New York DJ

When we meet to talk with clients about music for their event, often the first thing we notice is that they've already dejectedly decided the music they really like and want to hear won't be able to be played at their event.

It may be a designer in a fashion show thinking that the music she wants to use for her fashion line will be too ethereal a sound to keep the audience interested. Or a couple who loves moody acoustic indie pop but thinks it would be too much of a downer to play a little at their wedding Or an organizer of a corporate party who worries that the employees won’t dance because they tend to like raw Southern hip-hop and their bosses wouldn’t. Whatever the case, whatever the event, it seems this kind of unfortunate premature musical censorship is everywhere.

It often comes from a good place of common sense or consideration, like an organizer at a art opening knowing that prospective buyers might not want to hear his beloved deep cuts of ‘70s classic rock all night long. But some of our clients’ decisions that their favorite songs or genres won’t work comes not from a good place at all, but instead from having met with conventional, unimaginative DJs that tend to work for bigger, more cookie-cutter DJ companies. We’ve heard from these clients that some of these DJs have told them straight up that the only way to get a party movin’ is to play disco all night.

Whatever the reason for clients' doubts in the music they love, one of the first things we tell them – no matter what their event –  is to open up their mind, revisit their CD collection or iPod, and make their “dream list” of songs they want to hear, with no censoring allowed. Put anything in you would love to hear. Not only does it make the process of selecting music easier, but also more fun. It will get you excited about the possibilities of hearing this music, as opposed to nixing songs right away and feeling frustrated that the soundtrack to the event is already not what you would like.

Now, will all these "dream songs" end up making the cut when the event arrives? Sometimes many of them do, sometimes they don't. But what always happens is that when we see these “dream lists” and talk a bit with the client to see what music is most important to them, we can then use our experience in knowing what of these songs will work given the mood that is wanted at the event, as well as what kind of guests will be there, and what kind of structure the event will have. Then we can suggest which songs to keep, which to think about not using. For example, a pair of melancholy indie songs at the more sedate moments in a wedding can feel absolutely right and even moving. So can a set of obscure hardcore punk during the more boisterous moments of a corporate party. And even a little experimental progressive rock can enhance the feeling of an art opening, if played at the right time.

By far, many more of the songs you really want at your event then you ever think you can play are actually able to be fit in, but not only that, they can be made to add to the atmosphere of the event. But to do it, you have to begin by letting the DJ know what you really want to hear. And if that DJ looks at your list, smirks, and says something about how you can't have a party without having "the Y" on your list, well, you know the time has come to find a different DJ.

Last Thursday, a recent nationally-syndicated interview aired that we did for NPR’s “Marketplace.” In the interview, we discuss with reporter Jeremy Hobson what makes a great retro flashback song, and how a new generation is becoming just old enough to want to hear nostalgic tunes from their childhood at the clubs, bars and events they attend  – usually after several drinks, that is. Have a look and a listen:

American Marketplace – 03/25/10

Here’s the audio of the interview (It’s a podcast, our segment starts at 23:15 elapsed):

djnyc – NPR

In a recent post introducing the Monroes’ song “What Do All the People Know,” I mentioned that due to about a decade-and-a-half of ’80s nights at dance clubs, as well as “flashback lunch” radio programs being commonplace now for about ten years, it seems harder and harder to hear a song from the ’80s that you loved to dance to but truly forgot about since.

Well, we’ve dug around on iTunes and put together a mix of 25 songs from the ’80s that we’ll bet many of you haven’t heard since you owned the song’s 12″ or cassingle (now there’s a word for those of you who remember the late ’80s!). And even if you have heard some of these since their heyday, we’ll bet that you’ll think they’re still fresh, and that you haven’t heard many of these songs on the radio during your lunch break, or even at the typical ‘80s club night.

Included here are mostly underplayed mainstream songs from the decade, with a nod to freestyle (Noel’s “Silent Morning”), hi-energy (Company B’s “Fascinated”) and R & B (Oran Juice Jones’ “The Rain,” Ready for the World’s “Oh Sheila”). Mixes of underplayed songs from other ’80s genres, like rap/hip-hop, hard rock/heavy metal, and alternative/underground pop, may be forthcoming but here we concentrated on mostly radio hits and dance club pop.

Some standout tunes on this iMix include the bright, faux-jazzy charm of “Breakout” by Swing Out Sister (the single’s cover is pictured); the sublime Motown-esque groove of “Town Called Malice” by The Jam; and, doing their best New Order imitation, Kon Kan with “I Beg Your Pardon” – a song that will surely give you that exhilarating shot of first-time nostalgia for it, as it was huge on the dance floors at the end of the ’80s, yet it has been undeservedly all but forgotten since.

Go here to listen to the mix.

One of the best things about being a DJ is being able to spin an obscure, underplayed song that people used to love years ago, but forgot how much they did since the song is rarely heard anymore. At many events with a more mainstream crowd present – such as weddings or corporate parties – song recognition is key, however, so here a DJ can’t get to crazy with these moments that often. But if a genre remains popular long enough, these crowds, too, like fresh additions to the usual selections.

This is what seems to be happening now to the retro ‘80s music genre. After almost fifteen years of ’80s-themed nights at dance clubs, a decade of “Flashback Lunch”-type programs on major radio stations, and countless CD compilations, we’ve noticed that among many crowds the novelty and charm of one-hit wonders like Soft Cell (“Tainted Love”) or the popular songs of "several-hit wonders" like the Go-Go’s is wearing off. That’s where a fresh batch of retro comes in. Lately we’ve been getting a great reaction on the dancefloor to less-predictable ’80s songs, like “The Promise” by When in Rome (go here for a blog entry on this song), or even the slightly corny “Your Love” by The Outfield. But a song I barely remember from the time it was released not only evokes that great, all-too-elusive “Wow, I haven’t heard this in a long-ass time!” moment, but also has aged well – I guess since so much current indie pop and rock sounds like it was made in 1982.

The song, “What Do All the People Know” by The Monroes, isn’t really recognizable by the name of the band, or even the title. But if you hear the tune, you’ll probably remember it and have a surprised and pleasant reaction like, "Oh, this song! Yeah. Nice!" Released in the early ’80s from the band’s debut EP (way too serious cover pictured), the one-hit wonder Monroes had modest success on the charts with the catchy song. While to new-waver ears back then it probably sounded like a mix of the Cars, Rick Springfield, and even Cheap Trick, to today’s hipster ears it likely and impressively will remind many of indie bands Arcade Fire or MGMT – which should give the tune some props among any self-respecting indie music snob.

Have a listen, and see if you agree that the song features one of the best uses of handclaps in pop music.