New York DJ

When many people think about how a DJ enlivens the vibe of an event, they think of beat and rhythm – whether that means these are mixed together in a way that is great for dancing, or, at an event that involves primarily mingling, they are mixed together to create an atmosphere that subtly makes itself welcome with the crowd. However, a DJ’s command of melody and mood – especially with the spectrum wildly different melodies and moods found in the immense variety of music New York City clients often request – can be just as or more important to elevating the level of an event.

When we meet with clients to help them plan the musical flow of an event, many know what they would like the overall mood, or at least part of it, to be. Song meaning and lyrics are often not as important. (For more on lyrics and meaning, go here for our first post in this series). These clients don’t mind if a song has an ambivalent meaning or may have some lyrics that conflict with the mood of their particular event, just that this doesn’t pierce the mood. For example, if a client wants a vibe that features roots reggae tunes to introduce a sunny, mellow vibe, they might not mind if a song here or there has downbeat lyrics, as long as the song fits the overall atmosphere of the event

Mood is important in different ways at different kinds of events. For events that primarily involve mingling – like guest arrivals at fashion shows, or corporate party and wedding cocktail hours and dinners, or in-store promotional events – a mood can be sustained longer and often explored deeper. For events involving dancing, the mood tends to need to be changed more quickly, as crowd feedback to the songs is more direct. If the crowd really likes a change in mood, DJs will likely go with this for a bit, and then after a bit, move on to another mood to keep the anticipation and the energy up. But even here, the mood can be one that can be lingered in. For example, if there is a theme to your event, such as playing 80s music, the DJ can explore the many different sub-moods of this genre, from sexy R & B, to dark synthpop, to edgy punk.

If an event organizer is a bit unsure as to what mood will work best, or if the mood they want to create will work for their guests, we often help by asking what kind of songs the event organizer thinks their guests will like. We can quickly see from the songs or genres given what the most successful moods could likely be, and from there we can work together to fine-tune or introduce new ideas for moods to create based on the organizer’s suggestions.

Where mood is an overall element, melody usually comes into play at events as being the “icing on the cake” of the mood. For example, at events where the primary goal is mingling and conversation, the melody makes the mood more specific – offering a festive, or ethereal, or whimsical (and so on) take on the chosen atmosphere. The beat of a song is what people grab onto, but melody is primarily what keeps people’s attention at these events. Because subtleties of lyrics are often lost in the noise of conversations, and because a repeated beat can get familiar after a while, a satisfying melody is what rises above to be noticed and latched onto from song to song while not interfering with the mingling. (If you’ve ever been in a hip restaurant/bar after around 11 p.m. in Manhattan, you will often hear house-ish music that seemingly only has a beat and nothing else over it – it’s okay to hear for atmosphere, but kind of boring after a couple hours.) In other words, it’s both a good melody and a good beat that makes guests tap their toe or bob their head while waiting for a drink at the bar.

At events that involve dancing, melody is of course more integrated with lyrics and most of all a seductive beat to create mood, but even here, in certain moments, the melody can take the lead. An example of this is when a DJ slyly throws on a cool but obscure cover version of song that he or she thinks the crowd will love. The melody of the original song needs to be somewhat intact for the song to work, especially if the DJ is spinning to crowd that isn’t as adventurous or open to quirkiness as club or bar crowds in, say, the East Village or Williamsburg. Another example is when the DJs spins remixes and mash-ups. Whether at a club or at a corporate party, altering songs too much can be frustrating if it ruins the core instrumental or vocal melodies (like riffs and choruses) a crowd craves when partying. Sometimes the mood of an event is one that will call for mostly non-remixed original versions of songs, and sometimes the mood will demand more severe remixes and stylized effects such as loops or wobble bass drops to keep people’s attention. A great DJ, no matter where they are playing or at what kind of event they are performing, will tune into the crowd quick and find the level of altering melody that will add to the vibe and not take away from it.

Since each song – and sometimes genres – have their own melodies, and what is a satisfying to one group is sometimes not to another is another reason we consult with the event organizer to see what kinds of songs and genres that their guests might like, and from here we can build a playlist that will use melodies in the ways described in the previous paragraphs to their fullest effect, and to ensure a better chance of creating a great event.

Coming next, Part 3: Beat & Rhythm

A common concern that clients have for us about their playlists are questions about a songs’ lyrics or overall meaning. Often these clients think that even though a song is loved by them and/or their guests, the lyrics spoil it somehow, in that they’re too dirty, too downbeat, or are appropriate and great, but they wonder if anyone will notice them if the song is rather unknown.

In having DJ-ed the variety of events we have over the years, we can say that sometimes these concerns are valid, sometimes they aren’t, and sometimes when planning an event’s playlist we run into concerns with lyrics and song meaning that clients haven’t even thought about and we need to at least make them aware that they think about. Here’s some basic – but often not obvious – guidelines to think about when considering the impact of lyrics and meaning of songs for your event.

As far as a song’s lyrics being too dirty, unless you as the event organizer know for sure that there will be all adults there and they will not be offended by coarse lyrics, there’s really no problem. Hearing the original version of, say, an explicit classic hip hop song when your party is in its heaviest groove is quite sexy and fun for crowds. The tough thing is, clients we talk to usually will have someone attending that they figure could object to dirty lyrics, so they’ll usually choose to have us spin the clean version. Don’t worry – guests will be able to use their imagination and fill in what the “real” lyrics are.

When it comes to songs that clients believe are too downbeat in their lyrics or meaning to include at their event, we’ve found that a few don’t “kill” the vibe. Unless the song is a “showcase” song and is meant to be listened to by a crowd to inspire liveliness – like first dances at a wedding, runway songs at fashion shows, or introductions of keynote speakers at corporate events – in public, songs go by quickly, and they’re not as noticed as it would if you were listening on headphones. (In this way, a few songs sprinkled throughout an event that are festive but in a foreign language can work, too – what the guests will notice is the mood, not the lyrics.)

So, unless you want to play say, three melancholy indie pop songs in a row, or a seven-minute bittersweet vintage samba number, putting a song on the playlist that is special to you but a bit downbeat during a cocktail hour or a dinner is not going to affect an overall upbeat vibe. Just keep these downbeat songs limited,and make sure they’re kept at a reasonable three- or four-minute length. Also, there are downbeat songs that are we’ve found work surprisingly well for dancing. Many know the song “Love Will Tear Us Apart” by the post-punk legendary group Joy Division as a poetically-written tune about an impossible relationship, yet because the song is a classic, and because it happens to have a driving beat, it can get crowds moving – even at a wedding, when it’s the antithesis of the mood. (Just make sure it’s played later, when the crowd has has loosened up and had a few drinks.)

Other songs that clients often want to choose are favorites which have lyrics that they think will go with an upbeat vibe, but the clients aren’t sure if guests will notice or appreciate the songs since they are more obscure. We especially find this with clients in the New York City area, as they have such a varied group of cultural and musical backgrounds and therefore often come to us with all kinds of great but rather unknown gems of all genres on their playlists. If an obscure song is played as strictly background music, these clients are often right – again, people at mixer-type events are often mingling, drinking or eating, and not paying attention to the song as single-mindedly as they would in private. So, if a client really wants the song to be appreciated, we suggest making the songs a showcase – for example, if the event is an a art opening, use a special song as the background to an artists’ retrospective slideshow, or if it’s a wedding, use it as a processional for a wedding ceremony, or as a first dance song.

And lastly, regarding a song’s lyrics and meaning, we find it’s great to spin songs whose lyrics go with that portion of the event, or that have a message appropriate to the event in general. This is something that clients don’t often consider much, but done here and there it can boost the lively feel of an event, and make it feel more festive. The important thing here though is the songs should by subtle or sly references to the moment, not ones too out in the forefront, or things will feel too forced. At a corporate cocktail party, it’s great to play a vintage jazz tune about having a good time like Ray Charles “Mess Around” but it’s just lame to play BTO’s “Takin’ Care of Business.” The same goes for a wedding, in that it’s great to throw in newer pop songs like “Say Hey (I Love You)” by Michael Franti & Spearhead that puts the vibe of festiveness and romance in the air, but it’s not advised to play Frank Sinatra’s “Love and Marriage” as it’s so obvious that it will simply appear unimaginative and lazy.

Coming next, Part 2: Melody & Mood

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

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