New York DJ

In our many years of DJ-ing all kinds of events in and around New York City - from fashion shows to weddings to corporate mixers to private parties - we've found that it's always good to throw in a few playful and fun songs that you can bet guests have not heard before, but can immediately like. The genre really doesn't matter, just as long as the song matches the mood of the event or the part of the event that's going on at the moment the song is played, and that there's something about it that makes the guests feel it - whether that means they dance to it, bounce their head a bit during a cocktail hour, or simply smile at it and wonder what the song is.

A reliable way to get this reaction in crowds at almost any kind of event is to mix something exotic with something familiar, and while this is often done through remixes or mash-ups, another great way to do it is by digging up gems of cover songs from the period from about 1950 to 1975, when it seemed a lot of Europe was madly recording their own versions of American rock and roll singles. While German, Polish, Italian and other foreign languages can sound at times great covering rock classics in that they can give them intriguing new atmospheres of many kinds, and while Spanish-language covers seem to always increase the festiveness of an original song, it seems that French covers, at least from this era, have a lock on pulling out from the original versions an impressive amount of both sexiness and playfulness at the same time, but also rarely go too far as to veer into kitsch or over-cutesiness. (Go here to listen to another great sexy French cover recommendation of ours.)

"Excuse Moi Partenaire", a French language cover by '60s French heart-throb Johnny Hallyday of a mid-tempo blues-tinged rock tune (originally recorded in 1963 by Johnny "Guitar" Watson, and called "Cuttin' In") is a prefect example of this. It's somewhat unfamiliar of a melody even to American ears, but has a warm, loose feel that's easy to find room inside to groove with and when you hear Hallyday smoothly croon the title of the song as its cocky first words (words easy to figure out even though they're in French: "Excuse me, partner"), you immediately will wonder where you've heard it - a Quentin Tarantino film? Some Paris lounge compilation CD? Maybe from your parents' record collection, but the American version of it? Whatever the case, it's hard not to be drawn into Hallyday's version of the song, which, like a lot French covers, conjures a more loungey, and suave mood out of the original (which, in in own right is great, go here to hear it) making it equally perfect for background music to tap your feet to while at the bar having a cocktail or sitting down eating dinner, but also for a sly late-night sway with your partner as a party's wrapping up.

Johnny Hallyday - Excuse Moi Partenaire

When clients are having events that involve mainly modern lounge music - such as cocktail mixers, corporate meet-and-greets, or new product showcases - they often know the music style they want, but can't exactly describe it. They'll say "chillout” or “ambient” or “background.” But they usually add, right after, that they don’t want it to be boring, as if modern lounge music implies boring.

And while that may not be true, clients are right to be concerned. We’ve all been to places - cocktail parties, restaurants, retail stores - where the background music is a monotonous mid-tempo beat with nothing more to it, so it’s no surprise that when it comes to planning an event that includes new electronic lounge music, many think there’s a thin line between captivating and forgettable.

We've found over the years of DJ-ing at events in and around New York City involving mostly lounge music that the songs should elevate the atmosphere, but at the same time, not take it over. The purpose for these cocktail-driven events is firstly be able to converse comfortably and - with the exception of a head bounce here or a hip shake there - have the music make you want to continue that conversation, not get in the way of it. When we tell this to clients, they say that description is exactly what they were trying to say they wanted from the music. For a lot of DJs who aren't experienced with it, though, lounge music like this - that doesn’t overpower but isn’t anonymous, either - is some of the most difficult to find.

Many DJs, when it comes to spinning ambient music at any kind of cocktail party, play a mix of songs that have the lush, sleek afterparty vibe of CD compilations popular over the past decade, such as the Café Del Mar or Buddha Bar series. While these compilations have some great tunes, they are made mostly for afterparties - meaning when the main party is over. When this music is played as a party is just getting revved up, it often feels too chilled-out, or not upbeat enough. This is where the concern that new lounge music is boring comes in - clients often tell us they’ve been in that situation as a guest a lot, and don’t want it replicated at their party.

The great thing is, there are plenty of songs we have found over the years - and we continue to find every year - that satisfy this “sweet spot”, but it takes a lot of searching to locate it.  You often won’t find much of it on the popular "chill-out" compilations mentioned above. You have to dig deeper into the genre, and sometimes outside of it entirely, to find that perfect lounge tune that elevates the vibe of these type of cocktail-driven parties to create a festive, or sexy, or whimsical mood for a bit, but that doesn’t ever "overdo it" and become the center of everyone's attention.

Below are three modern lounge songs that are great examples of this feel, and that each work because of different elements - showing that even within the narrower range of upbeat yet unobtrusive lounge music, there is a spectrum of sounds and atmospheres. The first, J. Axel’s “Every Part of the World,” uses a subtle but catchy melody and hint of airy vocals to create a sense of sexy rising energy. The second, Gerardo Frisina’s “Gosto De Que E Bom,” features a sly samba vibe that’s festive but never overwhelming. And the last song, a remix by Fort Knox Five of Torpedo Boyz’ “Are You Talking to Me,” takes a vintage-sounding R &B vocal riff, along with some organ and horn riffs, and deftly uses them to energize the song's beats and give the tune a touch of grittiness and warmth.

J. Axel - Every Part of the World

Gerardo Frisina - Gosto De Que E Bom

Torpedo Boyz - Are You Talking to Me??? (Fort Knox Five Remix)

We’ve DJ-ed many events where we’ve spun Arabic pop music – from weddings to corporate parties to recently a celebration involving many guests from the United Nations. At these events we often mix a range of styles and time periods - from the Western-influenced songs of modern performers like Amr Diab, Alabina, or Nancy Ajram, to vintage tunes by older but beloved Arabic pop singers like Fairouz, Dalida, or Hakim. Much of the time at events featuring Arabic pop, we find client requests tend to be either from Egypt or Lebanon - for example, all the artists just mentioned are from or have deep connections to one of those two countries. We’ve featured posts on some of these artists - go here to read one, and here to read another. Also, many Egyptian and Lebanese (as well as Moroccan) performers are also featured here in an Arabic music playlist we compiled.

Some of the reason for Egyptian and Lebansese pop being very prevalent comes from the immense popularity of many Egyptian and Lebanese artists around the Middle East – since in particular Egypt at times has been more permissive than other Arabic countries of pop music expression and its themes and performers, more artists have developed there. Also, those who leave the Middle East to settle in other areas of like New York bring their musical tastes with them, and since Egypt is a large producer of Arabic pop, expatriates will likely have heard it and may recall it fondly.

But in a city as big as New York, with so many cultural backgrounds, we don’t always spin Egyptian or Lebanese pop – sometimes we include (and clients request) Arabic pop from other countries from the Persian Gulf area, and we're grateful for this chance to diversify our Arabic pop selections. While performers from Saudi Arabia, Kuwait or Iraq may not dominate the Arabic pop music world, we’ve found there is plenty of excellent artists out there to from the Persian Gulf region to be spun at all kinds of events featuring Arabic music, or dropped in now and then at events not featuring Arabic music specifically if a festive, romantic or exotic vibe is needed to take things in a slightly unexpected direction. Below are some great songs from the Gulf region, most released over the past few years.

“Halla Besh” from Saudi Arabian singer Abdelmajid Abdullah (pictured above), is traditional-sounding – it uses Arabic beats and instruments and a sweeping strings melody instead of the electronic dance elements that many Arabic performers have incorporated into their songs over the past generation – but its grand and orchestral - yet loose - feel make it ideal for a moment when you're kicking off a party, or resuming a dance set and you want to include all generations of guests:

Abdelmajid Abdullah - Halla Besh

Saudi singer Abdel El-Girini incorporates elements of R&B, hip-hop and electronica in “Baheb Ashoufak,” which, while taking a cue from artists like Ne-Yo and Usher from its production, still sounds exotic. It should appeal to fans of both Top 40 American and Arabic pop:

Abdel El-Girini - Baheb Ashoufak

“Shabab We Banat” by Kuwaiti group Miami Band (pictured right) from Kuwait, alternates a sunny calypso and soca vocal with a bright Arabic vocal to create a song with an expansive celebratory and uplifting feel:

Miami Band - Shabab We Banat

“La Titnahad” by Iraqi singer Kathem Al Saher is a great tune that blends Latin-sounding horns with a thick Arabic beat and an impassioned vocal to create a nice and warm celebratory vibe. This song was remixed by British-based world music electronica group Transglobal Underground, so some of your guests may recognize it a bit:

Kathem Al-Saher - La Titnahad

Sirvan Khosravi, an Iranian pop singer who, in 2009 was the first Iranian pop artist to have a song chart in Europe, here performs a tune called “Na Naro” that pulses along with a lush, sexy, late-night house beat and a seductive piano melody, and just might be the most accessible song here to those unfamiliar with Arabic pop:

Sirvan Khosravi - Na Naro

Chairlift are one of the more prominent bands often lumped in with the hipster-favorite genre "chillwave," characterized mainly by its heavy use of '80s-inspired new wave synthesizer washes coupled with bits of homemade electronica touches, from skittery dance beats to ambient nature sound loops. Because of this, chillwave often has a more messy, cobbled-together, and at times endearing feel that balance out its slick new wave influences and - at its best - make this emerging style sound new and fresh.

Just because Chairlift are often considered "hipster cool" though, don't think you haven't heard of them. This Brooklyn-based band got some short but heavy exposure that gave them a bump to near-mainstream pop notice a few years ago because of their fun synthpop tune "Bruises." You probably know it not by the title, but by the lyrical riff "I tried to do handstands for you, I tried to do handstands for you" sung to a bright, catchy melody.

When it comes to not only chillwave acts, but most artists inspired by the new wave or new romantic sound of the '80s - from really popular groups like The Killers, to moderately-known bands like La Roux (read about them in a post from this blog here) to more obscure ones like The Mary Onettes (read about them in a post from this blog here) - their songs usually either feel "influenced by" or "derivative of" their inspirations. The former often means a song takes a cue from the genre but makes it into something original and alive, while the latter just sounds dated and flat.

"I Belong in Your Arms", from the group's new album Something, has so much of an '80s feel that it shouldn't sound so alive and fresh, but it does, and therefore impressively makes wondering whether it's the most original sound or not unimportant. Like "Bruises", it's great because it simply sticks in your head with bouncy verses and a uplifting chorus that resides in that sweet spot of being catchy and fun but not too cutesy or cloying. This new song, though, is not a simple re-hash of "Bruises" - there's a bit less quirkiness, and a bit more sexiness. Plus, you'll no doubt be into this song right away if you're a fan of New Order of the Cure  - the chorus here has a soaring beauty reminiscent of the best New Order songs, and singer Caroline Polachek even does a yelp and that Robert Smith "happy growl" thing with her voice that seems straight out of the Cure's "Lovecats." But ultimately, even if you don't know the styles that may have inspired the song's sound, this tune will win anyone over with its giddy joy. It's a song that simply but completely captures the feeling of being in Big Fun Love; it's like a little kid who's dancing and goofing around for you so much that after a few moments you can't help but smile.

Because this song goes down so easy and never "gets in the way" by being too bass-heavy, but also always feels lively and fun, it's perfect to include almost anywhere - from events where cool and interesting background music is important to setting a mood, like cocktail parties and slient auctions, to places where music is much more on display, like clubs, fashion show runways, and dance floors at indie weddings.

Have a listen, and whether you call this song new wave, chillwave, indie electro-pop, or ditch the labels and simply call it just catchy and fun, I think most anyone will agree that "I Belong in Your Arms" is quite easy to embrace.

Chairlift - I Belong in Your Arms