watch Lil B and Odd Future cut their teeth in front of the bright lights. Let Diddy and Yeezy try to jump in on the spotlight, but the diehard fans will still know where the festival’s heart will permanently reside.

Saturday, 4/16 -> Catch me spinning alongside DJ Vajra, Nofrendo & more for National Record Store Day at Atomic Records…

SATURDAY, 4/16 from 10am – 4pm -> I’ll be spinning an all vinyl set alongside last week’s Red Bull Thre3 Style champ DJ Vajra, Nofrendo and Big J Beats while Dealz Makes Beats holds things down on the live MPC tip, Juan Lee Reed blows the horns and Whygee hosts a celebration of National Record Store Day at Atomic Records (340 S Broadway).   Come out and celebrate the wax and record store culture that’s so important to us all, grab a few 12″s or 45s and check out some music themed art from Dunn the Signtologist .

Stream the Foreign Exchange’s Denver debut from last month at Summit Music Hall on RBMARadio.com…The night was classic, I highly recommend you check this out…

Last month, I had the pleasure of working with the Red Bull Music Academy to bring the Foreign Exchange to Denver for their debut show out here in CO, as well as opening for the show.  The show was nothing short of incredible, everything from the vibe in the crowd to the sound to the band’s energy was just right and, through the magic of Red Bull Music Academy Radio, I have audio proof.  Check out the links below to stream the almost two hour long show that the band called one of their best ever.  Extra special thanks to the Red Bull Music Academy for making the show happen, the longtime homie Nicolay, the new homie Phonte, the incomparable Sy Smith (aka the “DJ Low Key” voice on my mixtape IDs), Zo, Aimee, the rest of the band, Summit Music Hall, Family Affair, DJ Squirt, Side 3, Brittney the Square, DJ Dozen and most importantly, everybody that came out, for helping make Monday, 3/14/2011 one of the best shows I’ve ever been to (as well as been a part of).  With that said, check out the links from RBMARadio.com below to stream the show it’s entirely:

.:The Foreign Exchange – On The Floor! – Live at Summit Music Hall, Denver – Pt 1:.

.:The Foreign Exchange – On The Floor! – Live at Summit Music Hall, Denver – Pt 2:.

*Pictures by Deanna Lowman Photography, check out more at TheForeignExchangeMusic.com.

Tanya Morgan’s Moonlighting just turned 5…A few words from me and more from Von…

5 years ago Tanya Morgan’s Moonlighting dropped on Loud Minority Music/ABB Records.  The album was supposed to be a side project for all parties involved but instead “accidentally” helped members Donwill, Von Pea & Ilyas skyrocket to critical acclaim from publications like XXL, Urb & the Source, co-signs from the likes Questlove, Bobbito & Chairman Mao and comparisons to the likes of De La Soul, Blackstar & Little Brother from the hip hop world.

They’ve come a long way since ’06, since then they’ve been lauded as “legends in the making” by Ali Shaheed Muhammed of the legendary group A Tribe Called Quest, “one the groups taking hip hop into the next decade” by XXL in the ’09 Freshman issue and “one of the finest groups of their generation” by the L.A. Times.  Anyway, Moonlighting was what jumped it all off and it’ll always be a personal classic to me.  It will forever remind me of when I first linked up with TM, wanna hear the story, here it goes:

A little over 5 years ago, Donwill, Von Pea & Ilyas trekked out to Boulder for their first show outside of NY, where they performed on a bill at CU alongside me and Lupe Fiasco (check the video of me DJing for Lupe at that show here).  I knew Donwill a little bit from Okayplayer and he’d recently recorded a ridiculous freestyle for my Mixing In Action #1 tape, so when they got out here a day early, Don and Von came out to see me DJ the night before at Hush. Everybody had a blast that night and little did I know, a few months later I’d be DJing for them at CMJ in NYC, then rockin’ with them on a six week long tour of the US and Canada with Hieroglyphics and continuing to rock shows with them after that (plus hopefully many, many more in the future).

I’ll never forget that weekend, my grandmother in Atlanta had just passed but we had some crazy adventures (including coming ‘getting announced by the headliner at the end of the show’ close to crashing a show at the Fox by some group called 3OH!3) that completely distracted me from the situation until I flew back to ATL for her funeral the morning after the show.  In retrospect, the weekend was a bit of a turning point in my life, one of those moments that you look back on as the end of one part of your life and the beginning of another, and I’ll always associate Moonlighting with those memories.  I feel honored to have linked up with the guys from Tanya Morgan back in 2006, working with artists whose music you believe in is a humbling experience and I’d like to think my Granny would be happy to see what I’ve been up to since that weekend.   Don, Von, Il, Dom, Alex & the Lessondary, thanks for the opportunity to work with y’all, Moonlighting was just the start and I know the future holds great things for every one of us.

Here’s Von’s post on Moonlighting from VonPea.com, cop that ish if you haven’t already:

Moonlighting turns 5 today

Moonlighting.

In 2004 3 men set out to….we still don’t know what we set out to do, but what we DID do is record an album under the name “Tanya Morgan” as an inside joke and titled the album “Moonlighting”. The idea was for the skits on the album to one day become life imitating art. I know for a fact that has actually happened, even down to the short attention span people dismissing the music after one song. We recorded the album before/after work, while working for non-profits, in the grocery store, and being a home attendant. Donwill went to Cali for an art show and ran into Dominic, who was trying to start a record label and had previously agreed to help myself and ilwil separately put our music out. He didn’t know anything about TM, he only knew me from my pre-von sees mixtape (custom fitted) and ilwil from “beat thieves”.

Anyway he heard Moonlighting from Don when he was out there and from that point on it became the little album that could. we we’re told we needed to start some kind of buzz (this was before blogs btw) so we put together the sunlighting mixtape late 2004.

November 2004 we rehearsed in a friend of a friends living room for the first time in BK and they said it was crazy how much chemistry we had (keep in mind at the time we had only been around each other in person ONE other time before this day). We got shut down by the cops at our first show. We made moonlighting shirts with Bruce Willis and Cybil Shepard on them (realest like Bruce Willis lol) and didn’t even wear them on stage (we wore a shirt and tie on stage). This is also the night that the Lessondary began (the lineup was something like Elucid, Nonameko, Che, Spec, and TM)

then we were told we needed to show we could sell something so we put together the sunset EP mid 2005. Dom found an investor, and finally ABB offered to distribute the album. Early 2006 we all (when I say all I mean ALL. They flew damn near the whole Lessondary out just for cameos. Including Heinz from Toronto) flew out to Cali and shot a video for the song “we be” with Ethan Lader (he does all the dope shit for artists that actually sell now like B.O.B. lol) We won this MTV contest (with the help of OKAYPLAYER.COM’s message board) and got our video played, and finally had a release date for an album we’d been trying to put out for 2 years…that was only a side project. April 4th, 2006.

We got 3.5 mics in the source, while everyone (including the writer) agreed it was a 4 mic review, got laughed at in the vibe 20 questions for our name, became darlings over at XXL thanks to Scott and Datwon (shout to Chairman MAO), and oh yeah, made red cassettes that made people like Questlove, Sucio Smash, and Bobbito fans of the album.

We went on a well documented disaster of a tour to promote it. Its the only project of mines that will ever exist on vinyl, cassette, AND cd. People still come to our shows and get hype when they see we have moonlighting for sale.

Wherever we sit in your mind, just know that it all started with an inside joke and good intentions.

“You Get What You Pay For” coming later this year.

no more music for the suckers.

Every Sunday -> Connected w/DJ Low Key at Hai Bar…All the best in soul, R&B and other good stuff + a sushi happy hour all night…

EVERY SUNDAY -> I’m excited to announce that after a great Sunday last weekend, you can catch Connected w/DJ Low Key every Sunday night from 8:30-11:30 at the Hai Bar (downstairs at Sushi Hai, 32nd & Lowell in the Highlands).   The feedback was overwhelmingly positive all across the board; a bunch of regulars from my previous Sunday night unanimously said the venue was an upgrade, as was the sound quality, food & happy hour menu size.  Speaking of the happy hour, that was $2 nigiri, $4 rolls & $5 appetizers + $3 small sake, $5 large sake, $3 beers, $6 wines & more the whole time I’m DJing.  And in case you can’t tell from the picture above, I’ll be spinning the best in soul, R&B and other feel good music.  There’s no better way to wrap up your weekend, trust.  Last but not least, I’m working on a nice variety of special events for the night, so stay tuned to this site and my twitter for more info on that too.  No cover /// 21+ /// SushiHai.com for more on the food/drinks/venue.

2011 State Of The DJ Address from WMTGW.com…Great read on how things have changed for DJs over the last few years…

I found this well articulated rant on While My Turntables Gently Weep that mentions a lot of the things in DJing I’ve been feeling lately.  That being said, I can’t complain for shit, my life is good; I bought a condo off of DJ money last year and still pay all my bills while playing music I like.  And while I miss the mystique of DJing and the older music scene, I’ve benefited from the digital era and acting like I haven’t would be silly. I’m just glad I got to DJ in the vinyl/record pool/mixtape dub/midnight sale era and in the serato/MP3/what’s a record store/cue point era as well.

Anyways, I still feel almost everything in this rant and just because I LOVE my job,  it doesn’t mean I can’t complain a little bit about the bullshit in the business, right?  And last but least (and I plan to elaborate on this soon), DJs are in position to help people cut through all the new clutter in the music scene and be as valuable as ever, too bad few DJs have any interest in breaking the music they actually like or creating unique sounding nights.  I’m gonna save my rant on that for later, but for now, enjoy this 2011 State of the DJ rant!!!

P.S. There are still AMAZING DJs everywhere.  Don’t believe me?  Come through Red Bull Thre3 Style Boulder on 4/7 to see some of the best DJs in CO (and in the country IMO) remind you.

Three days ago my good friend Michael Serafini posted a self proclaimed “Rant” to Facebook. For those who don’t know, Michael is an amazing DJ, a resident of Boom Boom Room, proprietor of Gramaphone Records in Chicago and a strong proponent of vinyl and the classic DJ ethos. His post read…

“Most clubs do not pay their Djs anymore. We Djs have become promoters/party throwers and make our Living from the Door Charge. So is the $5 bucks at the door not worth Our talent?! Sick of people who make 5 times as much money as i do complaining about paying! You want to complain about it? Have the Club pay for you then!”

This post received 127 ‘Likes’ and 82 ‘Comments’ to date including supportive comments from people like Maurice Joshua, Boo Williams, Traxx and Glenn Underground as well as numerous other DJs, event producers and clubbers. While mostly touching on DJ income and the lack of interest audiences have in being a part of paying it, it really speaks to the many problems that are plaguing todays nightlife from modern technology to club management to mediocre sets. I started to write a comment in reply, but realized that it was far too in-depth for a Facebook post. Here is what it became…

TECHNOLOGY
The first step in the declining state of the underground music DJ in America deals with the changes in the DJs themselves. As I’ve said before just because a Graphic Designer can use the paintbrush tool in Photoshop or Illustrator it DOES NOT make them a painter. They can never know the fine nuances of mixing paint, the way the brush feels against a canvas or the way each stroke is final and important to the piece as a whole. The same can be said about DJs. If you don’t have what it takes to show up with a bag or two of varied records and CDs and improvise your way through an entire evening of unknown desires and energy levels without the aid of cue-points, loops and computerized-beat-matching than you are just not a DJ. A computer can aid you, but it shouldn’t do your job for you. If you already have your set planned out and you’re just pushing some buttons on your computer (Ableton, Traktor, etc.) you are a PERFORMER putting on a show of what you want to play, not what works based on timing and the mood in the room. Those that don’t take risks and who haven’t utilized the original medium can never truly know the fine nuances it takes to be a great DJ. Sure they may have people dancing, but does a print of a painting speak to the soul the way the original does? Read more