Sat. Jun. 19, 2021

Doug Lazy – H.O.U.S.E. (Benadef Mix) (Atlantic)

Classics: Doug Lazy – H.O.U.S.E. (Benadef Mix) (Atlantic)

“H.O.U.S.E., makes me move!” And God knows how Doug Lazy moved the crowd at the time. Meanwhile contributing givin’ birth to one of the most energetic styles the whole Dance Music has ever known: Hip-House!

Teamin’ up with NYC producer Vaughan Mason, Doug Lazy added another firing gem to his ‘Doug Lazy Gettin’ Crazy’ album by the likes of ‘H.O.U.S.E.’. Meanwhile borrowing a couple of samples from Lyn Collins and LL Cool J. In other words, the mythic ‘Think (About It)’ and the way lesser known ‘Jack The Ripper’. David Morales spicin’ things up with his remix. With Benji Candelario only keepin’ the essential on his edited version of it. Hence its Benadef name!

Standing at the crossroad between Deskee‘s ‘Dance Dance’ and Hi-Tek 3‘s ‘Come And Dance’…

What’s the value of your vinyl record?

– Question… Can we happen to both like Hip-Hop and House Music and eventually blend the whole into a new genre? Answer… Fans of Hip-Hop music stalwarts such as Public Enemy, Run DMC and Boogie Down Productions thought this fusion to be a joke. Epilogue… This fusion finally saw the light at the instigation of a bunch of wizards mostly hailing from Chicago. From Tyree Cooper to Mr. Lee and Fast Eddie. Not to mention Gene Finley aka Doug Lazy. And Hip-House was born!

Back in 1989 Finley was most likely unknown by both the Hip-Hop and House scenes. Although he’d started to make himself a name as Mean Green on a Chicago local radio station. A supporter of artists such as Tyree Copper and Mantronix, he was working one night on a drum loop from the latter’s classic record ‘King Of The Beats’ for one of his on air MC’s talk over. It wasn’t long before another MC entered the studio and asked him what it was. Eventually tellin’ Finley that listeners had been calling in to find out too.
Once the show over, Finley went back to work on finessing the loop further by eventually tying it to a House Beat. This setting the foundations of the memorable ‘Let It Roll’.

Charles Dixon, another broadcaster at the station, introduced him to Vaughan Mason. A multi-instrumentalist responsible for the classic ‘Bounce, Rock, Skate, Roll’ back in 1979. But also the producer of the memorable ‘Break 4 Love’ for Raze. This being how the twosome came to produce the gem and release it first on Mason‘s Groove St label. With Atlantic Records eventually offering him a record deal. This resulting soon after in the release of the ‘Doug Lazy Gettin’ Crazy’ album. With the latter spanning an impressive series of hot tracks. From ‘Let It Roll’ to ‘Let The Rhythm Pump’ and Can’t Hold Back (U No)’. This in addition to ‘H.O.U.S.E.’ which received the remixing treatment courtesy of David Morales.

Doug Lazy also happened collaborate with Louie Vega and Marc Anthony on the memorable ‘Ride On The Rhythm ‘ as with George Kranz on ‘Din Da Da’. And more recently – in 2016 – he shared the bill with DJ Spen on ‘Church Clap’ (Quantize Recordings).

– A quick typing – ‘David Morales’ – in the search box of our site should give you a certain idea of his legacy. And, by that, of the consideration we have for him. Standing among the most prolific but first and foremost talented producers/remixers of his generation. With his name firmly associated to a signature – the Def Mix Sound – and an alter ego – Frankie Knuckles. Themselves synonyms with some of the most brilliant episodes in the maturation of the contemporary groove.

A native New Yorker of Puerto Rican ancestry, David Morales grew up during Dance Music’s most influential era. Thus, unsurprisingly frequenting its legendary clubs such as The Loft and The Paradise Garage.

As a result, it wasn’t long before he started his own nightclub – the Ozone Layer – in Brooklyn, by the beginning of the 80’s. His residency which lasted until 1986 eventually leading him to spin at The Paradise Garage in 1983. The 80’s seeing him DJing later at Newark, NJ’s famous The Zanzibar. With the latter standing as the craddle of the famous Jersey Sound also known as Garage. But also joining forces with Frankie Knuckles and For The Record DJ Pool founder Judy Weinstein under the Def Mix Productions banner to help manage remix requests and handle artist business affairs.

All in all, on his own or along with Frankie Knuckles, David Morales has remixed and produced over 500 releases. With the list of those he happened to rework the music of givin’ a better idea of the impact he generated. And this way above the strict spheres of House Music. Eventually bringin’ fragments of his universe on ‘Mine To Give’ by the likes of British Junglist Photek along with Robert Owens. But also working along Brit-Soul / Acid Jazz activists. From James Taylor Quartet feat. Noel McCoy‘s ‘I Love The Life’. To the Brand New Heavies‘Never Stop’, Loose Ends‘Love’s Got Me’ and Imagination‘s ‘Instinctual’. Not to mention Lisa Stansfield‘s ‘8.3.1.’. And how to not think of Alison Limerick‘s ‘Where Love Lives’ or Incognito‘s ‘Always There’ among others?!?

Of course, David Morales made some noise in the House scene. Responsible for seminal tracks such as ‘I’ll Be Your Friend’, ‘Finally’ and ‘My Piece Of Heaven’, respectively for Robert Owens, CeCe Peniston and Ten City. This in addition to Ce Ce Rogers‘ ‘All Join Hands’, Inner City‘s ‘Whatcha Gonna Do With My Lovin” and Richard Rogers‘Can’t Stop Loving You’. If not Doug Lazy‘s ‘H.O.U.S.E.’.

But, just like Frankie Knuckles, he also created serious bridges with R&B names. Beginning with Mariah Carey (‘Fly Away (Butterfly Reprise)’) with whom he established a long term working relationship. But also Luther Vandross (‘The Rush’) and Alexander O’Neal (‘What Is This Thing Called Love’). This in addition to Miles Jaye (‘Heaven’) and Whitney Houston (‘Love Will Save The Day’).

Meanwhile, under his own banner, Morales also made quite an impression. Beginning with his debut-album and single of the likes – ‘The Program’ – as David Morales & The Bad Yard Club back in 1993. But also ‘Needin’ U’ as The Face, five years later. And how to not remember ‘Golden Era’ along with Róisín Murphy? A cut which stood among the essential tracks of the year 2012… Or, more recently, ‘Lovin” as The Face feat. Kym Mazelle. And ‘There Must Be Love’ as fronted by Janice Robinson. This with remix courtesy of Nigel Lowis, which we welcomed as our Single Of The Week back then…

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