Killer synth-R&B-dance track from 1986.     Rumors… I can still take more more!

1986 was a great year for electronic R&B which incorporated the new urban sound, hiphop, funk, soul and dance music — a sound that later became known as the New Jack Swing in the late 80′s. New Jack Swing was pretty much hijacked by Teddy Riley [watch video] who took that genre to a whole new level. But Rumors was one of the very first tracks with that sound — a sound so poundingly raw, with a spine that keeps the drums, baseline and overall groove fused together as one. I remember this track hitting the top of the charts around the world. I bought a few different copies of the 12-inch records from Canada, USA and England.  I’ve also bought Rumors on Canadian-issued maxi-single cassette tape.  Why?  Because I liked the different artwork covers!

Almost every artist of this genre was utilizing the very latest electronic and groundbreaking musical instruments at that time.     E-mu SP12 [watch video] and Linn-9000 [watch video] were just the revolutionary sampling drum machines used in the industry. Their factory sound/samples that came with those two machines were legendary — practically used on thousands of tracks out there.  The SP12 had 24 onboard drum sounds plus 8 additional memory allocations for loading custom/user samples. Since the SP12 had no built-in floppy drive for backup, I am not sure how the user samples were stored. However, the SP12 was quickly superseded by SP1200 in 1987 which had a built-in 3.5″ floppy drive and more sampling memory.

Almost all the drum sounds on Rumors were from the SP12/1200. I recognize that snare very well to be from E-mu Systems’ factory sample collection. Just that snare alone could be heard on Jody Watley’s – Looking For A New Love,  Janet Jackson’s – Control by the two big-time producers Jam & Lewis, and even Kraftwerk’s – The Telephone Call… just as few examples.

The TR-808 drum sounds on Rumors, to my belief, were samples of the real 808 drum-machine loaded into the SP12/1200.  Most of the synth sounds, particularly the main melodic/stabby one, was from a Roland Juno-106 [watch video]. I know that Roland sound, because I, too, own a 106 and few other kinds.

Read more information on Timex Social Club here (wikipedia) –and– here (TSC official site).

Timex Social Club – “Rumors” (Social Club Mix)…

Artist: Timex Social Club
Title: Rumors (Social Club Mix)
Year: 1986
Label: AM Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Timex Social Club – “Rumors” (Social Club Mix) (mp3)

 

Timex Social Club – “Rumors” (Social Club Dub)…

Artist: Timex Social Club
Title: Rumors (Social Club Dub)
Year: 1986
Label: AM Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Timex Social Club – “Rumors” (Social Club Dub) (mp3)

 

Timex Social Club – “Vicious Rumors”…

Artist: Timex Social Club
Title: Vicious Rumors
Year: 1986
Label: AM Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Timex Social Club – “Vicious Rumors” (mp3)

 

Peter Gabriel - "In Your Eyes" (Special Mix) 12" record atop 1/4-inch reel tapes at Hashmoder's studio.Ah, this is one rarity from an outstanding, legendary British artist: Peter Gabriel. There was an actual 12″ record of In Your Eyes which featured the Special Mix. But what made this particular record more special was that the track In Your Eyes (Special Mix) was also featured on the B-side of a Peter Gabriel/Kate Bush 12″ single Don’t Give Up.

I have never opened nor played this record before. Thus, after nearly 25 years, I’ve unsealed it and recorded the track on the B-side to digital.  Therefore, a triple special indeed!

Peter Gabriel – “In Your Eyes” (Special Mix)…

B-side of Gabriel/Bush 12" record of "Don't Give Up" which features Peter Gabriel's - In Your Eyes (Special Mix) track.Artist: Peter Gabriel
Title: In Your Eyes (Special Mix)
Year: 1986
Label: Virgin Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Peter Gabriel – “In Your Eyes” (Special Mix) (mp3)

 

Desireless – “Voyage Voyage”

Desireless (Claudie Fritsch-Mentrop), "Voyage Voyage"

Desireless is French singer Claudie Fritsch-Mentrop who’s voice is one of the most beautiful in the world. Her track Voyage Voyage was released in 1986 and hit number-one in many European and Asian music single charts, selling more than 5 million copies. It still remains to be one of the most sought-after tracks on the playlist of countless radio stations (on the airwaves and internet) around the world. Every year, it seems, Voyage Voyage is still being discovered by new listeners who hear it for the first time. The track is a perfect blend of emotional French singing/song-writing and Italo-disco that drives and carries the song to a whole new level of synth-pop, becoming essentially a romantic and electronic dance. Personally, I prefer the Britmix version over the 12″ Mix of Voyage Voyage. The lead/front vocals are dryer and not as drenched in reverb, thus adding more warmth and depth with closer presence of emotions to the overall delivery and feel of the tune. The same goes for the background vocals, hearing more clearly all the “aah” and “voyaaah voyaaah” vocal layers. The tight, melodic bassline and its underlying syncopated synth chord chops/stabs also have more presence than the 12″ Mix … not only fitting perfectly around and under the vocals & drums but also driving the entire Britmix with more oomph … making the track more serious and groovy. Voyage Voyage is one of those rare successful synth-pop tracks that is true through and through. It always makes me close my eyes and sing passionately along with Claudie.

Desireless – “Voyage Voyage” (Britmix)…

Artist: Desireless
Title: Voyage Voyage (Britmix)
Year: 1988
Label: CBC Records

Desireless – “Voyage Voyage” (Britmix) (mp3)

 

Desireless – “Voyage Voyage” (12″ Mix)…

Artist: Desireless
Title: Voyage Voyage (12″ Mix)
Year: 1986
Label: CBC Records

Desireless – “Voyage Voyage” (12″ Mix) (mp3)

 

Desireless – “Voyage Voyage” Lyrics (French)…

Au dessus des vieux volcans,
Glisse des ailes
Sous les tapis du vent,
Voyage, voyage,
Éternellement.
De nuages en marécages,
De vent d’Espagne en pluie d’équateur,
Voyage, voyage,
Vole dans les hauteurs
Au dessus des capitales,
Des idées fatales,
Regarde l’océan…

Voyage, voyage
Plus loin que la nuit et le jour,
(Voyage, voyage)
Voyage (voyage)
Dans l’espace inouï de l’amour.
Voyage, voyage
Sur l’eau sacrée d’un fleuve indien,
(Voyage, voyage)
Voyage (voyage)
Et jamais ne revient.

Sur le Gange ou l’Amazone,
Chez les blacks, chez les sikhs,
Chez les jaunes,
Voyage, voyage
Dans tout le royaume.
Sur les dunes du Sahara,
Des îles Fidji au Fujiyama,
Voyage, voyage,
Ne t’arrêtes pas.
Au dessus des barbelés,
Des coeurs bombardés,
Regarde l’océan.

Voyage, voyage
Plus loin que la nuit et le jour,
(Voyage, voyage)
Voyage (voyage)
Dans l’espace inouï de l’amour.
Voyage, voyage
Sur l’eau sacrée d’un fleuve indien,
(Voyage, voyage)
Voyage (voyage)
Et jamais ne revient.

Voyage, voyage
Plus loin que la nuit et le jour,
(Voyage, voyage)
Voyage (voyage)
Dans l’espace inouî de l’amour.
Voyage, voyage
Sur l’eau sacrée d’un fleuve indien,
(Voyage, voyage)
Voyage (voyage)
Et jamais ne revient.

Plus loin que la nuit et le jour
(Voyage, voyage)

Desireless – “Voyage Voyage” Lyrics (English translation)…

On top of the old volcanos,
Slip of the wings
Under the carpets of the wind,
Journey, journey,
Eternally.
Clouds in marshes,
Of wind of Spain in rain of equator,
Journey, journey,
Fly in the heights
On top of the capitals,
Fatal ideas,
Look at the ocean…

Journey, journey
Further that the night and the day,
(Journey, journey)
Journey (journey)
In the space of the love.
Journey, journey
On the crowned water of an Indian river,
(Journey, journey)
Journey (journey)
And never does not return.

On Ganges or the Amazon,
At the blacks, the sikhs,
At the yellows,
Journey, journey
In all the kingdom.
On the dunes of the Sahara,
Fiji islands in Fujiyama,
Journey, journey,
Do not stop you.
With the top of the barbed wires,
Bombarded hearts,
Look at the ocean.

Journey, journey
Further that the night and the day,
(Journey, journey)
Journey (journey)
In the space of the love.
Journey, journey
On the crowned water of an Indian river,
(Journey, journey)
Journey (journey)
And never does not return.

Journey, journey
Further that the night and the day,
(Journey, journey)
Journey (journey)
In the space of the love.
Journey, journey
On the crowned water of an Indian river,
(Journey, journey)
Journey (journey)
And never does not return.

Further that the night and the day
(Journey, journey)

Another great Tears For Fears 12″ single. This track was recorded and released in the UK charts in 1984, well before the release  of their 1985 LP/album release Songs From The Big Chair. It showcased the group’s edgier sound, intricate production and, most importantly, the creative use of sampling. Beat Of The Drum Mix was clearly one of the earliest remix tracks with sampled vocals, loops and snippets as well as loops, that were sequenced and arranged together on top of all other synths and multi-tracked layers of instrument/vocal performances recorded by the band. For example, the string-hits at the beginning Beat Of The Drum Mix were sampled from a Barry Manilow track; James Brown vocal snippets near the end; and the other samples were real ambient noises, drum shots/rolls, orchestral and horn stabs, ambient and weird noises, guitar strums/chords, and Tears For Fears’ own vocals.

All the sampling were done with the Fairlight CMi-2 which was, at that time, the most sophisticated and highly advanced sampling/sequencing/digital-editing workstation.  It featured a mainframe computer, large keyboard-instrument controller, computer monitor and a light-pen.  Watch this video demonstration of the Fairlight. Also watch this other video of the Fairlight being demonstrated by Nick Rhodes of Duran Duran.

The meaning of Mothers Talk stems from two ideas:

  1. Something that mothers say to their children about pulling faces; they say the child will stay like that when the wind changes; and
  2. The inspiration by the anti-nuclear cartoon book When The Wind Blows by Raymond Briggs.

Tears For Fears – “Mothers Talk” (Beat Of The Drum Mix)…

Artist: Tears For Fears
Title: Mothers Talk (Beat Of The Drum Mix)
Year: 1984, 1985, 1986
Label: Mercury Records; Polygram; Phonogram; Vertigo
Media Source: Recorded straight from 12-inch record to enhanced digital.

Tears For Fears – “Mothers Talk” (Beat Of The Drum Mix) (mp3)

 

Tears For Fears – “Mothers Talk” (US Remix)…

Artist: Tears For Fears
Title: Mothers Talk (US Remix)
Year: 1984, 1985, 1986
Label: Mercury Records; Polygram; Phonogram; Vertigo

Tears For Fears – “Mothers Talk” (US Remix) (mp3)

 

Fairlight CMi demonstration by Greg Sneddon…

http://youtu.be/D-aWWcw2pL0

Fairlight Cmi demonstration by Nick Rhodes & other artists…

When The Wind Blows…

Simple Minds – Selected 12″ Tracks

I have selected my favorite Simple Minds singles to post on here.  These particular tracks are very hard to find these days, as most of them were available only as maxi-singles on 12″ records and audio-CD (only one in particular: Don’t You Forget About Me which was re-issued on CD-single in the late 80′s) back in the days when they were originally released.  Almost all of the instrumental versions below were on the B-sides of the 12″ records.  I’ve added slight reverb to give them more ambience.  It is very hard to find any of them on current CD releases or from legit digital-download services (iTunes, etc.) today.  Now, the very last track on the bottom below is Open Your Mind by Usura (Euro dance genre) and NOT by Simple Minds.  The reason why I’ve made it available here is because it borrowed (and possibly sampled) heavily from Simple Minds’ New Gold Dream track (also posted below, second-bottom).

Simple Minds – “Theme For Great Cities” (12″ Instrumental)…

Artist: Simple Minds
Title: Theme For Great Cities (12″ Instrumental)
Year: 1982
Label: Virgin Records; Polygram
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Theme For Great Cities” (12″ Instrumental) (mp3)

 

Simple Minds – “Seeing Out The Angel” (12″ Instrumental)…

Artist: Simple Minds
Title: Seeing Out The Angel (12″ Instrumental)
Year: 1981
Label: Virgin Records; Polygram
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Seeing Out The Angel” (12″ Instrumental) (mp3)

 

Simple Minds – “Promised You A Miracle” (12″)…

Artist: Simple Minds
Title: Promised You A Miracle (12″)
Year: 1982
Label: Virgin Records; Polygram
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Promised You A Miracle” (12″) (mp3)

 

Simple Minds – “Every Heaven” (12″ Instrumental)…

Artist: Simple Minds
Title: Every Heaven (12″ Instrumental)
Year: 1982
Label: Virgin Records; EMI Music
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Every Heaven” (12″ Instrumental) (mp3)

 

Simple Minds – “Don’t You Forget About Me” (Extended Version)…

Artist: Simple Minds
Title: Don’t You Forget About Me (Extended Version)
Year: 1984
Label: Virgin Records

Simple Minds – “Don’t You Forget About Me” (Extended Version) (mp3)

 

Simple Minds – “Ghostdancing” (Extended 12″ Remix)…

Artist: Simple Minds
Title: Ghostdancing (Extended 12″Remix)
Year: 1986
Label: Virgin Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Ghostdancing” (Extended 12″ Remix) (mp3)

 

Simple Minds – “Ghostdancing” (Instrumental)…

Artist: Simple Minds
Title: Ghost Dancing (Instrumental)
Year: 1986
Label: Virgin Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

Simple Minds – “Ghostdancing” (Instrumental) (mp3)

 

Simple Minds – “New Gold Dream” (81-82-83-84)…

Artist: Simple Minds
Title: New Gold Dream (81-82-83-84)
Year: 1982
Label: Virgin Records

Simple Minds – “New Gold Dream” (81-82-83-84) (mp3)

 

Usura – “Open Your Mind” (Chart Mix)…

Artist: Usura
Title: Open Your Mind (Chart Mix)
Year: 1993
Label: Time S.p.A.

Usura – “Open Your Mind” (Chart Mix) (mp3)

 

Mercy Street is one of the most beautiful, original and highly intelligent and emotional songs ever composed and produced. It still gives me the goose-bumps every time I listen to it, and I’ve been playing it endlessly for the last 26 years. I listen to Mercy Street when I’m hurting and in search of healing; when I’m at peace and in solitude; and when I’m meditating and mind-traveling. The song never seems to wear out on me but rather continually evolve to something bigger and much richer for me to appreciate even more over time as it goes by.  Mercy Street is the song I want to be played at my funeral.

The only versions of Mercy Street which I love and respect are two of them: LP version and the William Orbit mix which is featured in a 1992 CD-single of Blood Of Eden by Peter Gabriel. Please take the time to read the lyrics and the meaning of the song below. I’ve provided a video of Peter Gabriel talking about what inspired him to write and dedicate his song to Anne Sexton who wrote a poem and play called 45 Mercy Street.

Peter Gabriel – “Mercy Street” (LP Version)…

Artist: Peter Gabriel
Title: Mercy Street (LP Version)
Year: 1986
Label: Real World Records / Real World Music

Peter Gabriel – “Mercy Street” (LP Version) (mp3)

 

Peter Gabriel – “Mercy Street” (William Orbit Mix)…

Artist: Peter Gabriel
Title: Mercy Street (William Orbit Mix)
Year: 1992
Label: Real World Records / Real World Music

Peter Gabriel – “Mercy Street” (William Orbit Mix) (mp3)

 

Mercy Street Lyrics…

Looking down on empty streets, all she can see
Are the dreams all made solid
Are the dreams all made real

All of the buildings, all of those cars
Were once just a dream
In somebody’s head

She pictures the broken glass, she pictures the steam
She pictures a soul
With no leak at the seam

Lets take the boat out
Wait until darkness
Let’s take the boat out
Wait until darkness comes

Nowhere in the corridors of pale green and grey
Nowhere in the suburbs
In the cold light of day

There in the midst of it so alive and alone
Words support like bone

Dreaming of mercy st.
Wear your inside out
Dreaming of mercy
In your daddy’s arms again

Dreaming of mercy st.
Swear they moved that sign
Dreaming of mercy
In your daddy’s arms

Pulling out the papers from the drawers that slide smooth
Tugging at the darkness, word upon word
Confessing all the secret things in the warm velvet box
To the priest-he’s the doctor
He can handle the shocks
Dreaming of the tenderness-the tremble in the hips
Of kissing Mary’s lips

Dreaming of mercy st.
Wear your insides out
Dreaming of mercy
In your daddy’s arms again

Dreaming of mercy st.
Swear they moved that sign
Looking for mercy
In your daddy’s arms

Mercy, mercy, looking for mercy
Mercy, mercy, looking for mercy

Anne, with her father is out in the boat
Riding the water
Riding the waves on the sea

The Meaning Of The Lyrics & Anne Sexton’s Poem 45 Mercy Street

Peter Gabriel was inspired by Anne Sexton’s poem 45 Mercy Street which led him to write/compose his song Mercy Street, dedicating his song to her. Gabriel could relate to Sexton as a deep thinker with a troubling depression who searches for meaning through her art.

Anne Sexton, a poet, committed suicide in 1974 after a life marred by mental illness. The first couple of verses in the song play on the difficulty she had differentiating between her successful creative life as a poet and her failings in her “real” life as a daughter/mother/wife. Years after leaving the home where she lived with her father, one day she decided to go back and look for the place on 45 Mercy Street. But when she walked there, she wasn’t able to find the house nor recognize the neighborhood what she once knew.  It has all been changed over time. so in essence, this is what the song Mercy Street is all about … Anne’s searching of her home and past.

According to the uncredited sources on the internet:

As a poet, Anne, in effect, had a “leak at the seam,” her inward thoughts and feelings that got expressed through her poetry. Many poets have commented on the pain that comes through revealing one’s inner self.

The boat references allude to her final book of poetry, “The Awful Rowing Toward God,” about our inevitable journey toward death and the afterlife. “Tak[ing] the boat out” refers to her intention to accelerate her own demise. (She killed herself just after finishing the book.)

Corridors of pale green [aka 'hospital green'] and gray” could refer to her stays in mental institutions during her manic episodes (which alternated with her stints of “ordinary life” in the suburbs of Boston).

Wear your inside out” again refers to the way a poet exposes his soul to the world. That which, for most people, remains private and unknown is shown to all. The “daddy” allusions again seem to refer to God, in whose arms she might find that elusive mercy (so difficult to attain in this life, hence the reference to the moved street sign.

All of the confession allusions have double meaning, as much of Anne’s life was spent “confessing” her innermost feelings to psychiatrists ((whereas in the song, the “warm velvet box” might also refer to the psychiatrists and mind doctors)) as well as revealing them to the public through her poetry. The shocks can doubly refer to shock therapy administered by psychiatrists as well as the shocking things a priest might hear in confession. Per Wikipedia, Sexton was the epitome of a “confessional poet.”

Live Performace of Peter Gabriel – “Mercy Street”…

Live Performance of Peter Gabriel – “Mercy Street” (1988)…

Peter Gabriel’s Real World Studio…

The pictures you see below are Peter Gabriel’s own Real World Studio where he recorded Mercy Street as well as the most of his previous albums, soundtracks and productions of other artists signed on his label Real World Music/Records.

The Latin Rascals - Beyond The Future

The Latin Rascals…

Artist: The Latin Rascals
Title: Beyond The Future
Year: 1986
Label: Sutra Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

The Latin Rascals – “Beyond The Future” (mp3)

 

More About The Latin Rascals…

I find The Lastin Rascals to be class-act with stellar production and rich sound, standing on their own plateau. Just take a listen to their remix production on the following blogs which I’ve posted here previously:

According to Music Guide and The Latin RascalsMySpace page:

Producers/DJs Albert Cabrera and Tony Moran — collectively known as the Latin Rascals — got their start as movers and shakers on the budding early-’80s New York City club scene, hosting an influential continuous-mix show on local dance radio. The duo went on to mastermind a number of Latin freestyle dance tracks, including work for TKA and The Cover Girls, among others. In 1999, the collection Mixmasters Vol. 1 was released, featuring reworkings of various Latin Rascals mixes by an array of DJs.

According to Answers.com about Albert Cabrera:

Better known as one half of The Latin Rascals, Albert Cabrera, along with partner Tony Moran, helped create the mid-’80s, edit heavy genre of dance music known as freestyle. Working as DJs in the early ’80s, the duo realized that after the disco backlash dance music wasn’t the most popular of genres. Still, they were working in the U.S. capital of club culture, New York, and after much hustling they were able to score a high profile gig as mix masters on WKTU’s popular “lunch time mix” program. It was there that they unleashed their bedroom edits, songs by acts like Bruce Springsteen and the Rolling Stones that had been re-mixed and lengthened. Cabrera and Moran were then tapped by Fever records to produce The Cover Girls and the resulting single, “Show Me,” became a club hit. For the next few years the duo had a good little run, releasing their own dance singles, as well as re-mixing many a popular rap, rock, and R&B act. Their success was based largely on re-tooling other artists’ hits, though, and eventually the public’s interest in this format diminished and the duo parted ways.

The following FAQ about The Latin Rascals is cited from the Freestyle Dance Party site:

How did they meet?

Albert Cabrera was selling tapes of music he liked for $10, and walked into Dowtown Records, where Tony Moran just so happened to be working. Cabrera played some of his mastermixes for Moran, and on one occasion, Carlos deJesus was there.

Who was Carlos deJesus?

Carlos deJesus was a radio personality on WKTU. He overheard one of Cabrera’s mixes and asked him for a copy. The problem was, all of Cabrera’s mixes were on cassette, while the station needed them on reel to reel.

Well, guess who had a reel to reel?  Who?

Tony Moran, of course, and he let Albert Cabrera borrow his, for which he gave him due credit.

How did they get their start?

They shook up the New York club scene in the early 1980s by hosting an influential continuous-mix show on a local dance radio station, WKTU. They would take other artists’ already popular songs and splice them together. They later moved to Kiss-FM.

Then what happened?

Arthur Baker contacted them.

Where have I heard his name before?

Well, he was the producer of “Planet Rock” and “I.O.U.” amongst many other hits. Arthur Baker gave the Latin Rascals their first editing job on the song “Breaker’s Revenge.” Soon, Aldo Marin from Cutting Records hired the duo to edit “B-Boy’s Break Dance” for which they were paid, to the surprise of the duo, who only wanted the experience and opportunity.

Then what happened?

Arthur Baker was so pleased with the results that he sent more remixing and editing work their way, including work on recordings by Hall and Oates, Diana Ross, and Brenda K. Starr.

Soon the Latin Rascals were a big hit on the dance floor. The Latin Rascals are often credited with making hits out of early freestyle artists TKA, Safire and the Cover Girls. Riding on the crest of their success as producers, Cabrera and Moran released their own material as the Latin Rascals.

But did they still produce for others?

Oh yes. In fact, Show Me was Tony Moran’s first top 40 gold record and really started the Freestyle movement in music. Many of that genre’s biggest stars, from TKA, Safire, and Lisette Melendez, all benefited from the talented duo.

What music did they make for themselves?

They made two instrumental albums, Macho Mozart and Bach To The Future, making classical music rather dance-able. Even “Arabian Knights” was originally an instrumental, but it did so well that the Latin Rascals decided to improve upon it by laying down a vocal track headed by Tony.

What was the effect of that?

Well, fans ate it up. That record put the duo in demand for shows nationwide, where the crowds would sing along to the words.

Wasn’t one of them married to someone else in freestyle?

That’s right! Albert Cabrera married Safire, who was greatly successful with “Boy I’ve Been Told.” Unfortunately, their synchronized success was also the undoing of the marriage, due to conflicting schedules and outside influences.

Well, I guess Albert still had Tony.

Yeah, but that professional pairing ended by growing apart. Tony was more into singing while Albert was into freestyle. Still, the breakup of Latin Rascals was amicable and each partner remains grateful to the other.

Then what happened?

Albert Cabrera wanted to keep making freestyle music but, by this time, its popularity had fallen just as disco had years before. He tried to update freestyle by blending it with the trendy trip-hop genre in his album Trip Hop Dance 2000. It featured the voices of Judy Torres, Corina, Lil’ Suzy, Joey Kidd, Sam Savon and Brenda K. Starr, while Tony Moran came back in to re-record an updated version of “Arabian Knights.”

Since then, what has Cabrera been doing?

He went to school for 5 years and began producing bass music, as he saw it as the closest to freestyle. He re-teamed with freestyle legend “Little” Louie Vega, creating “Rascal Dubs” in house music. He’s also been working with artists as musically diverse as KC and the Sunshine Band, David Morales, Mariah Carey, and Tori Amos.

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