 |
Q: Where were you born and raised and how old are you now ?
Alan: Southside of Chi.I am now 37 (yeah,that’s right!)
Q: How long have you been Djing and how did you get into it. ?
Alan: How long I’ve been DJing is a difficult question because I am now returning to it,
slowly but surely, after a long “retirement.I guess I would have to say I started in the mid 70’s when I played records” (one table, no mixer) at my own party at my house. The response I got from the crowd, just putting on records, really got me hooked. By ’77 or so I began mixing music and playing at other parties ( mostly basement parties), and from there started playing clubs and bigger venues (The Loft, The Tree of Life, etc.). In ’81, just before the new house movement started, I left for college (where I DJ’d until ’85), then law school. So, while I was on the “straight and narrow” through the 80’s, many of my friends and turntable colleagues (Jesse Saunders, Farley Keith, Steve Hurley) started putting out records. Who new??? Anyway, over the last year or so I have been making occasional guest appearances at various Chicago clubs and parties, putting out mixed CDs, and I play annually at the Chosen Few Old School Reunion Picnic. I guess I have been a DJ in one form or another for about 25 years.
Q: How would you classify your style of djing ?
Alan: I was a Warehouse and Power Plant regular, so without a doubt my style was influenced
most by Frankie Knuckles. In my opinion, there are two basic kinds of DJs. While we all want to be technically accurate mixers (and I believe I have always been known for that), when it gets right down to it there are those who are more about the MUSIC and those who are more about showing off their “DJ skills. Personally, I can’t stand to hear hour-long mixes that have
25 records, with a new record coming in every minute or two. To me, that’s not about the MUSIC, that’s about saying “look at me and what I can do. I don’t think you can truly take in the musical experience when you do that. Just my opinion. So, as far as my style, I’d say smooth blends, and I try to stay “out of the way” of
the music.
Q:I know its hard but what would be your ten favorite records of all time?
Alan: Boy, that is really hard! Although I am really enjoying a lot of the new stuff these days, my top 10 would all have to be classics.In no particular order, here goes:
- Disco Circus—Martin Circus
- Mainline—Black Ivory
- You Need a Change of Mind—Paul Lewis
- Hooked on Your Love—Fantastic Aleems
- Can You Handle It—Sharon Redd
- A Little Bit of Jazz—Nick Straker Band
- Let No Man Put Asunder First Choice
- TSOB (the Instrumental) —Master Jay and Michael Dee
- Can’t Fake the Feeling—Geraldine Hunt
- We Got the Funk—Positive Force and One Two Three (Counting on Love)—Peter Jacques BandI had to sneak in at least 11!
Q: House is a very comprehensive term; what is your personal definition of house music?
Alan: I personally don’t like the term “house” at this stage because it means so many different things to different people and is therefore often misunderstood. For example, I don’t like to tell people my age that I am into “house” because all they can envision is “jack your body this” or “jack master that”, which is not what house is about to me. Those of us old heads began using the term in the late ‘70s/early 80’s to refer to the music that Frankie was then playing at the Warehouse (the “House” for short). For example, we might hear Nick Straker’s “Little Bit of Jazz” and say,that’s House. So for me, house” will always refer to that danceable R&B and deep disco of the type Frankie played at the Warehouse.(Although I hate to acknowledge it, this really gives New York a good argument that they started house music, because most of what Frankie was playing—West End, Prelude and Salsoul releases—was really just New York “club music.) Although there was obviously a second “house” movement that arguably began with Jesse Saunders’ release of “On and On” in late ’82, with a few exceptions I have never been a big fan of that sound. There was a sign on the wall as you entered the Power Plant that I always thought had the best definition of the music we all love. At the top of the stairs there was a sign that read, “Welcome to the Power Plant, Home of Progressive Dance Music. The term “house music” is too limiting and misleading, and I think “progressive dance music” is broad and inclusive enough to cover what we’re all talking about. Unfortunately,
it appears the term “progressive” has now taken on another, more narrow definition.
Q: Who are some of the DJ's past and present that you respect and have influenced you the most?
Alan: As should be obvious from the above, Frankie was probably the biggest influence on me in
terms of his music selection, creativity, risk taking and how to work a crowd. As far as technical mixing skills, Jesse Saunders was someone I played with who always impressed me and who influenced me a great deal. Other DJs that I am close to and were influential to me personally are Wayne Williams (who has a great ear for music and is truly an entertainer) and
Tony Hatchett (Andre’s older brother, whom many of you probably know nothing of—he could go!). Unfortunately, I have been away from the scene for a while and have not had the opportunity to
hear many of the current and younger DJs. However, thanks to your site, the Deep House Page, I am beginning to learn them and am very impressed with the passion of guys like Disco Cee and DJ Izrail. Andre Hatchett, who was an “apprentice” under us, is still out there and he’s someone I would come out to hear.
Q: Who are some of the house artists\producers that you are feeling right now?
Alan: I am drawn to those artists, labels, producers and remixers who are still creating that “old school” sound, as well as jazz- , latin- and gospel-influenced stuff. Labels: Estereo, Soundmen on Wax, Yellorange, MAW, Bossa Tres…Jazz; Remixers/producers: Masters at Work (of course), David Morales, Matty Heilbronn; Artists: Kenny and Su Su Bobien, Blue Six, Abstract Truth, Bah Samba.
Q: Are ,or were there any artists,that are not considered to be house,that have inspired you? For example: Flavio likes to collect Beatles memorabilia.
Alan: Not really, but you mentioning the Beatles reminds me of a story. When I was a toddler my older sister had a lock on her bedroom door that I couldn’t reach, and they tell me I figured out how I could open it with a broom handle so I could go in and play her Beatles records. I guess I’ve always had a passion for music.
Q: Please tell us about one of your most memorable nights at a club, where you were the DJ and also when you were just part of the crowd.
Alan: As a DJ it would have to be a night at The Loft in the summer of ’80. That summer, The Loft (1416 S. Michigan Ave.), was the hottest underground spot in the city next to the Warehouse. The Loft was rented out by different promoters and groups who basically
had a party there every Fri. and Sat. night for about a year. Our crew, the “Chosen Few” (myself, Wayne Williams, Tony Hatchett, and Jesse Saunders--although Jesse was away for much of that summer), were basically the resident DJs for all Loft parties. We always had packed houses and would play from 10:00p.m. or so until 8:00 or 9:00 the next morning. On
one particular night we had to cut off admission because it was so packed, and the crowd outside went across the street and got a ladder from the Fire Dep’t. and started coming in the
Loft’s 2nd floor windows! It was unbelievable. Another memorable night at The Loft was a “battle of the DJs” won by a little known DJ at the time, Ben Perez, who beat me in a two-man “mix off” final. Actually,Ben was great that night. His presentation was very theatrical. When he was announced for his set, he had these two fine women enter first carrying flaming sparklers! They walked them up and set them down on the stage, then Ben made his entrance. Dude, we were like, “who is this MF? Ben then broke us all off pretty good that night, playing a bunch of shit that none of us had ever heard. I’m pretty sure that was the first time any of us had heard Girl, You Need a Change of Mind by Paul Lewis, Su-Ku-Leu/Mother Africa by Tantra, and I believe Sing, Sing, Sing by the Charlie Calello Orchestra. Obviously, at the Loft we were replicating (or trying to) what Frankie was doing at the Warehouse, who was replicating what Larry Levan was doing at the Garage, who was replicating what David Mancuso and Nicky Siano had done in New York before him. the Loft was really a special place for us.As far as memorable nights in the crowd, there were so many at the Warehouse and Power Plant (see below)
Q: If you were fortunate enough to hear Ron Hardy and Frankie Knuckles at some of the historic clubs in Chicago please give a short commentary on what it was like to experience them live?If you actually deejayed with them let us know about that too.
Alan: I actually only went to the Music Box (on Indiana) a few times, and never really felt Ron like I did Frankie, but I don’t doubt his greatness. As I’ve said, I was pretty much a Warehouse, Power Plant and C.O.D.(yuk) regular. The Warehouse was like nothing I had ever seen or even imagined. For example, before I went there you could not have told me that I would
have ever partied side-by-side with gays and lesbians and enjoyed every minute of it! It was such a feeling of home, of oneness. People from all walks of life united by one common theme—our love for music and dance. No alcohol (and thus nobody there primarily to “get their drink on’), no threats, no violence, no bullshit! It was just a complete and total escape from the real world like nothing else. As far as Frankie and the music, I can’t really describe how exciting it was to hear so many records that are now familiar classics for the first
time, with an awesome sound and lighting system and a packed and vocal crowd (“all right Frankie!!!!). Then we’d all spend the next week trying to find all these records, first in the
little “disco section” at Sounds Good Records (anyone remember that?), then later at Rose Records on Belmont & Broadway, then finally at Imports, etc. (where Frank Sells often helped me find Frankie’s records).I have a specific memory of hearing Nick Straker’s “Little Bit of Jazz” for the first time at the Warehouse. I felt like all was right with the world and it just couldn’t get any better than this! Although I spent many nights in and along side the DJ booth at the Power Plant and C.O.D. (and fortunately have the tapes to show for it), I never actually played with Frankie.
Q: Please comment on the current house scene in Chicago (clubs and radio)?
Alan: To be honest, I’m just not inspired enough to go out much. I do see that Frankie can still get a few thousand people to come out twice a year, so I know the people are still there, and I’m sure they want to party more than two times a year—they just have to be inspired. I am feeling a ground swell of new enthusiasm for the scene (facilitated by your excellent forum), and I know a lot of guys (Steve Price, Charlie Matlock, Jamie, the Canos, Izrail, etc.) are working hard to reinvigorate the scene and inspire folks. I applaud you all. As far as radio, some of the college stations (especially WOUI, 88.9 FM) are doing a fantastic job, but
the “big stations” are pathetic. Many times, I think we value our “underground” status so much that we allow ourselves to be “out shouted” by the hip hop and mainstream world. It’s really frustrating to hear all the garbage on the radio in Chicago.
Q: A reoccurring comment I hear from some folks, is that Chicago has not progressed
with their house music like New York has .Please comment on this.
Alan: I can’t comment on the New York scene, but it does seem that many of us here have the
mentality that says “you’re not playing deep or underground unless you’re playing classics, and I mean really deep classics.” Because of that, I think a lot of people are missing or under-appreciating a lot of great new music. There’s a lot of bullshit coming out, but there’s also a lot of good stuff. We need to respect it all.
Q: What about the ideal of House, where it is supposed to be
Alan: one nation under a common love of the music, where Latin’s, Blacks, Whites, Gays, Asians etc. can all party together in peace.
Q: Is the scene in Chicago achieving this or is there segregation in the clubs.
Alan: Again, I don’t go to many clubs now so it’s hard to say. I would venture to guess, however, that we’re only seeing real diversity like you mentioned twice a year—when Frankie returns. Red Dog seems to capture that a little too.
Q: Considering some of the problems that House is experiencing today in the US (Lack of radio
air play, club politics, mass misunderstanding as to what house music is , etc) What do you see as a solution ? What can be done to reach folks on a massive scale to let them know about the
parties that are going on in Chicago now?
Alan: We certainly need a mobilized effort to make our voices heard by the radio stations, etc. Maybe we need a catch phrase like “I Want My MTV. Realistically, it’s going to take someone or some group of people with money—big money—to make a dent. Someone who is willing to invest that money in a legitimate, powerful house music station (remember “Disco DAI anyone?) and/or to pay for quality ads on the existing stations. If I hit the Lotto, I’m your man!
Q: If there is one thing you could tell us about the Chicago scene past or present that you
thought no one knew what would that be?
Alan: Oh, I don’t know. I could tell you what the E stands for, but Chip might not like that! (I’m sure most people already know that.)
Q: Was there a rivalry between the Southside, Westside and Northside DJ's back in the day?
Alan: In my “hey day” we didn’t really pay much attention to the Westside and Northside DJs, if there were any doing what we were doing.
Q: Now everyone may not be able to answer this but before Frankie and Ronnie started at their
prospective clubs in Chicago and influenced what everybody else was playing, what were the clubs on the Southside, Westside and Northside like?
Alan: The Warehouse was probably the first “club” I got into. Before that I did go to a lot of party places like Mendel High School (where my man Kirk Townsend played), St. Alibe’s, etc. Those guys were playing Parliament/Funkadelic, radio R&B, and steppers music.And when I say steppers,I mean two guys, matching suits, top hats, cains-steppers! Now I will say this, in the mid ‘70s I used to hear some real good, Warehouse-like music coming out of a bar in my neighborhood, the Jeffery Pub right off 71st & Jeffery. However, I never went in because I was too young and it was largely a gay joint.
Q: A lot of older heads in Chicago are not happy with the historical accounts of the Chicago
House scene that have been printed recently. Interviews with key people who were part of the scene was not done. Any comments on this ?
Alan: Not really. As with all historical accounts, some things and some people will be left out. However, more books are being written, more interviews are being done, and more movies/documentaries are being made all the time. What I do hate to see is the ego and fighting over who was the godfather, creator, originator, etc. Give it a rest. It’s bigger than all of us and we were all influenced by someone.
Q: Where can people come and here you play these days?
Alan: I’m sort of straddling the fence right now about really coming out of retirement. Either way, I will continue to make occasional guest appearances around town, primarily with my buddy Wayne Williams. You can also hear me every 4th of July at the Chosen Few Old School Reunion Picnic. It’s a great event and I invite everyone to join us next summer.
Q: Now what does the future hold for you ?
Alan: I am a lawyer these days, and while I would like to make music a bigger part of my life, I don’t know if a wife, mortgage and two kids will allow it!
Q: Personally I think the internet is the future of broadcast music\video. Soon a computer will
be in every home like a radio or TV and bandwidth will increase to accommodate delivering it in higher quality. What are your thoughts on the internet presently as a means for DJ's and house music to get more exposure?
Alan: Tell that to MP3! No, I think you’re absolutely right. And the internet is a great means of leveling the playing field—we can reach the masses without the $$$ it takes to reach them via radio. Many thanks should go to you, Gerard, for your passion, dedication and technical expertise. The Deep House Page is doing a great job of exposing the music and DJs to
the world and connecting the past to the present.
Q: Any final comments or words of wisdom to share with the other heads out there ?
Alan: To the younger guys, I will tell you that as you grow older it becomes easier and
easier to just give up your passion and give in to popular culture. Don’t! We have found the best music on earth and have nothing to hide or be ashamed of. As badly as we all want to share this treasure with the rest of the world, remember that they are the unenlightened and if they don’t get it, it’s their loss.
Gman: Thank's Alan for taking the time out to be interviewed !!
Alan: The pleasure was mine.
People can contact Alan King at askhoop@aol.com
|
|
|
