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Makossa" the records were ever shopped. ments concerning the need for pro- Moulton who used them on his TJM mixes are "Funky Soul For The Munzibai was working in the pro- fessionalism. "A lot of mixers have album called "I Don't Need No Mu- by Nairobi and "Looking Force. Mixmasters gramming department at WBLS. learned from the disco boom when sic." It was halfway through the Perfect Beat" by Soul Sonic on in- Continued from page D -12 When he met Morales who put to- there was a sense of respect lack- production of "Happy Days" by Mi- Others that he has worked "Danc- believes, "Small independent la- gether Friday night dance parties ing between the DJs and the engi- chelle Wallace that he moved to clude Bruce Springsteen's The Dark," the Cars' "Hello bels might be wise to press a limit- for the station. Their first mix to- neers. Many of those DJs partied in New York where he completed the ing In Lauper's "She Bop," ed run before committing to a large gether was "Get Down Friday the studio, slept through mixes and overdubs with a well -known DJ Again," Cyndi a forthcoming Diana Ross tune budget for a mix." He observes, Night" by the Fantastic Aleems. acted immature. These days, a named Tee Scott. Shortly there- At Your Own Risk" by "Proper timing of a mix can some- With over a hundred mixes in the mixer has to be more business -like after, he met Tom Silverman for and "Play times prolong the life of a record can, it is tough to pick out the most and budget conscious." whom he produced "Jazzy Sensa- Planet Patrol. enjoys creating a stir. As for months. In the case of Cyndi meaningful efforts. But the duo Another interesting part of the tion" and the blockbuster 12" Baker it, "My mixes may be con- Lauper, the record was a hit before concurred on "Somebody Else's mixing phenomenon is that almost "Planet Rock" by the Soul Sonic he puts people will remem- and after the mix. Arthur Baker Guy" by Jocelyn Brown, "I Want all of the mixers live in the New Force. After complaining to friends troversial, but I like to upset people's captured the essence of the record You All Tonight" by Curtis Hair- York metropolitan area, except Da- Paul McRaven and Bob Alexander ber them. notions of what a mix and made it appealing to a dance ston, "She Loves My Car" by Ron- vid Todd and Nick Martinelli, who about how late his royalty checks preconceived be." However, Baker's ba- audience. For a remix to be suc- nie Milsap, "High Rise" by Ashford reside in Philadelphia. Like their were, they encouraged him to form should is in production. cessful, the a &r and marketing de- and Simpson, "Itching for Love" by city, their approach to mixing is his own label and so Streetwise was sic concentration more low -key. Martinelli's affili- by He intimated, "People should be partments of a label must work Mickey, "What Do I Do" by Phil born. "Walking On Sunshine" about other im- together. Fearon and "Watch The Closing ation with the local labels practical- Rocker's Revenge hit big and reju- more concerned aspects of a record like "We are witnessing the evolution Doors" by IRT. ly guarantees work on their pro- venated Eddy Grant's career. Since portant I think the whole idea of a new style of music. There is a "The purpose of a remix is to jects and most of his outside then the label has had a string of songwriting. of making remixers into stars is blending of influences that is lend- take a record to another level," productions involve local talent. hits including "Candy Girl" by New like Chris Bar - ing variety to today's music. This states Munzibai. "We try to en- Todd originally worked in the Ap- Edition, "I.O.U." by Freeez, "Con- dumb. Street kids and Aldo Marin have a sense fusion has led to a broad crossover hance the sound so that a disk can ple as an a &r research coordinator fusion" by New Order, "I Want It To bosa wants and have acceptance. The public is no longer cross into different markets. A bad for an RCA budget line LP series. Be Real" by John Rocca and of what the public some but they're not out to satisfied with disposable crap." record can't be helped by a remix, He credits Tom Draper as his men- "Crash Goes Love" by Loleatta talent, He claims he never had And what role does the remix play but we restructure the multi -track tor in the music industry. Draper Holloway. be stars." to be a good DJ or mu- in the scheme of things? Kevorkian and use overdubs to improve the gave Todd the opportunity to de- The popular "Girls Just Want To the patience his aspirations on replies, "A mix can influence air- sound." He cites Wang Chung's velop RCA's dance music promo- Have Fun" by Cyndi Lauper was sician and set when he was 15. Some play and sales. In the New York "Dance Hall Days" as a rock record tion department beginning in Baker's first outside remix which producing latest productions are market, it speeds up the accep- which was given an r &b appeal 1974. During his four and a half he notes was finished in one night. of Baker's the "Face To Face" album and tance of the reporting jocks and through a remix. year tenure, Todd was a mixing His vision on remixing a current hit the Street" makes the crowd go nuts." Both of them read, write and consultant on records by Van Mc- is concise. "You know what people three tracks on "Beat While the aforementioned mix- play music. Morales is great with Coy and Faith Hope and Charity. like and where the break should fall soundtrack. I will not permit going into ers have taken the solo route, Ser- percussion, a carryover from his He assisted on the engineering and having heard the tune so much. Space other equally im- gio Munzibai and John Morales days of gigging with a band. Munzi- mixing of "Shame" by Evelyn King. play off the image of the song and detail on several mixers, but for the most function as a team, an aspect bai is accomplished on the piano, When he was laid off in 1979, fill in the holes. If a song is too one - portant reputations precede which allows them to take on a trumpet and trombone and taught Todd moved to Philadelphia and dimensional, the idea is to orches- part, their heavy schedule of projects. They music for many years. Both of began working with Martinelli at trate it, make it more dramatic." them. John "Jellybean" Benitez have never solicited work, rather them also played as club DJs pro- TEC. Baker sees two reasons for a re- started out as a DJ at the Electric they have been approached from viding valuable experience and Martinelli was one of the original mix. "The record company's view- Circus and the Fun House. He is his work with the outside and mixed for almost background. Adaptability is an as- Dis at a famous underground club point is to extend the artist's mar- best known for pop artists like Mi- every label. Morales has been mix- set in this business. "Being a good called Catacombs, a progressive ket and make it more viable to sell heavyweight He chael Jackson, Paul McCartney, ing since 1977 starting with "Love technician is a necessity. We had venue where Todd spins today. records. I also like to make the and Frank Stallone. He Bug" by Bumblebee Unlimited. He an incident with the Lime LP where also spent 10 years with Chips Dis- song more interesting listening- Irene Cara also produced Madonna's pop hits originally assisted on projects pro- we had to mix and engineer the en- tributors and handled East Coast wise. I like the freedom to do over- and Larry duced by Patrick Adams and Greg tire album ourselves," Munzibai re- disco promotion for Motown Re- dubs and take chances. On Spring - "Borderline" "Holiday." has achieved the status of a Carmichael for Red Greg Records. calls fondly. "Just having a feel for cords. His first major position was steen's "Dancing In The Dark," I Levan hero as the legendary DJ at the O By working for the production com- music doesn't work for produc- director of a &r at WMOT, a label added tom toms, bells and vocal cult et pany, he utilized his talents before tion." He also has strong senti- for whom he mixed the instrumen- parts." His own personal favorite (Continued on page D -17) tal version of "Double Dutch Bus." m Included in their list of memora- oG ble mixes are "Do It To The Music" rn by Raw Silk, "Body Slam" by FIND OUT WHAT'S HAPPENING Bootsy Collins, "Keep It Confiden- AT NEW YORK'S NUMBER ONE tial," "B Boys" and "Transforma- tion," by Nona Hendryx; "Simple" DANCE MUSIC RESOURCE! by Johnny Mathis, "I'm Giving All SEND FOR A FREE INTRODUCTORY ISSUE OF My Love" by Terri Wells. "Don't Waste Your Time" by Yarbrough & THE VINYL MANIAC Peoples, "Action" and "Teenager" THE MUSIC MAGAZINE FROM by Evelyn King and "Ghostbus- ters" by Ray Parker Jr. Todd has a street -oriented ap- proach to a remix. "As a DJ and most of all a dancer," he asserts, "I feel it is important to bring out the rhythmic elements that highlight the natural body rhythms.

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