New York DJ

Tired of the Same “Auld” Thing On New Year’s Eve? Try These Two Versions of “Auld Lang Syne” That Warmly Return the Song to its Roots

Along with champagne, the countdown, and kisses at midnight, a staple of New Year’s Eve celebration is hearing or singing the song “Auld Lang Syne.” Over the years many singers, bands, and probably many a bad cover band playing a New Year's Eve gig  have tried to update the sound of the song by grafting onto it a modern style like jazz, rock, hip-hop, and many more.

But in the past several years, two artists put a really unique and striking twist on this old holiday staple, and they did it by being old school about the style - really old school, in that they recorded the song much like it was performed when it was written in the late eighteenth century by Scottish poet Robert Burns.

Each of these recent versions have kept the original melody (the poem was originally set to one), most of the original lyrics, and have given the song minimal instrumentation. Both arrangements are quite elegant and beautiful, and each brings out the melancholy of the poem more than typical more modern renditions of “Auld Lang Syne.” But also, because of the unusual sounds of the old English words and the near-acapella of the vocals in these two versions, there's a cozy, storytelling-around-a-campfire quality to them that’s hard to not to like - whether you're at a small dinner party or at a huge New Year's Eve bash and decide to suddenly cut the high-energy party anthems for a moment at midnight and play one of these songs.

The first version, by Mairi Cambpell and David Francis (together calling themselves The Cast), from their album The Winnowing, was originally recorded in 1993 and in 2008 gained some popularity by being featured in the movie version of Sex and the City. This version features the more authentic and imtimate feel, from using only a simple acoustic guitar over Campbell’s vocals to not altering any of the words for modern ears.

The second version, by popular (but sadly rather unheard of in the U.S.) Scottish singer Eddi Reader, and is from her 2004 album Eddi Reader Sings the Songs of Robert Burns. This version is a bit more user-friendly in that it alters a few words of the poem for easier understanding, and also gives the tune a more sweeping, cinematic touch, due to Reader’s lush voice and to the violins that build throughout.

Have a listen to both below, and, because this song often confuses the heck out of people, here’s the rough modern English translation (the chorus is sung after each verse, and the title basically means “for old time‘s sake”):

Should old acquaintance be forgot,
and never brought to mind ?
Should old acquaintance be forgot,
and old lang syne?

CHORUS:
For auld lang syne, my dear,
for auld lang syne,
we'll take a cup of kindness yet,
for auld lang syne.

And surely you’ll buy your pint cup
and surely I’ll buy mine
And we'll take a cup o’ kindness yet,
for auld lang syne.

We two have run about the slopes,
and picked the daisies fine
But we’ve wandered many a weary foot,
since auld lang syne.
                                                               
We two have paddled in the stream,
from morning sun till dine
But seas between us broad have roared
since auld lang syne.

And there’s a hand my trusty friend
And give us a hand o’ thine
And we’ll take a right good-will draught,
for auld lang syne.

Mairi Campbell & Dave Francis - Auld Lang Syne

Eddi Reader - Auld Lang Syne

Hiring a Non-Cheesy DJ: How to Make Sure the DJ You Hire for Your Event Actually Likes Music

Trying to determine if your DJ likes music may sound silly – if they're DJs, a passion for music, or at least for a few styles of music, is a given, right? Well, unfortunately, it's not. Over the years of being in the mobile DJ business in the New York City metropolitan area, we've seen first hand - and heard from many clients - that often DJs and DJ companies don't seem to put a lot of attention to diversifying their playlists or taking the time to create an original mix of songs that is both accessible and fresh.

You probably know the kind of DJs I'm talking about – the cheeseball who cracks lame one-liners and wears a "cur-razy" silver sequined suit to incite you to getting up to dance to tired disco hits; or the cooler-than-thou hipster behind the turntables that yes, really knows his one genre of music, but, unfortunately, that’s all he knows, and so he plays it to death all night; or the DJ company that comes with a bunch of “party motivators” dressed in sexy or silly costumes and practically rips you out of your chairs after dinner, bullying you into dancing to a generic mix of recent Top 40 singles.

Yes, these are all things we’ve either witnessed or have had clients witness. Perhaps you have as well. And seeing this kind of thing calls into question that very basic assumption that a DJ actually likes music. If more of them did, maybe they'd be able to switch between genres more impressively, or need less gimmicks to cover up the limp quality of their song selections.

You’d think that even if a DJ or DJ company wasn’t that into the songs and instead more into the entertainment or MCing part of an event, at least they’d put a little time in to freshen up their playlist a bit for the events at which they spin. But this takes a bit more effort – to do it, you often need to meet more than once with a client to learn more about their specific musical preferences, or you need to spend time discovering what songs are popular in a newer or vintage genre that you might not be that familiar with. It’s much easier for these DJs or DJ companies to simply stay in their limited musical comfort zone, or to “help out” lame songs by doing something like having party motivators put on plastic dog masks and bark at guests as the DJ spins "Who Let the Dogs Out." (Unfortunately, that's a real anecdote about a DJ company that we recently heard from a client.)

So, to help you find someone who’s actually excited about crafting a playlist for your event instead of relying on a tired, limited, or a one-size-fits-all mix of songs, here’s a few questions you can ask when you interview DJs or DJ companies for your event. We welcome these questions from clients, and the good thing about asking these questions is that after you do, you should know from the DJ’s answers rather quickly whether they’re enthusiastic about music or certain genres of it rather quickly – luckily, passion tends to be hard to fake.

1) Ask The DJ What They Like to Listen to On Their Own – You can quickly find out a little information about a DJs personal preferences if you ask them this question. While they may tell you about songs or artists that you haven’t heard of, or ones couldn’t play at your event (the DJ may even be aware of this and mention it to you, just so you don't get worried), getting an indication of their private tastes can be a window into seeing how unusually deep they are into a few types of music, or be the start of a slightly too detailed but endearing story about their large vintage record collection that's threatening to take over their apartment. These answers are both good indicators that there's a real enthusiasm for music going on there. Or, on the other hand, this question could result in an answer from the DJ about how they really dig the newest popular dance songs, like that new one "Tonight's the Night" by The Black Guy Peas, and you'll try to not crack your smile or a laugh since they don't even realize they got the name of the song and the band wrong. You get the idea - either way, whether the answer's good or bad, after asking this question you’ll probably have a better idea of what the DJ is more familiar with musically, and what they’re not.

2) Ask Them How They Got Started – This is a great way to see where their experience and motivation is coming from. In the answer, you might get a pleasant story about how the DJ was inspired by how his father would sit down by the record player and share his soul 45s with him when he was a kid. Or, again, on the other hand, you might find out that the DJ mostly runs a computer printer replacement cartridge business but DJs because his brother recently left him with the equipment and song library after moving to Arizona, so hey, why not? Now, this kind of answer doesn't automatically mean a DJ like that doesn’t enjoy music a lot, but it probably also means that his motivation lies more in seeing entrepreneurship opportunities than it does in crafting an original mix of songs for several hours.

3) Ask Them What They Like Best About DJing – By asking this question, you can often see where a DJ’s specific passions are. Some may tell you they love the preparation of listening to the requests of the client and thinking about how they will likely fit these in with the songs that the DJ already feels will work for that client. Others may tell you they really enjoy that they’ve learned to move around organically between genres of music that one might not think would go together automatically, and in doing this, feel they make guests appreciate songs a little more that they might not have before. Or, some might give you a vague and slightly hesitant answer about how they love “just...playin’ the music…for the crowd…and, you know…just playin’…all kinds of great tunes.” In this case, it’s a safe bet that their passion is simply collecting your check at the end of the event.

Spinnin’ Country Music in the Big City – And Some Vintage Country Tunes to Make Any Event More Festive (and Perhaps Even a Little Badass)

Of all the music genres that come up at meetings with clients, country is the one that people we meet with are most scared of including at their event. Often it’s not because they hate it, but because they like it – some a little, some a lot – but are afraid to admit it. We’ve found that most people don’t lead with their affinity for anything country because they don’t have much confidence that it could be added to an event’s playlist in a way that won’t “kill” the party. They think that as soon as a country song is played, the guests are going to rush from the dancefloor, fearing the MC will begin an annoyingly enthusiastic announcement on how to do square dance moves as he puts on a red gingham western shirt and a cheap plastic cowboy hat.

It's understandable. Most people who only know a little about country fear that obnoxious, campy, Hee-Haw image and the corny country sound that they associate with it, one of blistering banjoes and hillbilly drawls. But from DJ-ing events for many years, we're familiar with country both old and new and know that there's plenty of great country tunes out there - especially vintage ones (some you've likely never heard, some you've likely forgotten you liked) - that have nothing corny about their sound at all. Instead, the much more understated twang of these country songs can add a charm and some can even add an edgy, badass feel to celebrations.

While it is true that in and around New York City country isn’t the most popular type of music requested or played, most clients we work with usually have a few country artists they want to hear. These tend to be vintage country artists whose songs and reputations have aged well, like Johnny Cash or Willie Nelson, or artists that have some “indie cred” or have veered into pop music, like Lyle Lovett or Ryan Adams. But often, too, we get the request for full-on, pure country – from the intimate, unpolished heartache of Patsy Cline, to the big, slick sing-a-long anthems of Alan Jackson.

Just because clients around our metropolitan area tend to be selective about their taste in country music, however, doesn’t mean it has to be quarantined to a single song played at a slightly lesser volume at a time in an event when a particular song choice is less noticeable, like a cocktail hour or dinner. At most events, a few country requests both old or new can be played at any time – even during the prime dancing time of the event.

But with country music, at least here in New York City, consider your guests a bit if you’d like to hear more than a few songs here and there. If you’re thinking you’d like a lot of country at your event and you’re not sure if your guests are also country fans (and country isn’t an overt event theme), it likely will exclude more guests than other more generally universal genres of music such as Top 40, indie pop/rock, hip-hop, Motown, or soul. So, just make sure to think about your guests' tastes, and, if you have and you’re still not sure, do a little field research and ask them if they’d enjoy it. You might find more country fans that are coming to your event than you thought.

If, like many clients we work with, you want only a few country songs of varying intensity played throughout the night (say, a few sentimental, and a few that are more danceable), you should not be shy to insist these be on your playlist. They key here is, unlike with types of music that are more universal in the city and the surrounding area, make sure to ask the DJ if he or she is comfortable DJ-ing country. Ask the DJ if they know it well, and if they know a certain country music era more than another. Some DJs know newer, very popular country “party” songs, but know little of vintage country tunes that can also get a crowd movin.'

If you have a DJ who does know country, he or she will know what other country songs (or, sometimes a bluegrass song, an alt-country song, a southern rock tune, or even a pop song with a country influence) to put around it in the moment they're playing it so that you and your crowd will be pleased and the song(s) won't sound out of place. If your DJ doesn’t know country as well as you do (and if you know how your guests will react to certain songs), you may have to do a little coaching, such as dictating what songs on your list you want played approximately when. For example, you might explain that certain country “flashback” songs from the '70s work great for dancing toward the end of the night, when people have had some drinks and have loosened up, but these won't go over that well at the start of prime-time dancing - at least around these here parts.

Another thing that prevents clients we've met with from including country in their events is they simply don't know enough of it that they like beyond a few songs. So, to help introduce you to some accessible, fun, and often simply just cool and badass country music, I've made an iMix of 30 songs of vintage country tunes that contains a wide variety of artists and moods from the genre, from roughly 1950 to 1980. (A post about, and a list of, newer country songs will be coming soon.)

I’ve tried to exclude songs you already probably know would go over well for guests, like many hits of Johnny Cash (“Ring of Fire,” “I Walk the Line”) and Hank Williams (“Hey, Good Lookin’”), Tammy Wynette (“Stand By Your Man”) as well as some later hits that are often played at events, like “The Devil Went Down to Georgia” by the Charlie Daniels Band. But some of the aforementioned artists’ lesser-known songs are included in the mix, such as Cash’s rockabilly-tinged “Get Rhythm,” the ramshackle swing of Williams’ “Move It On Over” (which would be covered more aggressively later by George Thorogood), and Wynette’s equally sly, sweet and sexy “Your Good Girl’s Gonna Go Bad,” the chorus of which I hope will pleasantly stick in you head and make you wonder with me why it’s not a more of a first-tier country classic. But there's also some songs are from artists you may not be very familiar with, like Faron Young or Buck Owens, but don't let that scare you. These lesser-known songs have been carefully picked because I think they'll be very instantly likeable to even non-country fans - most of these tight retro tunes have a rockabilly or pop influence, and will grab you right away since they have fun lyrics, catchy melodies, and infectious rhythms.

Now, anyone who is even remotely familiar with country knows that it has a long and proud history of capturing, among many other things, lovin' gone bad, cheatin' hearts, the truck drivin' life, lamenting crappy jobs, and the solace found in drinkin' until your tears drop into your beer. In this mix, though, I’ve tried to keep those subjects - that, not suprisingly, result in largely downbeat songs - to a minimum. This mix showcases country songs of a variety of upbeat moods - whether it be swingin,' rockin,' tender, whimsical, jubilant, and some that blend some of these moods together.

That said, it's hard to put together a list of country songs and not include any songs about break-ups, infidelity, 18-wheelers, ungrateful bosses, and beer, so these subjects do make their appearance here and there – but with a tempo that will make you tap your toes or dance. Rest assured, though: In this mix, there are no ballads about the loss of a beloved pet dog, loving one’s truck more than a woman, or, most fortunately, ballads about the loss of a beloved truck.

Finally, I've included, especially toward the bottom of the mix, some vintage country songs from the early to mid '70s that we've found work great for dancing during the end of events, often at ones even where country music isn't featured much. Keep in mind, though, that the end of an event is the time when you have had a few (or more) drinks, have been bonding with friends or family or both for several hours, and it’s often the late evening. All this tends to take away the desire to act cool and aloof, and instead makes it easier for some guests to get in touch with their childhood love for Smokey and the Bandit when they hear a certain theme song about heading eastbound, or to display their inner hoe-downer when the fiddles of a famous bespectacled singer from Colorado kick in and he starts expressing his gratefulness to the Lord that he's a rural youth. 

Overall, hopefully this mix will introduce you to - and maybe re-introduce you to - some excellent, very likable vintage country songs that will add just the right dash of sexy drawl, festive twang, and outlaw attitude to your event.

Listen to the mix here.

A Mix of Sunny, Laid-Back Hip-Hop to Add Some Bounce to Your Event’s Cocktail Hour

When guests arrive at an event and grab their first drinks, many years of DJ-ing have made me know that the music that goes best with most cocktail hours are songs that have a vibe that's upbeat and fun, but not overpowering - regardless of the kind of music being played.

I'm not talking about "chill-out" music, though. Whether it's vintage or new R & B, or the more recently popular genre of electronic lounge music such as those tunes featured on the seemingly endless editions of the Bhudda Bar CD compilation series, a chill-out vibe often has too much of an after-hours sexiness or a spacey ethereal feel to totally fit with cocktail hour. Usually, cocktail hour is the part of the event where guests only begin to interact, much less start to become a bit tipsy and become more prone to engaging in the kind of activities for which the chill-out vibe would be more appropriate. (You know what kind of activities I mean.)

I think that cocktail hour goes best with music that isn't "all party," but also isn’t "all chill," either. Often at events I attend as a guest I find the DJ is playing one or the other - being too harsh with aggressive dance music, or too mellow with the electronic dreamy stuff. What people seem to really respond to at our events over the years had been the sweet spot in between - music with an easy groove, a pronounced melody, a catchy chorus, and, as a bonus, lyrics that are light, fun or positive. A song about celebrating some hard-earned good fortune that you can bounce to a bit as you head to the bar to refill your drink often works magic for the vibe during cocktail hour, be it in a ballroom or at a rooftop gathering. The goal of a great cocktail hour is, at most events, not to get people dancing, but to get them primed for it. Songs with this light, upbeat, melodic vibe put it in the heads of the guests that the party is rampin' up, and dancing will soon follow. Basically, the music for cocktail hour should a bit of a tease.

The tricky thing is, while there's long been a lot of great songs with a mellow, after-hours feel in both vintage and new R & B, as well as a growing number over the past 20 years in all kinds of electronic lounge music, the amount of songs that have this "rampin' up" quality aren’t as easy to find in any genre. And to those not that familiar with hip-hop, you might think that there's even less, as the media coverage of the genre seem to only focus on its most crude examples, like groups and songs with only booming beats and profane lyrics.

But if you look around a bit, hip-hop tunes with an airy, melodic touch are not that difficult to find. And it's worth it, too, as often hip-hop songs of this type does the most to bring out the hip-shaking during cocktail hour - not just because these mellower hip-hop songs are usually fun and a bit sexy, but because older guests will many times recognize parts of the songs as well, as hip-hop artists will often use deftly-chosen samples of beats and melodies from familiar soul and funk songs from a generation or more ago.

I've put together an iTunes mix of bouncy, upbeat, but rather mellow hip-hop songs that we've found work for us during cocktail  hour and exactly fit the vibe of "rampin' up." Included is wide range of hip-hop styles, from the relatively newer genres of crunk (which tends to feature a lot of infectious call-and-response choruses and a lyrical obession with partying) and Southern rap (which tends to put a stylized lazy slurring on words and rhymes); California G-funk, which, with it's slower tempo and spacey synth riffs, puts a laid-back, sun-drenched spin on ganstga life; old-school rap, with its disco samples, record-scratching DJs and freestylin'-on-the-streetcorner MCs; underground and alternative hip-hop with a less aggressive, often humorous and acoustic touch, from De La Soul to newer artists in this genre like Lyrics Born; a mellower side of the often sharper-tongued New York/East Coast-style hip-hop; and more radio friendly "pop" hip-hop, from Will Smith in the early '90s to Jamie Foxx and T-Pain's new hit single "Blame It."

So get yourself some gin 'n' juice, and listen to the mix here.

A Classic, Festive Tune to Add Some Arabic Flavor to Any Event: Dalida, “Salma Ya Salama”

Often when selecting music for an event - be it a private party, corporate event, wedding, art opening, fashion show, or almost anything else - the organizer will think about catering to certain guests by including a type of music they will like. But if these guests enjoy a style of music that the organizer isn't very familiar with, instead of risking embarrassment by unknowingly choosing a song that's inappropriate for the mood, or simply a lame choice in that particular style, the organizers of the event may simply play it safe and not include any of this more unfamiliar music at all.

Well, if that unfamiliar genre happens to be Arabic music, here's a great classic to start with that will allow you to confidently expand the musical styles of your event. The song, "Salma Ya Salama," is a traditional Egyptian folk song written in the early 1900s that was given a exhilarating "re-boot" in the late '70s by Dalida, a singer who was (she died in 1987) and still is hugely popular and adored in Europe and Egypt.

"Salma" effortlessly achieves a perfect balance in so many ways: It has a lush, festive chorus that instantly creates a warm, relaxing mood that's just as good for sitting down and enjoying as it is for getting up and dancing; the song's arrangement - with a mid-tempo shuffling beat and a tight three minute pop structure - makes it accessible to Western ears, but at the same time the song never sounds bland or "emptied" of its native sound; and because it was a huge hit across Europe and in Egypt in the late '70s and has spawned house music-style remixes as well as cover versions by the Gypsy Kings with singer Ishtar Alabina (go here for my post on one of her excellent Arabic-Spanish tunes), the song is familiar to both old and new fans of Arabic music. But beyond all these impressive qualities, the real reason the song works is simply because it’s infectious and fun and grabs you the first time you hear it.

Dalida, an Italian-born singer who grew up in Egypt and was unfortunately obscure in the U.S. but who had huge success in Europe from the '60s through the mid '80s, sings “Salma” here in Egyptian Arabic, but she also recorded the song in French, German, and Italian. Dalida is considered one of the first singers to have success with songs that fused Western and Middle Eastern cultural influences, long before singers like Shakira, Ishtar Alabina and Ofra Haza emerged and made these cross-cultural connections less unusual. Despite being recorded over 30 years ago, the production of the song and performance given by Dalida has aged remarkably well. Listen to the song, and I think you'll feel it could've been recorded this year. (Keep in mind that during the late '70s, it seemed every studio engineer across the Western world was putting a slick disco sheen on almost all genres of music, making the restraint and lack of "boogiefication" of this song all the more remarkable.)

So, while "Salma Ya Salama" is great for catering to guests who are fans of Arabic music, the song will also work great at any time during an event, regardless of the guests present - especially in the wake of the popularity of the Bhangra / hip-hop / house fusion of the song "Jai Ho" from the film Slumdog Millionaire. (Go here for my recent post on this song and Indian Bhangra music.) For those of you looking for another exotic multicultural song fix, Dalida's invigorating take on this old Egyptian folk song may be the perfect find.

Dalida - Salma Ya Salama (Egyptian Arabic lyrics)

Hiring a Non-Cheesy DJ: Recognizing Policies DJ Companies Have But Aren't Eager to Share

Unfortunately, too many people have a very low opinion of the mobile DJ/MC. People always seem to expect something lame or offensive. The mobile DJ/MC is often considered to be either cheesy, obnoxious, coarse, unfunny, unresponsive, sloppy-looking (wearing jeans to a formal event), schmaltzy-looking (wearing a sparkly suit to any event) or even an unenviable combination of all these bad qualities. For the past few months I have written about this negative image and how to sniff it out and avoid it in a series of posts called “Overcoming DJ Fear,” which you can read here.

But in our mission to make sure you always get a non-cheesy DJ for your event, this post is going to reveal to you a few other things that mobile DJ companies do which you should shy away from, but that you probably didn’t know many regularly do. Yes, most of us fear the aforementioned tacky sparkly suit, or the 8-minute Richard Marx remix played at the height of the wedding reception, or enduring the tired jokes of the MC all night at a corporate event. But there are also certain business policies that many DJ companies have that are quite lame as well. They tend to straddle that line between very shrewd and slightly sneaky. And from what we've heard from our clients who've sniffed out some of these policies in DJ companies, the DJs aren't exactly eagerly bringing them up, so maybe they even feel a bit guilty about them. These policies are not of the obvious variety, such as just the adding of extra fees for bringing additional equipment or performing overtime. No, these policies that are a little more insidious; they're not as automatically thought about by a potential client, but they can adversely affect your event unless you are aware of them and therefore can bring them into the discussion with your DJ, and react accordingly.

(Non-hypocrite alert: Our company doesn’t engage in either of the three practices mentioned below, so we feel comfortable exposing them, in the Obama-esque hope that one day enough clients will demand a higher-quality product from mobile DJs, and that the business as a whole will get some well-needed respect. Okay, end of plug.)

So, here we go:

1) The DJ You Meet With Might Not Be Your DJ – Often, DJ companies, especially the larger ones, will send the company owners – who tend to be the most confident, well-spoken, experienced DJs they have – to an initial prospective client meeting, to impress the customer. This is Business 101, of course. And this may win you over. But, this impressive DJ might not mention that they won’t be there the day of your event. They might give you a phone consultation, take note of your requests, answer all your emails promptly, and then pass all of it on to some other guy in the company. To be fair, this other DJ you get for your event might not be a bad DJ, but if he is going to be doing your event, wouldn’t you feel more comfortable meeting with him instead of having a go-between, where important details could get lost or miscommunicated, such as song requests, or pronunciations of the names of guests to be introduced? So, if you like the DJ you meet with initially during the "sales pitch," make sure to ask if he will be the one doing the event. If not, ask to meet – in person – the DJ who will. If this offer is refused, I’d move on.

2) The DJ May Have Another Gig That Day – Many clients, in focusing on arranging your event, may forget that a DJ business succeeds on booking as many events as the company thinks they can handle well. Again, to be fair, that’s understandable for a business owner. But the problem comes in when a DJ company misjudges what they can handle well, or has a different idea from you of what being able to “handle well” means. To some DJ companies, this might mean just showing up with some generic playlist for your event, since they put all their effort into the event before or after yours. You should be sure to ask if your DJ already has another event on the day of yours, or if they do not, if they do multiple events in a day. It tends to be the larger companies that have the resources (many DJs, some “roadies," a lot of equipment, several vans or trucks) to do multiple-day events, so if you’re meeting with these companies, they’re the ones to flesh out a " line of questioning" on how this may affect your event. If they’re assigning the DJ for your event another event that day, I’d be a little nervous, since it brings in some other potential complications - most importantly travel time to or from the other gig will now be an issue. If the DJ is doing multiple events, make sure that the reassurances of the company satisfy you to the fullest, and think of getting some guarantees of prompt arrival in writing. And make sure to remember that even the most experienced DJ companies can’t predict what the weather, traffic, or highway conditions will be like that day.

3) Free or Easy DJ Consultations May Not Be Guaranteed – Part of the peace of mind of having a DJ for your event is having access to them, of being able to ask them a question or being able to have a responsive line of communication, such as knowing quickly if they found that obscure first-dance song, or what they think about changing the style of music for cocktail hour. This not to say that every element revolving around music needs to be discussed in detail, but it is nice to know that the DJ is regularly available to you if it is needed. Some DJs know they need to be available a lot to clients, and they could charge for it, like some wedding planners do. You may get one free consultation after you hire the DJ, but any others may cost you. Just make sure to ask. If they do charge, this is probably a sign to move on to ne where you can get unlimited commuinication included in your original contract price. If you have a DJ who doesn’t charge, great, but then make sure to ask about their availability, and when is the best time to contact them. This answer, right there, might give you an idea of their schedule, and how open it is. But most importantly, make sure to gently but firmly emphasize that you expect to have a relatively quick line of communication with your DJ. This is not to expect a lightning-quick, 15-minute response to all emails, but at least a 24-hour response is reasonable and should be expected.

(If you've experienced a rather shrewd or sneaky policy from a DJ company that annoyed you and that you'd like to mention to help those needing a DJ for any sort of event - from weddings to corporate parties to fashion shows to art gallery openings - feel free to leave a comment below. Let your frustration known, so others won't have to share it!)

Ensuring Your Fashion Show Arrival Music is the Right Fit

When people think of music played at fashion shows, the thumping bass and dreamy melodies of intense house grooves likely come to mind. It’s no surprise that house seems to be present a lot when we see models strutting down runways, be it during the city’s Fashion Week, or at fashion shows at shopping malls. Intense musical energy boosts the drama in witnessing the debut of a designer's creations, but this energy has to be somewhat airy and unobtrusive to not interfere with observing the designs. For this, house works well – it's often fast, has a stylish sheen, and because it doesn't often reach mainstream radio, it’s rather anonymous and never competes for your attention more than the clothes.

But when it comes to the music before the runway music – the mix of songs played during the arrival of guests – many of the same background music rules don’t apply. Sure, the goal of fashion show arrival music is to be in the background while guests chat, grab a drink or a snack, and make their way to their seats, so it need not initiate any dancing. However, unlike the more sedate arrival music played at other events – like art receptions, corporate events or wedding ceremonies – at fashion shows, the mix needs to be "amped up" a bit more. Why? Simple: The mood in the room before the start of  fashion shows we’ve performed at (the photos above and below are from a recent show we spun at in the West Village) has more of a fun, exciting air of anticipation than almost any other kind of event, and that feeling of rising action should be reflected in the songs played.

So what kind of music goes best with this sense of anticipation? Hip-hop? Indie rock? House music grooves? Glam rock from the ‘70s? A more internationally-flavored mix of festive meringue, or sensual Indian Bhangra? Well, almost any genre of music can do it, as long as there’s an intensity to the music and it’s compelling in some way. People don’t want to walk in and be overpowered by the music's mood (or volume) so it interferes with their conversations, but the songs also shouldn’t ever be constantly familiar or predictable. The arrival music should add palpably to the anticipation and excitement, not lessen it. Overall, the best arrival music seems to have a bit of an unexpected, even mysterious (but usually at the same time playful and fun) quality about it, with, of course, little sexiness thrown in.

We're able to establish a mix like this in many ways. For example, we might spin a classic rock song  done in French, or pull out out a song by some obscure vintage jazz vocal artist with a clever lyrical hook, or simply ride the killer melodies and rhythms of a pair of spicy, gritty Latin soul tunes that you don’t need to have heard before to start bobbing you head along.

But the most important element to creating a tight mix of arrival music often simply depends on the fashion show organizer (or the DJ themselves, if the organizer desires) taking the first step – consulting with the designers to brainstorm about what the right “feel” of the arrival music should be. The designers might have many ideas of what kind of music they would like to get the audience most pumped up for the show, and this way they can be discussed and integrated. When the designers are picking their own songs for their collections, then the organizer (or DJ) should look at what overall mood all of their selected music will likely create during the show, and think how to complement it. For example, if most of the designers’ songs are more ethereal and airy, it might be more appropriate to play a more ambient mix of songs as guests arrive. If many of the designs have a provocative and edgy look, a bit of indie rock, glam, or punk might be the best choice. Or, if there doesn’t seem to be a consistent mood to the designers’ works, then at least this will be known, and the DJ can create an eclectic but smooth mix based on the genres that will be included in the show.

This might all seem like a lot of fuss over what is not even the main section of the show. But because the arrivals often can last an hour,or even, at times, more than that, doing a little homework to put the guests (many of whom are buyers, of course!) in a positive, intrigued, loosened-up mood from the start the first model takes the runway (and giving the guests the sense that the start, middle and end of the event all fit together seamlessly) will only make your show more successful.

 

Remixes of Big Band, Swing & Early Rock 'n' Roll Classics: A New Way to Freshen Up a Theme Party, or Any Event

On New Year's Eve, we had an excellent time ushering in 2009 by DJ-ing a huge party at a venue in lower Manhattan that featured a Roaring Twenties theme. (You can see some photos of the party below, and a photo slideshow of the night at Dan's blog, located at www.discjockeynyc.com)

Most guests brought a lot of Jazz Age spirit with them, and it was cool to look out into the crowd and see many of the women sporting stylish flapper hairstyles and the guys adjusting crisp fedoras. The event featured bands playing Dixieland-style jazz, a burlesque show, and even a group performing a fire-throwing routine (not exclusively 1920s, but it does get your attention!).

For our part in adding to the atmosphere, we played original and remixed versions of big band and swing tunes from Glenn Miller, Gene Krupa, Louis Prima, Cab Calloway and revivalist swing band Big Bad Voodoo Daddy, along with rockabilly and rock 'n' roll that had a swing-style rhythm to it, like Bill Haley, Elvis, and revivalist rock 'n' roll bands like the Stray Cats. Even though space was tight, everyone seemed to find enough room to dance, and the sexy vintage mix really went well with the retro Bacchanalia of the evening. And it was great to see the crowd sharing a sentimental moment to the swingin' big band version of "Auld Lang Syne" that we played the moment the clock hit midnight.

DJ-ing theme parties is great fun, and gives you and your guests a chance to delve deeper into genres than you usually can, and if the crowd is into these genres from the beginning, it can be an amazingly unique experience. But, being locked into a few genres for the whole event can also get boring quickly unless you have ways to freshen things up. This is especially true if the theme only involves a single genre or just a couple kinds of music, and if some of the crowd are neutral in their feelings toward the genre(s) that are featured.

Keeping things lively, though, can be done in many ways, such as playing lesser-known songs in these styles that still have a great rhythm; playing more cover versions of well known songs in the specific styles; throwing out a few mash-ups of songs; or finding related music that might not be instantly obvious to play, and stretches the borders of the theme a bit while still feeling right - in the case of our New year's Eve party, this was the "newer" (from the '90s and '80s) swing- and early rock-influenced artists I mentioned above, Big Bad Voodoo Daddy and the Stray Cats.

The most venerable way, though, for the DJ to liven things up and extend the party when spinning at a theme or any event is the remix. And while remixes have been used to extract maximum sweat from dance floor patrons since the disco era, for music from the first half of the 20th Century, this really hasn't been much of an option (save for that irritating version of "Puttin' on the Ritz" and its remixes done by Taco in the mid '80s). But recently, there have been more remix versions being made of big band, swing and rock 'n' roll songs from the '20s, '30s, '40s and '50s. Most of the good remixes of this type add thicker, modern-sounding beats to carefully, stylishly re-assembled versions of the original songs. (An album cover of a compilation of these remixes, Big Band Remixed & Reinvented, is pictured above.) At our New Year's Eve party, being able to sprinkle these songs in our set was a welcome addition, as it gave the crowd something that was at once both familiar and accessible, but also new and different, and our crowd really responded well to this fresh vibe.

We'd definitely suggest including a few of these remixed vintage songs at your event - whether your event is a theme party featuring vintage music only, or if you simply want to feature a set of songs from these older eras at a non-theme event. Ultimately, this emerging kind of "vintage remix" is great to have available, as it re-energizes older genres that can sometimes sound tired to many ears, yet are often wanted or needed at events that feature multiple age groups. Better yet, there's a range of moods to these remixes as well - some more suited for a lounge atmosphere, some for the heavy dancing part of the event that usually comes later on.

See what you think. Here's some samples of these kind of remixes: the first takes the Gene Krupa version of the swing classic "Bugle Call Rag" and attaches to a set of sexy, late-night beats; the second tune is a high-energy, swinged-out remix of the even more classic "Rock Around the Clock" by Bill Haley. If you want the full range of these remixed songs, go to our complete iTunes mix, located here.

 

Overcoming DJ Fear, Part 5: How to Steer Clear of a Stubborn DJ

Among many other image problems (which I’ve previously described how to avoid when hiring a DJ; go here to see these posts), we've noticed that unfortunately, the mobile DJ typically considered for events such as weddings or corporate parties is seen by clients as often being abrasive and stubborn: He (let’s be honest, it’s usually a he) is a DJ who wants to play his kind of harsh-sounding or cheesy music all night, he wants play it loud all night, and he doesn’t want to hear your stupid requests during any part of the night.

Okay, so this is a bit of an exaggeration. We all know that all mobile DJs aren't this obnoxious. However, in our years of meeting clients, we’ve heard many, many of them complain about coarse, meathead DJs. So beware, they’re definitely out there. But that doesn’t mean you have get stuck with one. Here’s a few tips on how to determine if you might be meeting with an insensitive DJ, or, instead, someone who’s a lot nicer, reasonable, and more professional:

1) Make Sure the DJ is Versatile: Most DJs are excellent in one or two genres of music, but events like corporate parties or weddings typically last four to six hours, with half of that time often involving dancing. And since these crowds are not like dance club crowds who usually come on a certain theme night to dance to one or two kinds of music, a lack of variety at a corporate party or a wedding reception will quickly get boring. Guests at these events want the DJ to switch it up, to not get stuck too long in any genre. Often we find that it’s this smooth progression from one music type to another throughout the night that increases the energy at an event. It is therefore important to ask the DJ about what genres he feels are his or her strengths, and if he or she mentions many, stress that you will want to him or her to definitely use them.

2) Make Sure the DJ is Willing to Integrate Your Requests Into His/Her Playlist: If the DJ convinces you he or she is versatile, that’s a good start. But this won’t matter if he or she is only willing to play what he or she wants to hear or feels is “cool.” Not suprisingly, DJs tend to have a lot of opinions about music, and many of them hold some genres in high regard, and think quite less of others. Make sure you tell the DJ that you expect if hired that he or she will leave any pretentious attitude and/or even many of their personal "pet" musical preferences that won't fit into the event at the door. Tell the DJ you expect him or her to try to their best to smoothly integrate your music vision with what he or she thinks will work to pump up your kind of crowd. (Of course, expect any self-respecting DJ to wrinkle their nose, outright laugh, or try to steer you away from your musical vision if that vision includes requesting universally lame and cringeworthy music, like '70s soft rock, or New Age Jazz.)

3) Make Sure the DJ is Comfortable With Last-Minute Playlist Changes: DJs, of course, like to build a groove on the dancefloor, and many talented DJs will have a loose sense of what kind of music or mood they want to start with, and what kind of music or mood they want to end with for your event. This is a great strategy and instinct, but, again, corporate events or weddings are not as seamless and interruption-free as a night at a dance club, or even as a night of DJ-ed music at a bar. Often, several times at a wedding or a corporate party, a song will suddenly need to be played that the guests want, and this will get in the way of the DJ's flow. Whether it’s a big group of employees who suddenly want their guilty pleasure ‘80s hair metal power ballad played, or a bride’s sudden demand to spin a classic big band tune to dance a foxtrot to with her uncle, the sudden, out-of-left-field request is a commonplace occurrence the DJ needs to be prepared for, and comfortable with. Thus, you as the client need to emphasize to the DJ that there will likely be some of these moments during your event, and then make sure to pay attention to his or her response. If you notice a bit of decline in the DJ's enthusiasm, you may be in trouble. If you see a poker face, press the DJ a bit more to feel out their thoughts about this. If the DJ tells you that they expect this sort of thing, since the night is about you and not them, then you’re getting somewhere.

Overcoming DJ Fear, Part 4: Determining if Your DJ is Ill-Prepared

(This is another in my series of posts about how to avoid hiring bad DJs. To read the first three posts, locate the "Categories" list at the right, and click "DJ Fear.")

In slang, “ill” often means to be supremely skilled at something. But in the case of this post, the “ill” in ill-prepared isn’t a good thing. It simply means that the DJ isn’t as ready for an event as he or she should be, like this poor DJ in the photo. But not being well-enough prepared is something that you’ll have to worry about much less if in your meeting with prospective DJs you cover the following areas – ones that I’ve found tend to be the most important in terms of a DJ knowing their stuff:

Insurance Coverage – Ask your DJ if he or she has the minimum requirements for your venue. Don’t be afraid to ask the DJ to fax you a copy of his or her policy; this is something that DJs should be completely willing to show you if they indeed do have insurance. Clients might not be aware that many venues will ask several weeks before your event to see proof of the DJ insurance policy, and if they don’t see it, they won’t allow a DJ (no matter how good!) to perform.

Quality / Appropriate Gear – Find out when meeting a prospective DJ if they have 1) quality gear for your event, and 2) enough of it to handle your event. You don’t want a DJ setting up home audio speakers in wood cabinets for your event, and also, you don’t want a DJ to bring top-of-the-line equipment to your event, but only have one mixer downstairs for a dinner reception when you also need one upstairs for a cocktail hour! To help determine if the DJ is well-prepared in both of these areas, ask them to write down a list of what (and in what amounts) they intend to bring with them after you describe your event. This requires you, though, to prepare for the DJ, in that you should get him or her accurate dimensions and location(s) of the venue in which the DJ will be performing. Then, do a little internet research on the kind of equipment they are using, and make sure it is trusted and generally good. You don’t need DJs to bring a gold-plated mixer, but you should be confident that their gear does not have a history of technical problems or is considered the Ford Pinto of pro audio equipment. Also, contact your venue and ask what past DJs usually have brought for past similar events, and compare the amounts on your prospective DJ's list to see if it roughly matches.

Back-Up Gear / Back-Up DJ – Make sure to verify that a DJ brings back-up equipment in case of a system failure, as well as can line up someone as a replacement if they are unable to perform at the event. It might seem a bit paranoid to ask this long before your event, but if something doesn’t work technically the day of, or if the DJ suddenly gets sick, you’ll be glad you made sure the DJ had this area thought of for you.

Knowing Your Requests – Has the DJ studied your music requests for integration into your event? This one is the hardest to verify, as it usually can only be seen after the DJ is hired. The best way to ensure DJs familiarizes themselves with your requests is to agree before you hire them that you will check in with them in a reasonable amount of time and ask to hear what they thought of the music, where they think it will work during the event. You should not expect an intimate, life-long familiarity with your requests (unless they are fairly mainstream, then this step might not be needed), but you should expect that the DJ has listened to your requests enough that it can be brought in smoothly with music the DJ knows already and you want to hear. This point is especially important when the DJ is going to be spinning a type (or types) of music that he isn’t familiar with, which often is the case with multicultural events. (For more on this, please see this previous post about hiring DJs for multicultural events.)

Experience / Background – Ask the DJ about their experience – what kind of events they’ve played, for how long, and what their “style” is. Some clients I’ve met with want a club-style DJ for their wedding so it feels more unique, other clients I’ve encountered want a Top 40 DJ for their corporate event so things don’t get too esoteric – so be sure to inquire as to if they have the kind of experience that can pull off the mood you want for your event.