Freeez – “I.O.U.” (I Dub You)…

Hashmoder's "STABBING BASSLINE" Stamp Of AprovalArtist: Freeez
Title: I.O.U. (I Dub You)
Year: 1983
Genre: Classic Electro Synth Dance
Comment: Produced and remixed by Arthur Baker (see picture below)
Media Source: Recorded straight from 12-inch record to enhanced digital.

Freeez – “I.O.U.” (I Dub You) (mp3)


StreetSounds Electro-5 front coverStreetSounds Electro-5 back cover
click each image above to enlarge

StreetSounds Electro-5  (Side A)…

Title: Electro-4 (Side A)
Mixed by: Bunny Rock Inc. Featuring DJ Maurice and DJ Noel
Year: 1984
Label: StreetSounds
Media Source: Recorded straight from 12-inch record to enhanced digital.

StreetSounds Electro-5  (Side A) (mp3)



  • A1: Great Peso & Mr. Nasty – “It’s Time To Rock”
    Produced by Aldo Marin & O. Rodriguez
  • A2: Dr. Jeckyll & Mr. Hyde – “Fast Life”
    Produced by Kurtis Blow
  • A3: Knights Of The Turntables – “Techno Scratch”
    Produced by Jim Callon
  • A4: Egyptian Lover – “Egypt Egypt”
    Produced by Egyptian Lover
  • A5: Arthor Baker – “Breakers Revenge”
    Produced by Arthur Baker

StreetSounds Electro-5  (Side B)…

Title: Electro-5 (Side B)
Mixed by: Bunny Rock Inc. Featuring DJ Maurice and DJ Noel
Year: 1984
Label: StreetSounds
Media Source: Recorded straight from 12-inch record to enhanced digital.

StreetSounds Electro-5  (Side B) (mp3)



  • B2: Captain Rock - “Captain Rock To The Future Shock”
    Produced by Tunde-Ra Aleem & Taharqa Aleem
  • B2: Aleem – “Release Yourself”
    Produced Tunde-Ra Aleem & Taharqa Aleem
  • B3: Fantasy Three – “The Buck Stops Here”
    Produced by Aldo Marin
  • B4: High Fidelity Three – “B Boy Breakdance”
    Produced by Jerry Calliste Jr. & Aldo Marin

The Latin Rascals - Beyond The Future

The Latin Rascals…

Artist: The Latin Rascals
Title: Beyond The Future
Year: 1986
Label: Sutra Records
Media Source: Recorded straight from 12-inch record to enhanced digital.

The Latin Rascals – “Beyond The Future” (mp3)


More About The Latin Rascals…

I find The Lastin Rascals to be class-act with stellar production and rich sound, standing on their own plateau. Just take a listen to their remix production on the following blogs which I’ve posted here previously:

According to Music Guide and The Latin RascalsMySpace page:

Producers/DJs Albert Cabrera and Tony Moran — collectively known as the Latin Rascals — got their start as movers and shakers on the budding early-’80s New York City club scene, hosting an influential continuous-mix show on local dance radio. The duo went on to mastermind a number of Latin freestyle dance tracks, including work for TKA and The Cover Girls, among others. In 1999, the collection Mixmasters Vol. 1 was released, featuring reworkings of various Latin Rascals mixes by an array of DJs.

According to about Albert Cabrera:

Better known as one half of The Latin Rascals, Albert Cabrera, along with partner Tony Moran, helped create the mid-’80s, edit heavy genre of dance music known as freestyle. Working as DJs in the early ’80s, the duo realized that after the disco backlash dance music wasn’t the most popular of genres. Still, they were working in the U.S. capital of club culture, New York, and after much hustling they were able to score a high profile gig as mix masters on WKTU’s popular “lunch time mix” program. It was there that they unleashed their bedroom edits, songs by acts like Bruce Springsteen and the Rolling Stones that had been re-mixed and lengthened. Cabrera and Moran were then tapped by Fever records to produce The Cover Girls and the resulting single, “Show Me,” became a club hit. For the next few years the duo had a good little run, releasing their own dance singles, as well as re-mixing many a popular rap, rock, and R&B act. Their success was based largely on re-tooling other artists’ hits, though, and eventually the public’s interest in this format diminished and the duo parted ways.

The following FAQ about The Latin Rascals is cited from the Freestyle Dance Party site:

How did they meet?

Albert Cabrera was selling tapes of music he liked for $10, and walked into Dowtown Records, where Tony Moran just so happened to be working. Cabrera played some of his mastermixes for Moran, and on one occasion, Carlos deJesus was there.

Who was Carlos deJesus?

Carlos deJesus was a radio personality on WKTU. He overheard one of Cabrera’s mixes and asked him for a copy. The problem was, all of Cabrera’s mixes were on cassette, while the station needed them on reel to reel.

Well, guess who had a reel to reel?  Who?

Tony Moran, of course, and he let Albert Cabrera borrow his, for which he gave him due credit.

How did they get their start?

They shook up the New York club scene in the early 1980s by hosting an influential continuous-mix show on a local dance radio station, WKTU. They would take other artists’ already popular songs and splice them together. They later moved to Kiss-FM.

Then what happened?

Arthur Baker contacted them.

Where have I heard his name before?

Well, he was the producer of “Planet Rock” and “I.O.U.” amongst many other hits. Arthur Baker gave the Latin Rascals their first editing job on the song “Breaker’s Revenge.” Soon, Aldo Marin from Cutting Records hired the duo to edit “B-Boy’s Break Dance” for which they were paid, to the surprise of the duo, who only wanted the experience and opportunity.

Then what happened?

Arthur Baker was so pleased with the results that he sent more remixing and editing work their way, including work on recordings by Hall and Oates, Diana Ross, and Brenda K. Starr.

Soon the Latin Rascals were a big hit on the dance floor. The Latin Rascals are often credited with making hits out of early freestyle artists TKA, Safire and the Cover Girls. Riding on the crest of their success as producers, Cabrera and Moran released their own material as the Latin Rascals.

But did they still produce for others?

Oh yes. In fact, Show Me was Tony Moran’s first top 40 gold record and really started the Freestyle movement in music. Many of that genre’s biggest stars, from TKA, Safire, and Lisette Melendez, all benefited from the talented duo.

What music did they make for themselves?

They made two instrumental albums, Macho Mozart and Bach To The Future, making classical music rather dance-able. Even “Arabian Knights” was originally an instrumental, but it did so well that the Latin Rascals decided to improve upon it by laying down a vocal track headed by Tony.

What was the effect of that?

Well, fans ate it up. That record put the duo in demand for shows nationwide, where the crowds would sing along to the words.

Wasn’t one of them married to someone else in freestyle?

That’s right! Albert Cabrera married Safire, who was greatly successful with “Boy I’ve Been Told.” Unfortunately, their synchronized success was also the undoing of the marriage, due to conflicting schedules and outside influences.

Well, I guess Albert still had Tony.

Yeah, but that professional pairing ended by growing apart. Tony was more into singing while Albert was into freestyle. Still, the breakup of Latin Rascals was amicable and each partner remains grateful to the other.

Then what happened?

Albert Cabrera wanted to keep making freestyle music but, by this time, its popularity had fallen just as disco had years before. He tried to update freestyle by blending it with the trendy trip-hop genre in his album Trip Hop Dance 2000. It featured the voices of Judy Torres, Corina, Lil’ Suzy, Joey Kidd, Sam Savon and Brenda K. Starr, while Tony Moran came back in to re-record an updated version of “Arabian Knights.”

Since then, what has Cabrera been doing?

He went to school for 5 years and began producing bass music, as he saw it as the closest to freestyle. He re-teamed with freestyle legend “Little” Louie Vega, creating “Rascal Dubs” in house music. He’s also been working with artists as musically diverse as KC and the Sunshine Band, David Morales, Mariah Carey, and Tori Amos.

Will Downing - A Love Supreme

Will Downing – “A Love Supreme” (Jazz In The House Mix)…

Artist: Will Downing
Title: A Love Supreme (Jazz In The House Mix) [ Produced by Arthur Baker ]
Year: 1988
Label: 4th & Broadway
Media Source: Recorded straight from 12-inch record to enhanced digital.

Will Downing – “A Love Supreme” (Jazz In The House Mix) (mp3)


Imagination – “Just An Illusion”

There’s no measuring of how much I adore this song. I fell in love with it since its first release dating back in July/August 0f 1982, and I will take it to the grave with me when I pass on.

August of 1982…
My mother and father were taking me around London, shopping for a list of stuff required for me to bring to my boarding-school (Millfield Prep School) which was about to start the first week of the following September.  At the age of 11 years-old, I had been deluged with fear. It was my first time being enrolled in a British boarding-school in Glastonbury countryside. I was counting the 40 or less days left until I would suffer separation anxiety from my mother. As a young Iraqi, I did not understand nor was able to adapt as well as the other British kids to the standards of being sent away from my family, for months at a time, to some place far away where kids sleep in dormitories with 12-plus persons in each room. No candy. No toys. No games (unless school provides them). No walkmans, no music! WHAT WHAT WHAT-!! FOR THE LOVE OF GOD-!!!

So I broke that rule! I made myself few compilation tapes of music recorded from 12-inch records. I had a Sony Walkman, one stereo headphones and one mono earphone with me at school. I was secretly listening to my tapes … nobody else ever knew about it. :twisted:   Even when I was in bed after lights-out, I used the concealed earphone to listen to music. Never once was I caught. I beat the system!

Just An Illusion was my savior all along. Played that track over and over again at school, until the cassette tape got worn out over time, thus sounding more hissy and saturated.

Christmas 1982, England…
Best white Christmas ever in my life. I was on a four-week holiday break and back at home with mom, dad and elder brother, Jeff. We had just moved into our new house in the countryside of Denham Village, Buckinghamshire. England was the best during Christmas seasons in my life. And this one in 1982 was the most special. As a family of non-believers of Islam, we celebrated Christmas for the first time with a bang. Biggest turkey ever. Snow outside. Christmas lights and decorations. People in Denham Village’s main Village-Road were cheery. Bright lights. Lots of sweets at the small shop owned and operated by a very sweet old lady. And on Christmas day, my brother gave me the best present ever: BMX bicycle. I never knew how to ride bikes before. But after six dedicated days of trying … and with the help of Imagination‘s Just An Illusion track playing on the walkman … I learned to ride a bike for the first time in my life on new year’s eve. The biggest achievement I’ve ever accomplished by leaps and bounds! It was magic! The emotion was sensational. The feeling was liberating … to be able to ride a machine that had two wheels and travel around the countryside alone … with the walkman on … listening to music. Countless of joyrides on that BMX while listening to Just An Illusion.

Imagination – “Just An Illusion” (Original Version)…

Artist: Imagination
Title: Just An Illusion (Original Version)
Year: 1982
Label: R & B Records

Imagination – “Just An Illusion” (Original Version) (mp3)


Imagination – “Just An Illusion” (Night Dubbing Mix)…

Artist: Imagination
Title: Just An Illusion (Night Dubbing Mix)
Year: 1982
Label: R & B Records

Imagination – “Just An Illusion” (Night Dubbing Mix) (mp3)


Imagination – “Just An Illusion” (Correct Claps Mix)…

Artist: Imagination
Title: Just An Illusion (Correct Claps Mix)
Year: 1982
Label: R & B Records

Imagination – “Just An Illusion” (Correct Claps Mix) (mp3)


Imagination – “Just An Illusion” (1989 Remix)…

Artist: Imagination
Title: Just An Illusion (1989 Remix)
Year: 1989
Label: R & B Records

Imagination – “Just An Illusion” (1989 Remix) (mp3)


About Imagination – Just An Illusion…

The following is quoted from from the sleeve-note of The Very Best Of Imagination, Just An Illusion double-CD (picture below):

Looking at Leee John’s nether regions and his luxuriant falsetto, the phrase ‘all mouth and no trousers’ might well have been invented to describe Imagination. Neither demure nor modest (they were once ordered to cover up when meeting the Prince and Princess of Wales), their outrageous stage presence masked a surprisingly deep well of songwriting talent and a vastly underrated catalogue of recordings.

Named for the recently deceased John Lennon’s unctuous ‘Imagine’, Imagination came into being in early 1981 with the hypno-disco groove ‘Body Talk’. Predicated on a monstrous Linn-programmed kick drum and a hypnotic synth-bassline, ‘Body Talk’ somehow managed to be a killer dance record that was ponderously slow. The best compliment one could give a British dance record in the early 80s was that it sounded American and ‘Body Talk’ did, indeed, sound like it might have come from yet another Manhattan or Detroit hit factory. This was probably no coincidence. ‘Body Talk’ also marked the debut of the production duo Steve Jolley and Tony Swain, a pair who’d met while working on the Muppet Show, and who went on to produce Bananarama’s finest singles, including ‘Cruel Summer’, as well as Spandau Ballet (‘True’), Diana Ross and Alison Moyet.

Imagination originally came together through Leee John and Ashley Ingram, both of whom met while working in pick-up bands for touring American acts like the Deflonics and Chairman of the Board. They formed the short-lived Fizzz before meeting West Indian drummer Errol Kennedy and completing the trio. ‘Body Talk’ was a slow burner, totally ignored on radio, but thanks to the support of DJs like Steve Walsh its popularity was sealed in the clubs and by the time it reached TV there was no stopping them. This might have been something to do with the costumes. Aided variously by bin-liners, giant pianos, Centurions’ helmets, generous helpings of dry ice and what might well have been crocheted nappies, Imagination’s image glided effortlessly from gay Romans to transsexual boxers let loose in a sari factory (no wonder Leee John appeared on Doctor Who).

They swiftly became permanent fixtures on mainstream TV, while Leee John’s pleasingly daft persona masked a fierce talent for songwriting (along with Swain and Jolley, John and Ashley Ingram co-wrote all of Imagination’s hits). Their debut album Body Talk yielded a further two Top 20 smashes with ‘In And Out Of Love’ and ‘Flashback’ (as well as club classic ‘Burnin’ Up’) and eventually went gold. A 22-date UK tour swiftly sold out (crocheted nappies had never been so popular). In The Heat Of The Night, their sophomore album, was yet more successful with four of its eight tracks eventually ending up as hit singles. Drawing on the then fashionable influences of Romanology, the trio were portrayed as Centurions atop a winding keyboard that jutted out into the stratosphere, thrusting past Neptune and possibly even beyond the services at Newport Pagnell. This vivid imagery was offset by yet more winning tunes, none less so than ‘Just An Illusion’, the group’s biggest hit (no. 2, UK), again employing the synth-bass and heavy kick-drum beloved of its predecessors

Although crossover success eluded them in the United States, Imagination were huge in Europe and beyond, particularly in France where they even had a horse race, Le Prix De Caen, re-named in their honour (it’s now known as Le Prix Imagination). Despite the lack of pop action in America, their status as club heroes remained undiminished right through the ’80s – it waned somewhat in the UK possibly because of chart success, but also perhaps because of their outré Frankie-Howerd-in-a-turkish-brothel look. They had a huge following in America’s gay clubs with several of their songs being remixed by the leading DJs du jour, such as François Kevorkian and Larry Levan and they continued to enjoy high placings in the Billboard dance charts well past the ’80s. (Imagination eventually signed to RCA and made an uneven album with American producers like Arthur Baker and Nick Martinelli towards the turn of the decade.)

By the end of the 1980s, Imagination had spent a total of 105 weeks on the UK singles charts, released a series of gold albums and embarked on an endless series of sell-out tours throughout the world. And they had worn more gold and see-through satin than Elizabeth Taylor on the set of Cleopatra. In fact, they looked like they might have actually been in Cleopatra. For a while, Imagination quietly melted away, as the original members left and, finally, Leee John concentrated on other avenues. But the music never really went away. In the 1990s, it was down to the samplers to keep things boiling, with PM Dawn, who sampled ‘Just an Illusion’ on ‘Gotta Be Movin’ Up’, while last year, Mariah Carey’s stupendously good ‘Get Your Number’ was again built around the gigantic bassline of ‘Just An Illusion’. And if you count Leee John’s appearances in the club charts with ‘Mighty Power of Love’ and his collaborations with Club 69, Imagination never really went away.

Musically derided by so many, the ’80s was, in fact, one of the most creative decades ever for pop music, from the invention of hip hop to house and techno, Prince in his pomp and the flowering of the New Romantics with their unique brand of synth pop (and worryingly florid dress sense). Imagination were part of that early 80s revolution that took pop music out of the staid confines of ‘real’ instruments and dull rock formatting, and dragged it into the latter part of the century. The electronic production pioneered by Swain and Jolley on Imagination’s albums might have been viewed as prosaic ten years hence, but back then was undoubtedly revolutionary.

For this gleaming piece of aural artwork you’re presently holding, we’ve selected what we think are the best cuts from the R&B catalogue (their best and most consistent work) and in particular the golden period working with Jolley and Swain. While CD 1 focuses primarily on the hits but also manages to shoe-horn in a couple of choice ballads, I’ll Always Love You and I’m Coming To Get You. Over on CD 2 we’ve included some criminally overlooked album tracks like Shoo Be Doo Da Dabba Doobee (don’t be fooled by its mildly preposterous Flintstone-esque title, it’s altogether splendid) and So Good, So Fine, but we’ve also included the entire Nightdubbing album, imagination’s legendary club remixes LP, which, just so you know, also achieved double gold status. For good measure, we’ve also slung in a few of the original 12-inch mixes. If we got any more generous, we’d be giving it away. Imagination? No illusion.

© Bill Brewster, 2006

Original music video of Imagination – “Just An Illusion”…

Live performance video of Imagination – “Just An Illusion”…


Title: I.O.U. (I Dub You)
Year: 1983
Genre: Classic Electro Synth Dance
Comment: Produced and remixed by Arthur Baker (see picture below)

Freeez – “I.O.U.” (I Dub You) (mp3)


Yarbrough & Peoples…

Title: I Wouldn’t Lie To You (Extended Version)
Year: 1986
Genre: Electronic Dance R&B, Synth Bassline Groove-Driving

Yarbrough & Peoples – “I Wouldn’t Lie To You” (Extended Version) (mp3)


Heatstroke Moments: Man Parrish

Man Parrish album cover

Play Man Parrish Tracks…

Man Parrish Tracks…

  • Man Parrish – Hip Hop Bee Bop (Don’t Stop)
  • Man Parrish – In The Beginning
  • Man Parrish – Man Made
  • Man Parrish – Together Again
  • Man Parrish – Hip Hop Bee Bop (Don’t Stop Part 2)
  • Man Parrish – Six Simple Synthesizers
  • Man Parrish – Techno Trax
  • Man Parrish – Street Clap
  • Man Parrish – Heatstroke
  • Man Parrish – Hey There Homeboys
  • Man Parrish – Hey There Homeboys (Dub)
  • Man Parrish – Boogie Down Bronx
  • Man Parrish – Boogie Down Bronx (Dub)
  • Man Parrish – Heatstroke (Club)
  • Man Parrish – Hip Hop Bee Bop (Don’t Stop Remix)
  • Man 2 Man – Action (Dance Floor Action)
  • Man 2 Man – Male Stripper (Original 12-inch 1986)
  • Man 2 Man – Male Stripper (Out Of The Ordinary Techno Mix) (1989)
  • The Information…

    When I first started buying record albums and 12-inch singles in 1977, I was collecting all kinds of pop music such as Gary Numan, Blondie, Boney M, Bee Gees, Grace Jones, Grandmaster Flash, etc., throughout the following decade.

    There were only few handful of electronic musicians and music groups who’ve pioneered electronic music decades prior to the 1980s, such as Vangelis, Jean Michel Jarre, Jean Jacques Perrey, ELP, Tangerine Dream, Kraftwerk and others.

    However, the 1980s decade began with a backlash against disco music, and a movement away from the orchestral arrangements that had characterized much of the electronic music of the 1970s. Music in the 80s was characterized by unheard of electronic sounds accomplished through the use of synthesizers and keyboards, along with drum machines. This made a dramatic change in music. 80s pop music experienced a revolution driven more by technology and consumerism than any resounding political message. It was that new electronic sound from synthesizers, samplers and drum machines, enhanced with unprecedented leap forward towards advanced and new production techniques of the time, where both analog and new digital domains fused together as one.

    Fairlight III CMi sampler, music workstation.

    Fairlight III CMi sampler, music workstation.

    Roland MC-202, the ultimate analog bass machine ... blows away TR-303!

    Roland MC-202, the ultimate analog bass machine ... blows away TR-303!

    Linn 9000 digital sampling drum machine and 64-midi channel sequencer.

    Linn 9000 digital sampling drum machine and 64-midi channel sequencer.

    By 1982, I was already tired of the old disco sound but hip to the new “rap” genre (which were heavily produced by drum machines and synths) and in love with all kinds of electronic-pop and electric-funk styles. However I was still hungry for something more but wasn’t quite sure what it was. Something was in the air … or ON THE AIR for sure.

    After Malcolm McLaren’s release of Buffalo Gals in late-1982, I knew something bigger was coming along. 1983 saw the big shift in electronic dance music taking place. In Europe (especially Germany, England and Italy), electronic dance music was essentially electric-disco — 4/4 drum beats + 1/8th note basslines — such as New Order’s Blue Monday.

    However, in New York, electric-disco became known as “high energy” with a twist: a new sub-genre was emerging as “electro” which was a blend of hiphop beats with electronic dance arrangements.

    Examples of electro music releases were:

    • Freeez – “I.O.U.”
    • Man Parrish – “Hip Hop be Bop” (listen to track in flash music player above)
    • Man Parrish – “Heatstroke” (listen to track in flash music player above)
    • Man Parrish – “Boogie Down Bronx” (listen to track in flash music player above)
    • Mantornix – “Needle To The Groove”

    I was enrolled in a boarding-school back then in England and was still listening to New Order and Grandmaster Flash on the Walkman. There was this fuckin’ Jamaican kid in my dormitory — David Yakabu. One day, David ran up to me and said, “Hey mon! Chek dis Mon Pah-rish wikkidest sound!” I put on the heaphones, he pressed play, and my socks were blown off my feet.

    I was listening to Man Parrish for the first time ……… “Hip Hop Be Bop” and “Heatstroke.”
    HOLY CRAP – THIS SHIT IS FIERCE !! — was my impression.
    I followed and bought every release by Man Parrish.

    Man Parrish links…

    Read  below, Sean Cooper’s Review of Man Parrish…

    Link to original source.

    MAN PARRISH REVIEW by – Sean Cooper, All Music Guide

    This ground breaking 1983 Dance-Urban Synthesizer album is considered by many, to be a DANCE CLASSIC and a MUST HAVE in any serious collection. Man Parrish is said to have coined the phrase “Hip Hop” from this classic, electronic dance record.

    Although he produced only a handful of tracks of renown and disappeared into obscurity almost as quickly as he had emerged from it, Manny ( Man ) Parrish is nonetheless one of the most important and influential figures in American electronic dance music. Helping to lay the foundation of electro, hip-hop, freestyle, and techno, as well as the dozens of subgenres to splinter off from those, Parrish introduced the aesthetic of European electronic pop to the American club scene by combining the plugged-in disco-funk of Giorgio Moroder and the man-machine music of Kraftwerk with the beefed-up rhythms and cut’n'mix approach of nascent hip-hop. As a result, tracks like “Hip-Hop Be Bop (Don’t Stop)” and “Boogie Down Bronx” were period-defining works that provided the basic genetic material for everyone from Run-DMC and the Beastie Boys to Autechre and Andrea Parker — and they remain undisputed classics of early hip-hop and electro to this day. A native New Yorker, Parrish was a member of the extended family of glam-chasers and freakazoids that converged nightly on Andy Warhol’s Studio 54 club. His nickname, Man, first appeared in Warhol’s Interview magazine, and his early live shows at Bronx hip-hop clubs were spectacles of lights, glitter, and pyrotechnics that drew as much from the Warhol mystique as from the Cold Crush Brothers.

    Influenced by the electronic experiments of his good friend and co – writer Klaus Nomi and Brian Eno as well as by Kraftwerk, Parrish together with “Cool” Raul Rodriguez recorded their best-known work in a tiny studio sometimes shared with Afrika Baambaata, whose own sessions with Arthur Baker and John Robie produced a number of classics equal to Parrish’s own, including “Wildstyle, ” “Looking for the Perfect Beat, ” and the infamous “Planet Rock.” What distinguished “Hip-Hop Be Bop, ” however, was its lack of vocals and the extremely wide spectrum of popularity it gained in the club scene, from ghetto breakdance halls to uptown clubs like Danceteria and the Funhouse. After he discovered a pirated copy of his music being played by a local DJ at theinfamous “Anvil” club ( NYC ), Parrish found his way to the offices of the Importe label (a subsidiary of popular dance imprint Sugarscoop and Disconet DJ mixing service), which whom he inked his first deal. He released his self-titled LP shortly after, and the album went on to sell over 3 million copies worldwide. He was signed to Electra Records and managed by David Bowie’s notorious manager Tony De Fries and the infamous Main Man Ltd management team. Tony De Fries had managed careers of David Bowie, New York Dolls, Mott the Hoople, Mick Ronson and Dana Gillespie to name a few.

    Following a period of burn-out that followed, Parrish recorded and remixed tracks for Michael Jackson, Boy George, Gloria Gaynor, and Hi-NRG group Man2Man, among others, and served as manager for the Village People and Crystal Water to name a few. While Parrish’s subsequent material has achieved nowhere near the success or creative pitch of his earlier work, he continues to record from his brooklyn studio and is a frequent DJ at New York’s eclectic night spots and SM clubs. His Sunday Underground Party “Sperm” at the “Cock Bar” on New Yorks lower east side, is notorious, to say the least ! He is main DJ and co founder for a circut party called “Hustlerball” which has parties in many cities worldwide. He also has several adult websites and online businesses which keep him busy as a webmaster, and “jack of all trades”. His second LP, DreamTime, appeared on Strictly Rhythm in 1997.

    - Sean Cooper, All Music Guide

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