Booking: suratt@kodex-talent.com
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The tale of Danny Tenaglia's love affair with music, and the world's subsequent romance with him, is one of the critical veins in the body of dance music. He is every dancer's secret discovery; a random purchase at the record store, a reluctant night out that unexpectedly turned magic. Explosive success came not behind a major label release, or a world tour, or a radio hit remix: It happened when enough people had the private Tenaglia experience for themselves.

The momentum started building in early '70s New York, when a barely 10-year-old Danny first got the feel of vinyl in his hands. Enthralled by the music of artists like Philly Soul's The Trammps, Motown's Marvin Gaye, African trumpeter Hugh Masekela, and disco producer Giorgio Moroder, he started to collect records, plumbing the depths of each one, and frequently finding that he preferred the B-side to the A. It was 1979 when he discovered legendary nightclub Paradise Garage, where DJ Larry Levan's rich, genre-less blend of music seemed to mirror his own "no boundaries" policy. It was here where Danny found the club model he would one day emulate: Levan's bold style, the venue's plain décor, and the party's warmth and inclusiveness.

Danny left New York in 1985 and launched a successful DJ-ing career in Miami as a resident at Cheers nightclub. There he schooled the locals in classic New York and Chicago house, but five years later he returned home, tired of only playing other people's music. He started to assemble an impressive roster of remixes, including Right Said Fred's "I'm Too Sexy" (1991), Jamiroquai's "Emergency on Planet Earth" (1993), and Madonna's "Human Nature" (1994). But his first epic was The Daou's "Surrender Yourself" (1993): With the kick in the bass and the underlying rhythm as the foundation, Tenaglia blanketed Vanessa Daou's wispy vocal with grand, thick chords, a combination of classic groove and modern club-ready depth that was, at the time, entirely new. The title of his 1995 debut artist album on New York's Tribal Records described it perfectly: Hard & Soul. But even if the cocktail was his own, Tenaglia never hesitated to declare how heavily his influences weighed in his productions - everyone from Patti LaBelle to Kraftwerk, with countless lesser-known Soul, R&B, Latin, Samba, and Disco artists in between.

In 1996, after a brief stint at New York superclub Roxy, Danny landed a Saturday night residency at white-hot Twilo, a position that upped his profile but didn't satisfy his expanding artistry as a DJ and producer. While New York swooned for big-room diva anthems, Danny was turning his ear toward the more minimal, tech-y grooves originating in European production studios. This period produced solid remixes like Grace's "Not Over Yet" (1996) and Janet Jackson's "The Pleasure Principle" (1996), but by the time he moved to Tunnel in 1998, Danny had already created "Elements," an instant classic that caused the dance scene's collective jaw to drop. With his own warped voice providing the narration, "Elements" (one track off full-length Tourism) walked the listener through the different components of a dance track in real time, going from kick to drum loop to snare hit, letting each layer over the other until the track exploded with dark, drum-heavy energy. Next to ostentatious radio anthems, its simplicity was a revelation. 

It was around this time that the murmurs started to get louder: Who is this Danny Tenaglia, and just what does he do to people? Clubbers reported seemingly inhuman mixing capabilities, booth-to-floor telepathy, and the grittiest "modern yet classic" grooves they had ever heard come out of a speaker. A trio of label compilations - Mix This Pussy (1994) and Can Your Pussy Do The Dog? (1995) for Tribal, and Gag Me With A Tune (1996) for Maxi - were the first Tenaglia sets clued-in clubbers could take home to dissect, but the release of his first installment in the UK-based Global Underground series of DJ mixes, titled Athens (2000), lit the international fire. Athens (meant to reflect the set he played at the Greek capital's club King Size) remains one of the darkest, strangest, sexiest sets ever released, and its tame cover photo of a gentle-looking man in a Yankee cap just didn't seem to fit. DJ dates across Europe dispelled the mystery and started the spread of the infectious Tenaglia fever.

Back in New York, Tenaglia was tiring of the cavernous gloom of Tunnel and longed for a weekly home that better resembled where the DJ bug first bit him - the Paradise Garage. He landed at Vinyl, a black-walled, single-environment, no-liquor club about one-quarter the size of Tunnel. He named the night "Be Yourself," after the self-affirming, heavy-bottomed vocal track he had recently recorded with Chicago's Celeda. And he took the name to heart: Without the pressure of bar minimums or an expectant crowd, Tenaglia spread his DJ wings. Next to new tracks by young producers like Rui Da Silva, Peace Division, and Saeed & Palash, he played the artists of his youth, with nary a beat dropped. If he wanted to launch into a two-hour set of straight-up techno, he did. If he wanted to play old Michael Jackson records, he did. If he wanted to get on the mic and tell the crowd the name of the sound he was about to play, or who next week's guest opening DJ would be, or just give everyone a "verbal handshake" to welcome them to the club, he did. And a city tired of drama embraced the barebones, music-centered night. 

The world caught up to Tenaglia in 2000. His annual party during Miami's Winter Music Conference outgrew its home at the cramped Groovejet and moved to just-opened superclub Space. DJ giants like Carl Cox danced on top of the speakers with the Deep Dish boys, Fatboy Slim mingled on the patio, and for a day the ego inherent to DJ culture evaporated: Tenaglia was hailed as the undisputed king, the "DJ's DJ." His roof-raising revamp of Green Velvet's "Flash" won "Best Remix" at the UK's Muzik Awards, where he was also awarded the "Best International DJ" prize. 

In the two years that followed, Tenaglia released another Global Underground installment (London); toured the world, took the party island of Ibiza by storm, remixed Billy Nichols' "Give Your Body Up To The Music" (a Garage anthem); got nominated for a Grammy (for his remix of Depeche Mode's "I Feel Loved," also nominated for Best Dance Song); returned to Twilo for two special gigs - a President's Day marathon with Carl Cox that shattered all its attendance records, and the club's sixth anniversary party with John Digweed, which turned out to be even more meaningful than it seemed at the time (Twilo was shut down permanently a week later); graced the cover of every major dance music magazine; and won a Dancestar Lifetime Achievement award... all while keeping Be Yourself buzzing every Friday. 

In 2003, Danny came full circle with the release of Choice: A Collection Of Classics, a two-CD mixed compilation that let him pay direct tribute to many of the artists who had influenced his sound and style. It featured everyone from Blaze to Adeva to Imagination, as well as hefty liner notes explaining the significance of each track, penned by the man himself. He also remixed another Garage classic (Yoko Ono's "Walking On Thin Ice," which became her first Billboard number one ever), opened another Space during Winter Music Conference (the new location down the block), and took another Dancestar award, this time "Best Party" for Be Yourself. 

Be Yourself took the same honor again in 2004, but this time the win was bittersweet. At the time of the ceremony, Vinyl, now called Arc, had already been sold to developers. Danny closed the classic club on Sunday, April 25, 2004, with an emotional set that lasted well into Monday afternoon, and culminated with his mix of Kings Of Tomorrow's paean to unending love, "Finally."

And as in every year since his DJ odyssey began, all across the globe, from Acapulco to Tokyo, more people experienced their first night with Danny Tenaglia, that clubber rite-of-passage that forever changes how you listen to music, go out to nightclubs, and think about DJs. 


Deep House Cats (SA) is a South African Based Independent Vinyl & Digital Record Label representing upcoming house music producers with focus on Deep House, Tech and Soulful from around the country and beyond the borders. Our releases can be found on traxsource, juno, itunes and major online stores. Do support the craft and listen to our bi-weekly shows mixed by Tarse-P, Groove Govnor, Dj Relle and guest djs.

keep an open mind and enjoy the music _ Leave a comment and share with your friends.

Let house music dance through your body ! :-)

Disclaimer: Mixes posted here are created for the Djs own experimentation and entertainment, not for profit. The Djs may not be the author or owner of the copyrights of the component tracks. If you like the tracks, support the artists and please buy at major digital store and/or your nearest record store

Thanks for Listening

20/20 Vision 
OpenLab
Exit Planet Earth 
Escape Pods

Bookings - jp@special-force.com

Trevor Vichas is originally from Portland, Oregon. After making a name for himself in the Portland and Seattle scenes, he’s now a seasoned DJ/producer and well-respected among his peers. Jumping headfirst into a dark, dirty warehouse party in 1996 with dj’s Kenny Larkin, Stacy Pullen, and Steve Loria. 15-year-old Trevor got hooked on that house sound underneath that party’s single, red light. His addiction to record collecting quickly turned into a full-on DJ habit, and the rest is history.

Trevor started playing at the infamous Zoot Suite in Portland until it shut down in the early 2000s. This led to gigs at numerous other underground clubs, parties, and raves in the Northwest and beyond. He’s known for his ability to bring in and seamlessly blend many shades of house and techno, drawing inspiration from soul, disco, funk, hip-hop, R&B and all that jazz. Through life’s ebbs and flows, he has always stayed focused in the studio crafting new beats.

Trevor’s dedication to the craft over the years has earned him many reputable imprints and numerous respected performances. He has held residencies in both Seattle’s Baltic Room and Tonic Lounge, and has played multiple times at the prestige Sunday night “Flammable” aka Chruch. In Portland, he held residencies at Pala, Afterdark, and the infamous Groove Suite, where he worked as the booking manager for nonlocal talent and promoted his event night, “Connections” – a series of nights in various nightclubs and in conjunction with outdoor events in the Portland area.

Once compared to Derrick Carter or early DJ Sneak, his sounds have found their way into the sets of both artists, as well as Mark Farina, Iz & Diz, Phil Weeks, Hector Morales, and DJ Heather – some of his personal favorite performers and creators. At every milestone he reaches,  Trevor remains humble and hungry for what’s next. He spends countless nights in the studio making music just for the joy of it, learning new audio tricks, teaching himself music theory, and striking new chords – or as he likes to call it, ”fuck around and find out.” For him, the music washes away the grit of 9 to 5 every night when he finally digs in.

Trevor’s achievements and capacities as a DJ have seen him playing alongside top-rated acts in the House community, including Gene Hunt, Phil Weeks, Chuck Love, Mike Grant, Iz & Diz, Hector Moralez, Mark Grant, Rimtha, Tommy Largo, Fred Everything, Mystic Bill, Johnny Fiasco, Justin Martin, Justin Long, Jacob London, Mazi, Jason Hodges, Brett Johnson and Terrence Parker. His production work has found its way to many top labels, with notable releases on Demuir’s imprint, Pervoyer Underground Limited, and Mark Farina’s imprint, GLA. With his long-time production mate Tommy Largo (aka The Dutch Master), Trevor released on Ultra Knight’s and Phil Week’s imprint, Robsoul Recordings.

Taking his skills further still, Trevor has played Winter Music Conference in Miami, for the House Salad crew in Mexico City, and across the pond in Europe, while also playing many premier nights and clubs along the West Coast, including the notorious Om Happy Hour and at The EndUp in San Francisco.

Through and through, Trevor is a house head for life. In 2025, he’s back at it with upcoming vinyl and digital releases on Mate Records, GreenHouse Music, Selections Music, Frosted Recordings, and more.

Om’s mission is to find, release and promote music that is refined, innovative and always pushing boundaries.

bringing quality house music to the people for 25 years

Your trance and progressive librarian

If you want to support me and this project, please tip - 
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Make sure that you have checked all my playlists - https://soundcloud.com/rave_on/sets

Update April 23 2025 - I would like to say a special huge thank you to Coasterfreak (@coasterfr), thanks to whom the account is paid for again and fully functional.

If you have a request, please contact me here in PM.

I don't expect you to know me
Or how I lost all my dreams
When I can't even find myself
In the choices I made

These wounds won't seem to heal, this pain is just too real
There's just too much that time cannot erase

Open to everything happy and sad
Seeing the good when it's all going bad
Seeing the sun when I can't really see
Hoping the sun will at least look at me

Focus on everything better today
All that I needed I never could say
Hold on to people, they're slipping away
Hold on to this while it's slipping away

He who makes a beast of himself gets rid of the pain of being a man.

Many thanks to all these sites for tracklists, sets and information:

tranceaddict.com
mixesdb.com
discogs.com
https://archive.org/
urtrancezone.com
extradj.com
vk.com/oldschool_trance
http://rutracker.org/forum/index.php?c=23
themixingbowl.org
https://www.crystalclouds.com/
lsdb.nl
ex.ua
hybridized.org
cuenation.com
tiesto.jp
http://www.hulkshare.com/stev0b
mercuryserver.com
mixriot.com
oakenfoldmixes.com
judgejulesarchive.co.uk
trancepodium.com
https://mega.nz/#F!DI8CjZaY!VL5zPFG-lcGs_oNyHFFEfg
https://cyanghost.com/perry_oneil_sets.html
markusschulz.com/forums
oldskoolanthemz.com
trancefix.nl

Tampa, Florida based DJtheJudd has been DJing since 2002. Growing up as the typical American teen on rap and alternative rock, he realized his true love for dance music after hearing electronic albums "Play" by Moby and "Dreamland" by Robert Miles in the late 90's. While studying abroad in college, he first heard "Another Chance" by Roger Sanchez on MTV Europe, and he went deep down the dance music rabbit hole. His biggest influences are Paul Oakenfold, Sasha, John Digweed, Gabriel & Dresden, Dave Seaman, Markus Schulz, and Danny Tenaglia. With a trademark eclectic DJing style, he blends progressive house classics and newer tech house tracks with various ambient sounds and songs from movie soundtracks. In 2021, he started his own radio show "Progressive House Highway" on SoundCloud, which now has over 500 episodes with streams in 153 countries. He has a massive vinyl collection and mixes with a digital controller and turntables. Expect the unexpected with his DJ sets and prepare to dance and be moved with his unique musical journeys. 

asHaw is following