I would ABSOLUTELY disagree that MJ makes for a good foundation to a DJ set. The problem with MJ - and reason that I use his music so sparingly - is that once you throw him down, it creates (with some audiences at least) the expectation of what the music that follows will be and if you (the DJ) are not on the same page with your dancers, MJ has just fucked up what could have been a good set by overpowering everything else. I almost never, ever, ever play anything off of Thriller for that reason (unless it's a brass band version of Human Nature) - my night isn't an "80s night" and I'm not trying to have Beckies and Chads trying to bug me on some, "can you play some Culture Club?" bullshit.
If you're talking Jackson 5 though? Different story. To me, they're much easier to build a diverse set around.
I almost never, ever, ever play anything off of Thriller
When I was giggin I nevered played any Thriller.
b/w
a Gay Crowd can be swayed w/ James Brown.
Cosine on Thriller not getting any play, although I too have used the instro to good effect.
BM/LF/SK: Yes, teh gays CAN be swayed with JB, my point is that unlike JB, MJ will ALWAYS do the trick, no swaying required. Down here, you can throw cissy strut into a diva house set at the gay club and nobody misses a beat.
I would ABSOLUTELY disagree that MJ makes for a good foundation to a DJ set. The problem with MJ - and reason that I use his music so sparingly - is that once you throw him down, it creates (with some audiences at least) the expectation of what the music that follows will be and if you (the DJ) are not on the same page with your dancers, MJ has just fucked up what could have been a good set by overpowering everything else.
I agree with this to a certain extent, it was a real struggle the last two nights to find anything worthy of following my MJ mixes, like really hard. I think that says it all really, dude was the king.
I only play Jackson 5 stuff because that is what fits the DJ gigs I get (similar to what Pickwick said I guess), but definitely stuff like "I Want You Back", "ABC" & "The Love You Save" ALWAYS get people moving. Also, they are tough to keep the momentum going after you play one, I usually have to dip into soul/funk common territory ("Respect" etc).
I only play Jackson 5 stuff because that is what fits the DJ gigs I get (similar to what Pickwick said I guess), but definitely stuff like "I Want You Back", "ABC" & "The Love You Save" ALWAYS get people moving. Also, they are tough to keep the momentum going after you play one, I usually have to dip into soul/funk common territory ("Respect" etc).
You can't even follow it up with another J-5 song, because they might not recognize it. As many hits as they had, today's radio only plays half of them, so the "other," lesser hits don't seem as familiar.
Yeah, "ABC" and "The Love You Save" are guaranteed floor fillers, but you don't get the same reaction from, say, "Mama's Pearl" and "Sugar Daddy." Those songs were also Top 10 hits back in the time, but nowadays they may as well be obscure B-sides to the ex-sorority girls at the club. They'll still dance to "Sugar Daddy," but they don't lose their shit like they would with "ABC."
regarding beatmatching very few of MJ's songs start on a 1, they usually have fills or start on the 'and'. and if you pitch them up or down it's too noticeable and sounds like crap. it's interesting because all these tribute mixes have shown that some people are not very adept at mixing his work together without a few fails so you can hear who really knows how to blend those intros in smoothly or do a free break. also supporting MJ tracks with what you follow it with depends on your crowd but it goes with everything and i disagree that it spoils the crowd. get on the floor goes so beautifully with the brothers johnson 'stomp' they almost sound like the same song.
regarding beatmatching very few of MJ's songs start on a 1, they usually have fills or start on the 'and'. and if you pitch them up or down it's too noticeable and sounds like crap. it's interesting because all these tribute mixes have shown that some people are not very adept at mixing his work together without a few fails so you can hear who really knows how to blend those intros in smoothly or do a free break.
Ha, I hear you. A lot of the songs I was mixing last Thurs were for the first time so I had to learn to be creative - the Microwave looping function = quite useful under the circumstances. It wasn't perfect but I stumbled across a nice blend, crossing "Bad" into "Wanna Be Starting Something" since their two basslines are similar enough.
AK- The GOTF mix into Stomp is an old favorite, cool how the basslines fall right next to each other to make it sound so THICK. Only on this board could I commiserate with someone about that...
ODub- Curious as to what songs made you use the dildo looper? Did playing Bad make the Becks flock with CultureClub on their lips?
I find OTW era MJ tracks SO fun to mix. Almost all of the basslines seem to be in E,A, or G, almost all of the intros are 16 bars, etc.
I am really appreciating all the MJ posts. A huge loss. As a mix-tape DJ for my own parties, I have found that PYT is the most potent way to get my demo out on the floor. And there are so much to choose from. For some reason in DC though, the DJ 101 tune to get everyone out is "Before I let Got" by Maze. It's still played everywhere in DC.
A few months ago, a couple came to me at the at the start of my set waving a 20 euro bill and asked me to play some " Michael Jackson". I declined. It wasn't alot of dough anyway.
. get on the floor goes so beautifully with the brothers johnson 'stomp' they almost sound like the same song.
isnt there some common Quincy Jones magic there? I was just saying to my mate, the only other releases that capture that Thriller/OTW qj/mj sound/vibe, to me are the brother johnson albums from around the same time.... (plus didnt one of the Brother Johnsons co write GOTF)?
Quincy was round that time....
btw
the icon should be replaced with this from now on IMO....
. get on the floor goes so beautifully with the brothers johnson 'stomp' they almost sound like the same song.
isnt there some common Quincy Jones magic there? I was just saying to my mate, the only other releases that capture that Thriller/OTW qj/mj sound/vibe, to me are the brother johnson albums from around the same time.... (plus didnt one of the Brother Johnsons co write GOTF)?
no, you are thinking of rod temperton from heatwave. the brothers played on some of quincy's albums but he did not produce their stuff
I played an 80s/90s oldschool hiphop party on Friday. The other DJ & I must have had at least 10+ MJ requests throughout the night, and we pretty much honored them all.
Then at Funky Sole last night, all of us pitched in for an MJ tribute set at the end of the night. I didn't realize we were going to do that, so I had only brought the DANCING MACHINE album and my two selected tracks were the title cut and "What You Don't Know Won't Hurt You." I was kicking myself today when I realized that I had neglected to even think of pulling out my copies of Carlos Morgan's reggae version - and Usha Uthup's bollywood version - of "Don't Stop Til You Get Enough." Luckily I'm spinning again in a few days so they'll get some shine.
I've gotta say though, this whole experience has brought out the worst in clubgoers, as was to be expected. Friday night the people would ONLY dance to MJ and clear the floor for almost anything else, while harassing us all night for MJ requests, often WHILE MJ WAS ALREADY PLAYING.
Then at Funky Sole, a guy brought up a red leather MJ style jacket to display on the mic stand on stage, a fitting tribute. But when he didn't hear enough MJ throughout the night, dude snatched back the jacket while yelling at the organizer Music Man Miles for 5 minutes, telling hime we were all pathetic, how we were wrong for not playing more MJ, and he felt sorry for us as DJs. Dude was a total douche, especially considering all four of us DJs dedicated the last 45 minutes strictly to a really cool selection MJ tunes & covers.
I played an 80s/90s oldschool hiphop party on Friday. The other DJ & I must have had at least 10+ MJ requests throughout the night, and we pretty much honored them all.
Then at Funky Sole last night, all of us pitched in for an MJ tribute set at the end of the night. I didn't realize we were going to do that, so I had only brought the DANCING MACHINE album and my two selected tracks were the title cut and "What You Don't Know Won't Hurt You." I was kicking myself today when I realized that I had neglected to even think of pulling out my copies of Carlos Morgan's reggae version - and Usha Uthup's bollywood version - of "Don't Stop Til You Get Enough." Luckily I'm spinning again in a few days so they'll get some shine.
I've gotta say though, this whole experience has brought out the worst in clubgoers, as was to be expected. Friday night the people would ONLY dance to MJ and clear the floor for almost anything else, while harassing us all night for MJ requests, often WHILE MJ WAS ALREADY PLAYING.
Out of curiosity, did they stay on the floor for the MJ songs they didn't know?
I played an 80s/90s oldschool hiphop party on Friday. The other DJ & I must have had at least 10+ MJ requests throughout the night, and we pretty much honored them all.
Then at Funky Sole last night, all of us pitched in for an MJ tribute set at the end of the night. I didn't realize we were going to do that, so I had only brought the DANCING MACHINE album and my two selected tracks were the title cut and "What You Don't Know Won't Hurt You." I was kicking myself today when I realized that I had neglected to even think of pulling out my copies of Carlos Morgan's reggae version - and Usha Uthup's bollywood version - of "Don't Stop Til You Get Enough." Luckily I'm spinning again in a few days so they'll get some shine.
I've gotta say though, this whole experience has brought out the worst in clubgoers, as was to be expected. Friday night the people would ONLY dance to MJ and clear the floor for almost anything else, while harassing us all night for MJ requests, often WHILE MJ WAS ALREADY PLAYING.
Then at Funky Sole, a guy brought up a red leather MJ style jacket to display on the mic stand on stage, a fitting tribute. But when he didn't hear enough MJ throughout the night, dude snatched back the jacket while yelling at the organizer Music Man Miles for 5 minutes, telling hime we were all pathetic, how we were wrong for not playing more MJ, and he felt sorry for us as DJs. Dude was a total douche, especially considering all four of us DJs dedicated the last 45 minutes strictly to a really cool selection MJ tunes & covers.
Wow, damn, that really sucks. Sort of proves my theory as to why DJing with MJ can be a double-edged sword.
I have to say - I had a really beautiful night on Thursday (in the same neighborhood, no less) but I think part of it was that we mixed in covers, remixes and lesser known songs during the first two hours AND made sure to announce on the mic (and tell requesters) that at midnight, we were going all in. Given that, people seemed content to dance to the odd MJ song we'd throw in PLUS all the other stuff we normally play. But once midnight hit, we just started dropping all the big J5 and MJ joints and while, personally, I would never be inclined to spin "Smooth Criminal," "Black or White" or - god forbid - "Beat It", it was apropos for the event, it made the dancers happy and we were happy.
This is, by no means, an attempt to defend the douchebag at Funky Sole, but i think waiting until 1am was probably the risky move. As symbolically rewarding as closing the evening out with MJ probably was from a DJ p.o.v., had you guys dropped that set at midnight, I think it might have been the happy compromise.
I was at Marvin in DC Saturday. Typically my parameters are black music recorded while Marvin Gaye was alive. 1939-1984. I also never play MJ or Prince. Just a handicap I put on myself.
I brought a lot with me of MJ stuff with that night and typically Marvin is the kind of place where you could go deeper into his discography. That was my plan, but at the last minute, I decided to play Off The Wall and Thriller exclusively. I alternated between the two LPs with each song. I did that at about 11:00. I also played my OG I Want Back 45 and the Z trip re-edit a few times. That was it. The rest of the night was "normal". No one hassled me all night for any more MJ. Then around 2:00 I dropped some more MJ to wrap up. Don't Stop, Billie Jean, Rock with you, PYT and closed with Human Nature and the Girl is Mine. I wish I had a video of that last hour. On Billie Jean, for example, I would cut sound and the entire bar would finish verses. People were hysterically ecstatic.
the same thing happened to me i was organizing an event and setup a 45 minute Jackson mix then i transfered into jackson sisters to allow me to go into more uptempo jackson (the mix was prerecorded) as soon as that happened crowd boos and some jackass goes on the computer and puts on youtube PYT (i had already played it out to open the night blended with the nevr never die dj day tack) and liberian girl and lost control of the night (i was on bar duty
it was the end of the night anayways so it did not bother me but it is a double edged sword indeed
Reason 12,752 for why playin music off a laptop is whack.
I had been content and happy with my decision to retire from the game for 2 years, and now its KILLING me that I'm not out there. Ah well. Enjoying all of these posts, tho.
too bad to hear some sucky crowd experiences but my experience was super positive and memorable on friday late night:
to finish the set, tic tac-ing back and forth with the wanna be startin something breakdown so that it was 4 minutes straight of mamma say mamma sa ma makossa with handclapping. all i can say is it was the best ever. that is the sickest breakdown. to loop it for minutes, i mean momentum was built like crazy. people were going nuts and everyone was clapping their hands to the beat and singing along and the buildup was bananas. some whirling dervish shit right there. 2 of us took turns on that so i left the booth and got on the floor to dance. the craziest part about it was there was a genuine feeling of gratitude in the spot. i had to wait a few days to share that because it felt so powerful at the time i wanted to hold it inside and revel in the positive vibes.
Comments
If you're talking Jackson 5 though? Different story. To me, they're much easier to build a diverse set around.
When I was giggin I nevered played any Thriller.
b/w
a Gay Crowd can be swayed w/ James Brown.
Cosine on Thriller not getting any play, although I too have used the
instro to good effect.
BM/LF/SK: Yes, teh gays CAN be swayed with JB, my point is that unlike
JB, MJ will ALWAYS do the trick, no swaying required.
Down here, you can throw cissy strut into a diva house set at the gay club
and nobody misses a beat.
I agree with this to a certain extent, it was a real struggle the last two nights to find anything worthy of following my MJ mixes, like really hard. I think that says it all really, dude was the king.
You can't even follow it up with another J-5 song, because they might not recognize it. As many hits as they had, today's radio only plays half of them, so the "other," lesser hits don't seem as familiar.
Yeah, "ABC" and "The Love You Save" are guaranteed floor fillers, but you don't get the same reaction from, say, "Mama's Pearl" and "Sugar Daddy." Those songs were also Top 10 hits back in the time, but nowadays they may as well be obscure B-sides to the ex-sorority girls at the club. They'll still dance to "Sugar Daddy," but they don't lose their shit like they would with "ABC."
regarding beatmatching very few of MJ's songs start on a 1, they usually have fills or start on the 'and'. and if you pitch them up or down it's too noticeable and sounds like crap. it's interesting because all these tribute mixes have shown that some people are not very adept at mixing his work together without a few fails so you can hear who really knows how to blend those intros in smoothly or do a free break.
also supporting MJ tracks with what you follow it with depends on your crowd but it goes with everything and i disagree that it spoils the crowd. get on the floor goes so beautifully with the brothers johnson 'stomp' they almost sound like the same song.
Ha, I hear you. A lot of the songs I was mixing last Thurs were for the first time so I had to learn to be creative - the Microwave looping function = quite useful under the circumstances. It wasn't perfect but I stumbled across a nice blend, crossing "Bad" into "Wanna Be Starting Something" since their two basslines are similar enough.
AK- The GOTF mix into Stomp is an old favorite, cool how the basslines fall
right next to each other to make it sound so THICK. Only on this board could
I commiserate with someone about that...
ODub- Curious as to what songs made you use the dildo looper?
Did playing Bad make the Becks flock with CultureClub on their lips?
I find OTW era MJ tracks SO fun to mix. Almost all of the basslines
seem to be in E,A, or G, almost all of the intros are 16 bars, etc.
A few months ago, a couple came to me at the at the start of my set waving a 20 euro bill and asked me to play some " Michael Jackson". I declined. It wasn't alot of dough anyway.
And James Brown makes three.
isnt there some common Quincy Jones magic there? I was just saying to my mate, the only other releases that capture that Thriller/OTW qj/mj sound/vibe, to me are the brother johnson albums from around the same time.... (plus didnt one of the Brother Johnsons co write GOTF)?
Quincy was
btw
the
how could I forget Mr Brown.....
no, you are thinking of rod temperton from heatwave.
the brothers played on some of quincy's albums but he did not produce their stuff
Then at Funky Sole last night, all of us pitched in for an MJ tribute set at the end of the night. I didn't realize we were going to do that, so I had only brought the DANCING MACHINE album and my two selected tracks were the title cut and "What You Don't Know Won't Hurt You." I was kicking myself today when I realized that I had neglected to even think of pulling out my copies of Carlos Morgan's reggae version - and Usha Uthup's bollywood version - of "Don't Stop Til You Get Enough." Luckily I'm spinning again in a few days so they'll get some shine.
I've gotta say though, this whole experience has brought out the worst in clubgoers, as was to be expected. Friday night the people would ONLY dance to MJ and clear the floor for almost anything else, while harassing us all night for MJ requests, often WHILE MJ WAS ALREADY PLAYING.
Then at Funky Sole, a guy brought up a red leather MJ style jacket to display on the mic stand on stage, a fitting tribute. But when he didn't hear enough MJ throughout the night, dude snatched back the jacket while yelling at the organizer Music Man Miles for 5 minutes, telling hime we were all pathetic, how we were wrong for not playing more MJ, and he felt sorry for us as DJs. Dude was a total douche, especially considering all four of us DJs dedicated the last 45 minutes strictly to a really cool selection MJ tunes & covers.
Out of curiosity, did they stay on the floor for the MJ songs they didn't know?
Or did they only dance to the hits?
Wow, damn, that really sucks. Sort of proves my theory as to why DJing with MJ can be a double-edged sword.
I have to say - I had a really beautiful night on Thursday (in the same neighborhood, no less) but I think part of it was that we mixed in covers, remixes and lesser known songs during the first two hours AND made sure to announce on the mic (and tell requesters) that at midnight, we were going all in. Given that, people seemed content to dance to the odd MJ song we'd throw in PLUS all the other stuff we normally play. But once midnight hit, we just started dropping all the big J5 and MJ joints and while, personally, I would never be inclined to spin "Smooth Criminal," "Black or White" or - god forbid - "Beat It", it was apropos for the event, it made the dancers happy and we were happy.
This is, by no means, an attempt to defend the douchebag at Funky Sole, but i think waiting until 1am was probably the risky move. As symbolically rewarding as closing the evening out with MJ probably was from a DJ p.o.v., had you guys dropped that set at midnight, I think it might have been the happy compromise.
I brought a lot with me of MJ stuff with that night and typically Marvin is the kind of place where you could go deeper into his discography. That was my plan, but at the last minute, I decided to play Off The Wall and Thriller exclusively. I alternated between the two LPs with each song. I did that at about 11:00. I also played my OG I Want Back 45 and the Z trip re-edit a few times. That was it. The rest of the night was "normal". No one hassled me all night for any more MJ. Then around 2:00 I dropped some more MJ to wrap up. Don't Stop, Billie Jean, Rock with you, PYT and closed with Human Nature and the Girl is Mine. I wish I had a video of that last hour. On Billie Jean, for example, I would cut sound and the entire bar would finish verses. People were hysterically ecstatic.
This is true. Get enough nerds in a room, though, and it's "Game On".
i was organizing an event and setup a 45 minute Jackson mix
then i transfered into jackson sisters to allow me to go into more uptempo jackson
(the mix was prerecorded)
as soon as that happened crowd boos and some jackass goes on the computer and puts on youtube PYT (i had already played it out to open the night blended with the nevr never die dj day tack)
and liberian girl and lost control of the night (i was on bar duty
it was the end of the night anayways so it did not bother me but it is a double edged sword indeed
people dont take time to appreciate some times
I had been content and happy with my decision to retire
from the game for 2 years, and now its KILLING me
that I'm not out there.
Ah well.
Enjoying all of these posts, tho.
to finish the set, tic tac-ing back and forth with the wanna be startin something breakdown so that it was 4 minutes straight of mamma say mamma sa ma makossa with handclapping. all i can say is it was the best ever.
that is the sickest breakdown. to loop it for minutes, i mean momentum was built like crazy.
people were going nuts and everyone was clapping their hands to the beat and singing along and the buildup was bananas. some whirling dervish shit right there.
2 of us took turns on that so i left the booth and got on the floor to dance.
the craziest part about it was there was a genuine feeling of gratitude in the spot.
i had to wait a few days to share that because it felt so powerful at the time i wanted to hold it inside and revel in the positive vibes.
What the F*ck is this shit?