Name: Brass Construction Megamix (Medley)- Les (Mixdoctor Adams) by lesadams
Duration: 8 min 39 s
Description: A mix of hits by Brass Construction performed on turntables by Les "Mixdoctor" Adams

Back in the day of my clubbing days. With our big Afros. Does where the days

Unlimited Touch - Searching to find the one - Remix

A mix of hits by Brass Construction performed on turntables by Les "Mixdoctor" Adams

Brass Construction Megamix (Medley)- Les (Mixdoctor Adams)

BT Express - Express Choo-Choo (Ron Bachardy's Ex-Tended)

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One of Howard Johnson's biggest hits and a great 80's Dance Classic...
A simple re-edit adding an enhanced beat track along with a usable outro. 
...Enjoy!!

Edit Info:
Time: 6:04
BPM: 113
Intro: 32/32 Beats
Outro: 32/32 Beats
End: Cold

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Howard Johnson - So Fine (Digital Visions Re-Edit) *For Promotional Use Only*

Shalamar- Make That Move (Hot

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Free Download

Bounce, Rock, Skate,Roll- Vaughan Mason and Crew #FreeDownload

THE  SOS  BAND  MEGAMIX  --MEGAMIXER  THE  JUDGE  SEPTEMBER  1985  DMC 32   VINYL

Mi canción favorita de este dúo de genios: la banda Rufus y la INCOMPARABLE Chaka Khan. hace tiempo que quería hacer algo con ella, acá está el resultado. DESCARGA GRATUITA!!!!

Chaka Khan EP

BUY HERE

Rufus & Chaka Khan - Do You Love What You Feel? (Max Hardy Remix)

U Are In My System (a Discobody systematic boogie)

The synth R&B duo The System was founded in 1982 in N.Y. by vocalist/guitarist Mic Murphy and genious keyboardist David Frank. 
"You Are in My System", which combined hi-tech synths with emotional vocals, was their senond single that ultimately reached iconic status and peaked at #10 in the U.S. R&B charts and #14 on the U.S. Hot Disco/Dance charts in 1982. A year later Robert Palmer covered it and hit #4 on the latter charts.

On this mix I work on The System’s bass-driven recording which I slightly prefer infusing bits of Palmer’s take. Also I include parts of the System’s Spanish version “Tu Estas En Mi Systema” released in 1983. Vocal rearrangement, extra synthlines / hi-hats / percussion & bass complete the picture. Enjoy :)

This version’s lyrics:

“System,
Systema

Oh, you’re in my system
You keep my body alive baby
Oh, you are, you’re in my system
I see you day and night and night now 
Oh, you are estas en mi-my system
I just want you to know that 
Oh, you are, en mi-my system
Everything you need
Oh, you’re in my soul
You keep my body alive baby
Oh, you are, you’re in my soul
I see you day and night and night now 
Oh, you’re in my soul
You keep my body alive baby
Oh, you are, you’re in my soul
I keep on pushin’ baby

You’re in my soul
Love's got control
Just can't get enough
Of your lovin' touch

It's a romantic vision
Of me and you
Holding hands on Sunday
And Monday too
Oh baby, you are in my system 
I just want you to know that, 
Oh, you are
You're in my system, system, system 

You know my daydreams stop
My heart beats on
I can't take it anymore
It's you I live for, ho, baby

You are in my system
I just want you to know that, oh
You're in my system
Got me burnin', burnin', baby, oh
Ooh, You're in my system, oh
You're in my system
Don't you, don't you, don't you know that, baby
I see you in my mind

I will keep on pushin', pushin'
Until I get through
My main objective, baby
Is to get to you

Turn your mind around
I know it takes time
But you know I can't wait, no
You're on my mind

You are in my system
I just want you to know that
Ooh, you are in my system
Got me burnin', burnin', baby
You are in my system
I just want you to know that
Ooh, you are, you're in my system
I keep on pushin', baby

Day by day
And night by night
I see you in my mind
It happens all the time

There's no doubt in my mind
That's I've been true, baby
You know I'll take you out
And I keep love new, oh, baby

Tu estas en mi systema…” -

U Are In My System (a Discobody systematic boogie)

Soul II Soul - Back To Life (Chris Hampson Edit 2002)

Promo Snipptes M+M v3 (these are heavily edited versions)

“The original process of 're-mixing records' was intended to provide an alternative listening experience which had been optimized for people who went out to dance at Discos. John was one of the early pioneers who loved music, understood his craft and HAD RESPECT FOR THE CREATIVE WORK from which his mixes were derived” 

Patrick Adams – Super Producer. Writer of more than 30 Gold and Platinum records and back to back winner of ASCAP Songwriter of the year award 1996/1997

 This compilation is John Morales’ third for BBE. Few can match his contributions to the world of Dance Music be it soul, funk, disco, to today’s house music.

John Morales is considered one of the true legends of the mix. And his work some thirty years later continues to be cutting edge and inspiring. His epic mix of Universal Robot Bands boogie anthem “Barely Breakin Even”  is the source from which BBE Records got its name.

No attempt has ever been made to summarise the pinnacle of Johns work. This third release on BBE continues that history lesson that John has forged in dance music. He formed The M+M Mix with his late partner Sergio Munzibai, in 1982 till 1990 whose output of over 650 mixes will be unmatched today. John continues The M+M legacy.

From the Rolling Stones to Gloria Estefan, The Temptations, Barry White, Marvin Gaye, James Brown, Hall & Oates, Teena Marie, Aretha Franklin to BBE – we have all been molded by Johns everlasting mix influence, love for his work and his Music..  This superb triple CD presents some of John's finest works, and takes the M+M Mix legacy to yet a higher level. CD1 & 2 feature some of the greatest tracks of all time from the Start of CD 1 and Barry White’s “Never, Never Gonna Give You Up” , to the classic rework of Marvin Gaye’s “I Want You”  which closes out CD2, there are no sleepers here. CD3 also features some of the best from the vaults of the Salsoul and West End labels, anthems like Loleatta Holloway’s – “Hit & Run” to legendary Paradise Garage favorite Loose Joints “Is It All Over My Face?”. 

 This is the legacy of the M+M mixes.


      

John Morales
If you grew up in the ‘80s and had even the smallest of passing interest in music, particularly club music, chances are you were very familiar, albeit unwittingly, with the work of John Morales. On the radio, in the record racks and most importantly on the dance floor John’s work (predominantly with studio partner Sergio Munzibai) helped define an era and influence future generations of DJs, producers and artists. 

Born into a hard working Puerto Rican household in the Bronx, New York, at the start of the rock ‘n’ roll era, Morales, like many children of the period was fascinated by this new art-form that was saturating the airwaves and upsetting parents everywhere. So in love with the music he heard, as a 12-year old he persuaded his local record store to give him a part-time job with payment not in dollars, but in 45s. By the time he was old enough to get a full-time job his burgeoning record collection had helped land him one of his first DJ gigs at the influential Stardust Ballroom in the Bronx (his father had earlier owned a bar in Jersey City where John had first got the DJ bug). As his reputation grew Morales was invited downtown to Manhattan to play guest spots at the likes of Pippins, Bentleys, 1018, Limelight and the infamous Studio 54. 

Like many DJs of the ‘70s John ventured into the studio more through need than necessity: “I started to make medleys and remixes because the records in those days were too short, most in the 3 minute range, and being a DJ I needed to get more out of the records I was spinning. I first started to do my edits using the pause button on a Teac Cassette Deck. After many hours of self education I graduated and I purchased a Sony _” reel-to-reel and learned to edit. It was hard work and long hours editing and putting all the little pieces of tape together and making something creative happen. Reflecting now, I realize how important it was to what I would later do. It taught me a lot about what I wanted to do and how to do it, so that by the time I got in a real studio I was virtually a whiz at editing tape much to the amazement of some of the engineers I worked with.” 

His now infamous ‘Deadly Medleys’ and ‘Sunshine Acetate Medleys’ brought him to the attention of New York disco producers Greg Carmichael and Patrick Adams who were impressed by the hunger and desire of the self-taught engineer. “My first credited mix was Inner Life’s ‘Caught Up (In A One Night Love Affair)’, even though I had worked on a few other records before that, but I hadn’t been credited, for acts like the Universal Robot Band and Musique’s ‘In The Bush’.

A meeting at New York’s influential WBLS radio station, where Cuban-born Sergio Munzibai worked as musical director alongside Frankie Crocker  would signal the next chapter in Morales’ career, and resulted in unquestionably the most  prolific remix partnership of the 1980s and 90’s with over 650 mixes  to their name. “We partnered in 1982, when we met at a New York studio called Blank Tapes where I had worked for many years with Bob Blank. Sergio and John’s first record together was Mikki’s ‘Itching For Love’. After that we united and did all our mixes together and the M&M moniker was born.”

Discovering an instant rapport and musical appreciation it translated well into the recording studio where the M&M stamp became synonymous with almost every major dance release of the era. In fact it wasn’t uncommon for the duo to remix upwards of 10 records in any given month. Alongside cult and groundbreaking records for the Fantastic Aleems (‘Get Down Friday Night’), Class Action (‘Weekend’), and of course Jocelyn Brown (‘Somebody Else’s Guy’) they refashioned certified pop smashes for DeBarge (‘Rhythm Of The Night’), Harold Faltermeyer (‘Alex F’), Shakatak (‘Down On The Street’), Miami Sound Machine (‘Dr Beat’), the Temptations (‘Treat Her Like A Lady’) and hundreds more in an eight year period that saw them almost an ever present on the Billboard Dance, R&B or Hot 100 pop charts. Tina Turner, the Rolling Stones, Spandau Ballet, Aretha Franklin, Shalamar, Hall & Oates, Dan Hartman, Candi Staton, Melba Moore, Rose Royce, Billy Ocean, Debbie Gibson, Odyssey, the Commodores and even Peter Schilling and Rod Stewart, in fact just about every major artist of the day was in some way retouched by the hands of Morales & Munzibai. 

“We worked together till around 1988,” John recalls. His solo production projects in the ‘90s included such acts as Debbie Gibson, Brenda K Starr, Denise Lopez, The Thompson Twins, Blow Monkeys, Five Star and Art Of Noise. “Sergio unfortunately passed away in 1991. He was a wonderful person full of life that loved music and was a great people person. Anyone who knew him loved him, and I’m sure wherever he is he’s listening to music.”


Brass Construction Megamix (Medley)- Les (Mixdoctor Adams)

lesadams

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