Byron Stingily is a Chicago singing sensation and living legend. His career really kicked off as the lead vocalist of TEN CITY (signed to Atlantic Records) - best known for "That's The Way Love Is", "Devotion", "My Peace Of Heaven" & "Whatever Makes You Happy". He has worked with the who's who of House music, including Masters At Work, David Morales, Frankie Knuckles, Danny Tenaglia, Kerri Chandler, Marshall Jefferson, Timmy Regisford, Farley "Jackmaster" Funk, & Steve "Silk" Hurley. 

Byron had a come back hit in 1996 with "Get Up (Everybody)" - sampling Sylvester's "Dance (Disco Heat)". It had been released on Nervous Records NYC and was licensed to Mercury Records UK dance label, Manifesto in 1997. Reaching #.14 on UK Singles Chart. I had contributed one of the many remixes that accompanied the single. It was around this time I got to hangout with Byron - attending various P.A.'s etc. An album was being recorded, but the UK label felt nothing so far was an obvious future hit. They wanted something that was... and quickly. Ideas were thrown around in a meeting... A&R chief Eddie Gordon told Byron he should cover Sylvester's 70's Disco hit, "You Make Me Feel Might Real". He said "Ok!" and, as I happened to be there at the time, was asked if I'd like to produce it. I said "Sure!". 

Sadly, after the record became a hit, Eddie got fired from the label (for a number reasons). He called me up and spoke to me in a soft but sinister way... Urging me to share my producer royalties with him... for no other reason other than he had thought of the 'cover idea' (which was part of his A&R job!). It may sound like something out of a film, but he came across as some Godfather/Sorpranos mafia boss...if I didn't do what he suggested, I would regret it. It was a very very weird conversation. I had never heard him speak that way before. I told Eddie, I couldn't and I wouldn't. If he had been a part of the actual 'producing' that would have been perfectly acceptable. But, I have never given kickbacks to A&R people - even if it was considered the norm to some. That was the last time I spoke to EG. A great shame as, apart from that incident, he was a good bloke.

My contract to produce the single was with Nervous Records NYC - as BS was directly signed to that label. Once the legal paperwork was completed, I went into the studio one evening... put together a backing track the night before his arrival... Byron, on his way to a gig in Italy, flew into London from Chicago... I booked a day at a studio in North London. Byron listened to the track... was wonderfully responsive to a little creative direction... and laid down the vocal (2 or 3 takes tops). The vocal was comp'd (compiled from the various takes - including ad libs).... and in about a couple of hours we were out the door.... hungry for lunch! So, the rest of the afternoon was spent at rather nice Chinese restaurant. Best recording session ever :-) 

The final mixes were delivered to Nervous NYC & Manifesto/Mercury UK. I gave the label the multi-track - so that they could get remixes done, for the various worldwide territories. And that was that. The single became another hit for Byron -  #.1 on the Dance Chart in the UK, USA & throughout Europe. A #.13 UK Singles Chart hit too. His highest charting hit to date! BS was a total delight to work with. I'd go so far as saying, the most humble and easy going artist I have ever had the pleasure of working with. No attitude whatsoever and zero ego. I'd jump at the chance to work with him again :-)

Byron Stingily - You Make Me Feel (Mighty Real) [Club Mix]

I did this one back in 1996 for Mercury Records. The Fugees were signed to Sony Music, but had contributed a track to an upcoming Mercury Records film soundtrack called, "When We Were Kings". The film is about an historic boxing event in 1974 in Kinshasa, Zaire, Africa. It pitted the undefeated world heavyweight champion George Foreman against challenger Muhammad Ali. This remix uses samples of Muhammad Ali quotes at the intro - I did another 'Extended Mix' that used more quotes throughout. When I find the DAT I will convert & upload it :).

The key to getting this one right is initial ARRANGEMENT. 
The Radio Promotions guy at Mercury Records came to me asking my advice about a Fugees track that was getting no love at radio (as a promotional/preview copy). It was too long (just over 5 minutes) and it didn't have a proper hook - like a 'pop' radio record usually does. Sony tried to block Mercury from releasing it as a single, as The Fugees had just blown up with their breakout cover of "Killing Me Softly". Since Sony had no rights to the track, Mercury were free to use however they wanted. The only trouble was that radio wasn't in love with it in its current form.... 

I went back to the vocals. Laid them out, edited verses from  the various featured rappers, clipped into a SONG FORMAT... i.e. Verse, Bridge, Chorus, Verse, Bridge, Chorus, MIddle 8 etc. I utilised a Lauryn HIll  sung line (Juice Newton's "Angel In The Morning") as the chorus hook - copied & pasted that. The music/bassline sample that creeps in and out of the track was lifted from ABBA's "The Name of the Game". I always thought it was odd that no-one had sampled the Swedish super group before. Turns out, there was a good reason... 

ABBA members/writers, Björn Ulvaeus & Benny Andersson, flatly refuse clearance for samples, no matter who you are. In this rare case, they loved how the music was used and agreed worldwide clearance. This was a first back in 1996. It wasn't until 2005 that they allowed another ABBA sample to be used - "Gimme! Gimme! Gimme! (A Man After Midnight)" for Madonna's "Hung Up". The producer and creator of that single is also (coincidentally) a British guy - Stuart Price aka Thin White Duke, Jacques Lu Cont, Les Rythmes Digitales. 

So, here's how it turned out... Ali intro/background chant/LH singing the build "blocks on fire".. C'mon! > kick straight in with the ABBA groove; cut straight to main chorus hook - Lauryn Hill singing "Angel In The Morning" - you have to grab radio DJs & show producers ears immediately; follow with clipped raps from Wyclef Jean, Q-Tip, Lauryn Hill; then into the "Blocks on fire" sung bridge; back into the "Angel In The Morning" sung chorus; Verse 2 is spliced from raps by Pras and (saving the maddest for last) Busta Rhymes; bridge, chorus/bridge to fade. DONE! Result: #.3 on the UK Singles Chart and minor, but significant, hit in the USA. The down side for me was that I didn't get a proper 'printed' credit on the retail CD. I've seen it labelled as UK Mix, European Remix, Radio Edit etc. I was gutted at the time, but I was just a kid and I wasn't as business savvy at that stage of my career.

When I listen to it now, I realise how brutal the vocal cuts were. Some not subtle at all. The audio quality sounds a bit rough N ready/wooly. I wouldn't do it in quite the same way now. But, that's the thing of it. You do what you think is right at the time. Shout out to the tracks' original producers - Lauryn Hill & Wyclef Jean. Mix engineer - Warren Riker and Executive Producer – David Sonenberg.

The Fugees ft. Q-Tip & Busta Rhymes - Rumble In The Jungle [Mendis Radio Mix]

Unfortunately, I no longer have the full and final version of this - it was on a hard drive that died in 2011. I couldn't repair the data. So, this low-res mp3 is all I have left of my remix rub on Rihanna's "You Da One". 

It's an early draft, using her album mix (filtered - hence, no bassline) with new drums, percussion, sounds and f/x. Her record label didn't show great interest initially, until their commissioned (generic dance) remixes came in. Then, they replayed it again and decided they really liked it after all!  

I found this demo version on old back-up cd. Despite its low quality, I thought I'd share it with you. It's got a slight AfroBeat influence and, evidently, I was going for a lively 'hyped-up' vibe. Hope you enjoy it :)

You can follow me on Twitter: @DamienMendis

Rihanna - You Da One [Damien Mendis Remix Demo clip]

Def Jam America commissioned me to remix Montell Jordan's "Let's Ride". I went to L.A. to record new vocals with MJ (a lovely guy, btw). I created waay too many versions. A no-foul-language 'Clean Radio Mix' (ft. Master P & Silkk the Shocker). A 'D&A BeatBox Revenge Mix' (sampling Art of Noise "BeatBox", Malcolm McLaren "Buffalo Gals" & Cameo "Word Up"). A 'MindSpell Club MIx', and an 'R&B Mix'. This 'Underwater Dub' remains unreleased, as it was done out-of-hours. It was just me vibing on a groove, utilising some of MJ's 'sexy', but amusing vocal ad-libs that I recorded in Los Angeles. I hope you enjoy it :)

MindSpell ft. Montell Jordan - Ride The White Horse (Underwater Dub)

A remix commissioned by Bent and their label, Godlike & Electric (UK). Initially, I planned to use the whole song,﻿ but, none of my rough drafts satisfied me. So, I decided to create a new version using only vocals from the final part of their song (my favourite bit). Some of Simon Lord's lead 'ad-lib' vocals had to be manipulated (using Celemony's Melodyne) to 'sing' the notes needed to fit the new music. DJ Fresh - a much revered South African Kwaito/House & 5FM DJ - featured the full length (7min18sec) 'Soulchild Remix' on his "Definition Of House 3" mix compilation album (via the Soul Candi label). The Bent album is available on iTunes: http://itunes.apple.com/us/album/best-of-bent/id422366546. Video clip: http://www.youtube.com/watch?v=P8p1gP20vBw or http://vimeo.com/16062376

Follow me on Twitter: @DamienMendis

Bent - To Be Loved (Mendis Touch 'Soulchild Remix' Edit)

This is an unreleased 'Extended Mix'. The record label didn't notice it was track 5 on the master until it was too late. Doh! Consequently, only the main 'Radio Mix/Album Version' made it to CD & iTunes https://itunes.apple.com/gb/album/why-single/id121062865  
I highly doubt this 'Extended' version will ever be released commercially. For now, it is here for you to stream (for free). Btw, all the musical instruments, sounds and 'samples' were played/performed/re-played by myself & Stu B. Back story, below. Enjoy :)

The original song was written & produced by Nile Rodgers & Bernard Edwards (of Chic) for Carly Simon. It was a Top 10 hit in 1982. It later became a staple in the bars and clubs of Ibiza around 1988. The idea for me covering this came about around this time. I presented a demo version idea to A&R Mickey Davis @ WEA/Warner Bros UK in 1996. I had known Mickey personally as a fellow DJ in London and as staff at Black Market Records, in Soho. During the late 1990's I had produced or mixed a number of his artists, including Shola Ama, Mark Morrison, Cleopatra, Akin, Martin Okasli. His latest signing was Glamma Kid - a young Dancehall/Ragga rapper from Hackney, East London of Jamaican descent. I say 'rap' as it wasn't what I would call 'toasting' (reggae stylee). A cd of about 20 demo instrumentals & beats was rejected, but I everytime I had a meeting with Mickey D, I would remind him what a great idea "Why" is. Hint! It wasn't until Glamma's debut single "Taboo" went to #10 in 1999, he realised he didn't have a strong follow-up single. One day, I received a phone call from Mickey (essentially caving in to my friendly pressure) saying 'i think that "WHY" idea of yours could work!'.

Green Light: The original backing track had quite a hard sounding dancehall beat. It was partly a ploy to appeal to GK, as he wasn't feeling "Why" - too pop. y'see. Why he thought he could sign to WEA and continue to make underground dancehall records that sell in small quantites, I'll never know! The beat/riddim served its purpose for providing familiarity for GK. However, it was limiting and felt more like a remix thing. My 2nd idea was based on the Tom Tom Club's "Genius of Love" rhythm. This version had what I called 'pop legs', i.e. far less limiting and more widely appealling. It eventually became the final version, and I never revisted the dancehall idea.

Recording: To keep costs down MD linked me up with GK's A&R Publisher/Manager @ Universal Music UK - Thad Baron. He found me a room in the building (Hammersmith) and we set up camp for the day recording vocals. The first day was an audition for the female singing part (chorus). Thad was responsible for finding a lot of the singers. Amongst the many were: Belinda 'Blue' James (who had just cut a wicked track with Basement Jaxx - "Red Alert") & rapper/singer Phoebe One. With all due respect to everyone who tried out, none of them were suitable to my ears. GK came down to the studio the next day - late and reluctantly. He brought a friend (forgotten his name) who I thought was there solely for moral support and encouragement. Indeed, he fulifilled that role perfectly but, it turns out, he was a rap writer too. Whoever he was/is, I can testify that he wrote 'almost' all the lyrics for GK's verses, and I said yes or no to every word/line that he came up with - even making the odd suggestion myself. When the cd came out I noticed GK hadn't credited his friend for bailing him out, let alone sharing the publishing - poor guy! - I later learnt that this happens a lot in the music industry. GK did come up with the answer/response 'glamma, glamma, glamma, glamma' in the middle eight section, though.

Weeks went by and I was struggling to find the right female singer for the track. I was searching for someone tonely smooth like Brandy, but to no avail. It was looking like the single would have to be shelved. During those weeks, I had to complete a remix for another artist and I needed a UK rapper. Jean Paul Esq was recommended to me. He had rapped for UK Remix outfit, Ignorants. Nice guy, even though I didn't rate his rapping skills or faux American voice stylings. But, by chance, I happen to mention my 'female vocal' dilemna to JP and he suggested that his girlfriend, (actress/singer) Marcelle Duprey, sounded like she'd fit the bill. Very soon after that, she came down to our studio out in Berkshire. A cute pint-sized svelte of a thing with a coffee coloured complexion and a scouse accent. She had played a nightclub singer in the 1994 film 'Backbeat' and had just completed filming a lead role in "Virtual Sexuality". She went into the booth, the backing track rolled and out came a very girly sounding, Brandy-esque vocal. Although, she wasn't the greatest of singers, her voice just 'sat in the track' like it was meant to be there - for me the most important thing :) I called in Rita Campbell, a session singer friend of mine, to do the lushly padded backing vocals, and then hurried to finish the single. I delivered it to MD and it was thringily accepted. He said, "We've got another hit here. This is gonna be big on radio". He was right.

I wasn't completely happy with the mix and the plodding beat led intro. So, I went back in the studio again to mix it from the ground up. After much messing around, I managed to create an impacting intro with an edited, pitched, & pinched drum fill from an old Coxone/Studio One reggae record. Before I could re-deliver it, Mickey D had abruptly left WEA - as he had been headhunted by Sony Music UK. Unfortunately for him, that fell through and he was left without a job. With no A&R and three weeks of silence, I rang up Moira Bellas - (then) Managing Director of WEA. I remember she was unaware of the single's existence. Strange, huh? But, I had a meeting with her and she happily took the master away as she thought it was a potential hit too. Makes one wonder, if I had not chased the record label up "Why" may never gotten released. Who knows? Luckily, that wasn't the case.

BBC Radio 1 DJ, Chris Moyles, took great delight in not only playing the single everyday on his show, but repeating the drum roll/a-yo! intro over and over again! I remember thinking, thank goodness I changed it from what it originally was. The first few seconds of a single are crucial. UK Radio lapped it up. A-List/Heavy Rotation spins. Club mixes did their thing too. TV spots on The Big Breakfast, in the caravan. I attended the filming of Top of the Pops @ BBC Elstree Studios. Marcelle insisted WEA buy her an expensive dress for the ocassion or she wouldn't show. Backstage drama, huh? On the week of release, Nick Phillips (Chairman of Warner Music UK) invited for me "a cup of tea and a chat". He told me the single had sold enough to land inside the Top 10. It reached #10. I didn't get invited to work with GK on his album, "Kidology". His follow-up single, "Bills 2Pay", was partly based on Blondie's "Rapture" - by coincidence, a track I had previously sampled for Foxy Brown/Jay-Z "I'll Be" (Def Jam America). One of the producers, Kwame Kwaten (of D'Influence) called me up just to make sure I was cool with it. I don't own the Blondie song or the right to use it. But, it was gentlemanly of him to do so. That single sadly only charted at #17 and, with no other strong singles in the cannon, momentum was lost... project faded out.

Mickey D returned a year later to WEA with his own (short-lived) label, Inner Life - of which, I produced a remix of Marissa "Dedicated To Love" & co-wrote & produced demos for his new signing Irina Sitnikov. But, all was not well at the label. Love was lost between MD and Roger Ames (Warner Music Group, CEO). He never did shake off that feeling of MD's broken loyalty - jumping ship to Sony. Also, WEA had a new Managing Director, John Reid (who didn't have a lot of love for MD). He wanted to drop a lot of the UK roster, including Mickey's old artists - Shola Ama, Mark Morrison etc. I remember him going around the building banging on desks, demandly shouting "Where are my hits?!". Not a pleasant man, perhaps, but he was right to ask.

Follow me on Twitter: @DamienMendis

Glamma Kid - Why (Extended Mix) [Unreleased]

Side A. Track 1. This is the final version that was sent to radio. All the samples, sounds and musical instruments were played/re-played by myself & Stu B. Back story, below. Enjoy :)

The original song was written & produced by Nile Rodgers & Bernard Edwards (of Chic) for Carly Simon. It was a Top 10 hit in 1982. It later became a staple in the bars and clubs of Ibiza around 1988. The idea for me covering this came about around this time. I presented a demo version idea to A&R Mickey Davis @ WEA/Warner Bros UK in 1996. I had known Mickey personally as a fellow DJ in London and as staff at Black Market Records, in Soho. During the late 1990's I had produced or mixed a number of his artists, including Shola Ama, Mark Morrison, Cleopatra, Akin, Martin Okasli. His latest signing was Glamma Kid - a young Dancehall/Ragga rapper from Hackney, East London of Jamaican descent. I say 'rap' as it wasn't what I would call 'toasting' (reggae stylee). A cd of about 20 demo instrumentals & beats was rejected, but I everytime I had a meeting with Mickey D, I would remind him what a great idea "Why" is. Hint! It wasn't until Glamma's debut single "Taboo" went to #10 in 1999, he realised he didn't have a strong follow-up single. One day, I received a phone call from Mickey (essentially caving in to my friendly pressure) saying 'i think that "WHY" idea of yours could work!'.

Green Light: The original backing track had quite a hard sounding dancehall beat. It was partly a ploy to appeal to GK, as he wasn't feeling "Why" - too pop. y'see. Why he thought he could sign to WEA and continue to make underground dancehall records that sell in small quantites, I'll never know! The beat/riddim served its purpose for providing familiarity for GK. However, it was limiting and felt more like a remix thing. My 2nd idea was based on the Tom Tom Club's "Genius of Love" rhythm. This version had what I called 'pop legs', i.e. far less limiting and more widely appealling. It eventually became the final version, and I never revisted the dancehall idea.

Recording: To keep costs down MD linked me up with GK's A&R Publisher/Manager @ Universal Music UK - Thad Baron. He found me a room in the building (Hammersmith) and we set up camp for the day recording vocals. The first day was an audition for the female singing part (chorus). Thad was responsible for finding a lot of the singers. Amongst the many were: Belinda 'Blue' James (who had just cut a wicked track with Basement Jaxx - "Red Alert") & rapper/singer Phoebe One. With all due respect to everyone who tried out, none of them were suitable to my ears. GK came down to the studio the next day - late and reluctantly. He brought a friend (forgotten his name) who I thought was there solely for moral support and encouragement. Indeed, he fulifilled that role perfectly but, it turns out, he was a rap writer too. Whoever he was/is, I can testify that he wrote 'almost' all the lyrics for GK's verses, and I said yes or no to every word/line that he came up with - even making the odd suggestion myself. When the cd came out I noticed GK hadn't credited his friend for bailing him out, let alone sharing the publishing - poor guy! - I later learnt that this happens a lot in the music industry. GK did come up with the answer/response 'glamma, glamma, glamma, glamma' in the middle eight section, though.

Weeks went by and I was struggling to find the right female singer for the track. I was searching for someone tonely smooth like Brandy, but to no avail. It was looking like the single would have to be shelved. During those weeks, I had to complete a remix for another artist and I needed a UK rapper. Jean Paul Esq was recommended to me. He had rapped for UK Remix outfit, Ignorants. Nice guy, even though I didn't rate his rapping skills or faux American voice stylings. But, by chance, I happen to mention my 'female vocal' dilemna to JP and he suggested that his girlfriend, (actress/singer) Marcelle Duprey, sounded like she'd fit the bill. Very soon after that, she came down to our studio out in Berkshire. A cute pint-sized svelte of a thing with a coffee coloured complexion and a scouse accent. She had played a nightclub singer in the 1994 film 'Backbeat' and had just completed filming a lead role in "Virtual Sexuality". She went into the booth, the backing track rolled and out came a very girly sounding, Brandy-esque vocal. Although, she wasn't the greatest of singers, her voice just 'sat in the track' like it was meant to be there - for me the most important thing :) I called in Rita Campbell, a session singer friend of mine, to do the lushly padded backing vocals, and then hurried to finish the single. I delivered it to MD and it was thringily accepted. He said, "We've got another hit here. This is gonna be big on radio". He was right.

I wasn't completely happy with the mix and the plodding beat led intro. So, I went back in the studio again to mix it from the ground up. After much messing around, I managed to create an impacting intro with an edited, pitched, & pinched drum fill from an old Coxone/Studio One reggae record. Before I could re-deliver it, Mickey D had abruptly left WEA - as he had been headhunted by Sony Music UK. Unfortunately for him, that fell through and he was left without a job. With no A&R and three weeks of silence, I rang up Moira Bellas - (then) Managing Director of WEA. I remember she was unaware of the single's existence. Strange, huh? But, I had a meeting with her and she happily took the master away as she thought it was a potential hit too. Makes one wonder, if I had not chased the record label up "Why" may never gotten released. Who knows? Luckily, that wasn't the case.

BBC Radio 1 DJ, Chris Moyles, took great delight in not only playing the single everyday on his show, but repeating the drum roll/a-yo! intro over and over again! I remember thinking, thank goodness I changed it from what it originally was. The first few seconds of a single are crucial. UK Radio lapped it up. A-List/Heavy Rotation spins. Club mixes did their thing too. TV spots on The Big Breakfast, in the caravan. I attended the filming of Top of the Pops @ BBC Elstree Studios. Marcelle insisted WEA buy her an expensive dress for the ocassion or she wouldn't show. Backstage drama, huh? On the week of release, Nick Phillips (Chairman of Warner Music UK) invited for me "a cup of tea and a chat". He told me the single had sold enough to land inside the Top 10. It reached #10. I didn't get invited to work with GK on his album, "Kidology". His follow-up single, "Bills 2Pay", was partly based on Blondie's "Rapture" - by coincidence, a track I had previously sampled for Foxy Brown/Jay-Z "I'll Be" (Def Jam America). One of the producers, Kwame Kwaten (of D'Influence) called me up just to make sure I was cool with it. I don't own the Blondie song or the right to use it. But, it was gentlemanly of him to do so. That single sadly only charted at #17 and, with no other strong singles in the cannon, momentum was lost... project faded out.

Mickey D returned a year later to WEA with his own (short-lived) label, Inner Life - of which, I produced a remix of Marissa "Dedicated To Love" & co-wrote & produced demos for his new signing Irina Sitnikov. But, all was not well at the label. Love was lost between MD and Roger Ames (Warner Music Group, CEO). He never did shake off that feeling of MD's broken loyalty - jumping ship to Sony. Also, WEA had a new Managing Director, John Reid (who didn't have a lot of love for MD). He wanted to drop a lot of the UK roster, including Mickey's old artists - Shola Ama, Mark Morrison etc. I remember him going around the building banging on desks, demandly shouting "Where are my hits?!". Not a pleasant man, perhaps, but he was right to ask.

Follow me on Twitter: @DamienMendis

Glamma Kid - Why (Radio Mix)

Created several instrumentals to take with me to Jamaica.
Barrington Levy showed up... very very late.
After choosing one of my tracks, he was supposed to write the lyrics and melody.
Instead, rambled on people backstabbing him and instructed ME to write a song about THAT!
He then proceeded to chill by the pool, smoking 'trees' with his crew.
I hastily wrote some words down. He looked at them approved.
We entered the vocal booth together. I came up with a 'Barrington Levy' type melody (in a comfortable for him). Standing next to him, I sang each line to him and we recorded (sometimes word by word). 
Barrington had an excessive flatulence problem. So, the booth was rather toxic. 
I didn't have this problem with Shakira!
At the end of the session, the engineer and studio manager were concerned that I didn't have something resembled a 'work-in-progress- song, let alone an almost finished record. They were right.
I took all the vocals back to the UK, reassembled the whole thing and created what you hear on the album. If you had heard it before, you would think this was a miracle.
The label owner and studio manager were understandably astonished. To some extent, so was I! I am certainly not arrogantly confident, but I do have faith in myself and abilities. That's always been enough for me to get by.
Hope you enjoy it!
Check out the remix too. Thanks for reading/listening :)

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Soulchild feat. Barrington Levy - Backstabbin' (Original Version)

I wrote this one, poolside at the Geejam Hotel in Jamaica, whilst waiting for Barrington Levy to finish his "cigarette". We recorded it at GeeJam studios shortly after the lyrics were approved by the singer. The music was completed in England (UK) and the final production was used on Wall Of Sound's "Two Culture Clash" compilation album. This is a remix that we did soon after the album version was delivered. The tempo was doubled to create a 173.5BPM Drum & Bass type feel. 

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Soulchild ft. Barrington Levy - Backstabbin' [Remix]

This is one of two remixes commissioned by Craig Kallman @ Atlantic Records NYC for the 2002 American release of "Walking Away". 
It was done really quickly, as they just wanted a kind of throwback mash-up for the soul/r&b heads. 
The basis for the track is Dennis Edwards & Siedah Garrett's "Don't Look Any Further". 
Some may recognise the bassline, which has also been used in two hip hop classics, Eric B & Rakim's "Paid In Full" and Junior Mafia's "Get Money". 
I'm pretty sure these Soulchild remixes were only available on promo CD/12in.

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Craig David - Walking Away (Soulchild 'Back In The Day' Remix)

This is one of two remixes commissioned by Craig Kallman @ Atlantic Records NYC for the 2002 American release of "Walking Away".
It was done really quickly, as they just wanted a kind of throwback mash-up for the soul/r&b heads. 
The basis for the track is Curtis Mayfield's "Tripping Out". 
I'm pretty sure these Soulchild remixes were only available on promo CD/12in.

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Craig David - Walking Away (SOULCHILD 'Bun-Bun' Remix)

This revamp remix was commissioned by Craig Kallman (who was then the CEO/President of Atlantic Records USA). He had signed me to a production deal with the label and I had to produce or remix whatever they asked me to do, whilst under contract. On this occasion, I was more than happy to run with a Brandy track. Mike City had written and produced the original, but it was getting a lukewarm reception at radio and in the r&b clubs. So, that was my brief. Rodney Jerkins had superbly produced "What About Us" with its clunky groove, in a fresh, new way. But, unfortunately this song didn't lend itself very well to that (or any modern style) that well. It had to fit like it was meant to be...naturally. 

Michael Wycoff's "Looking Up To You" (produced masterfully by Webster Lewis) had been a big favourite on the soul and r&b circuit in the UK since 1982. It had been sampled on Zhane's "Hey Mr DJ" (loved that record, but man they sang badly out of tune!). I decided to revive it, changing the key and tempo slightly to fit "Full Moon". Every bar was cut and spliced to play in metronomic time. Tougher drums, a deep synth bassline, strings were added, along with a sprinkling of percussion. 

I wasn't completely happy with the mix that was done in London. So, whilst in America I asked Kevin 'KD' Davis if he'd help me mix it again. He's a great mix engineer and relatively quick too. He's mixed Usher, Outkast, Rihanna, Ne-Yo and too many to name here. KD was en route to Miami, Florida. So, I flew down and we did it at Circle House Studios (owned by the reggae group Inner Circle). It's not like a regular corporate studio. It's a converted one floored house. In the pool house was Lil Jon, next door to me was Lenny Kravitz and across the TV room was Lauryn Hill. The kitchen chef is amazing. Everyone eats well there! KD got the vocals sounding so much better within a hour or two. When I returned to the UK, I felt the music was a bit lightweight, on reflection. So, I used the Miami 'vocal' mix and created a new 'music' mix back in London; blended it together (one with Fat Joe's rap, one without) and Fed Ex'd it back to Craig @ Atlantic in NYC. Everyone loved it. But, before doing this version I had another idea that I wanted to investigate... C'est Chic :)

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Brandy - Full Moon (Soulchild Remix feat. Fat Joe)

This version is an edit of the Extended Club Mix - a different Radio Mix also exists too. 
Commissioned by Craig Kallman (CEO/President of Atlantic Records USA). He had signed two people to a production deal with the label. Myself and Outkast's Andre 3000. During that time CK commissioned me to work with/on a number of records/artists. Brandy's "Full Moon" was one. This CHIC version has actually my first idea when I heard the original song. I thought it might be TOO retro, so I didn't even attempt to put it together until after I delivered the SOULCHILD REMIX to a very pleased record label. Ironically, more people seem to like this than my other version. Who could've predicted that?! 

The sample: CHIC "I Want Your Love". Various portions from the full length version were extracted and put aside. Each portion was then manually manipulated to play in concert pitch. The original mastering engineer must've sped it up on the cut in 1979 (not unheard of). Then every bar, half bar, and quarter & eighth bar was spliced into (almost) perfect time. This was needed as I planned to add tougher new drums - percussion, strings, and synth bass too - and THEY would be in metronomic time(ish). This was a long convoluted process, but I knew it'd be worth it in the end. The original bassline was played by the late great Bernard Edwards. Guitar by the legendary Nile Rodgers, and drums by one of world's finest drummers - my hero - the late great Tony Thompson. 

I have never seen Craig Kallman so thrilled, when I delivered this version. He had it on repeat in his office (loudly) and started calling people in the building to come up and hear it immediately! After that meeting, I spoke to Jimmy Bralower (he worked in promotions and was previously and very famous drum programmer to A-List record producers). He told me Nile Rodgers had just left his office. I was gutted I didn't get to meet him and play him my CHIC Mix at the time. However, Nile & I are friends now and there WILL be something NEW coming in 2014. Shhh!!! Stay tuned!! 

"Full Moon" is still available on CD single, iTunes, and 12in vinyl. Hope you enjoy it. Thank you for your kind emails and comments. Much love. Keep dancing :) DM

Follow me on Twitter: @DamienMendis

Brandy - Full Moon (Damien Mendis 'CHIC' Remix Edit)

Proof that even someone with relative success can still get ever so slightly screwed over. i.e. ME!
After delivering the CHIC version to Craig Kallman (CEO/President of Atlantic Records USA). I asked if he knew someone that could help me create a longer extended edit using stems from my original mix. CK passed me over to Johnny "D" De Mairo  - who ran the Club Promotions Department for the label. He recommended a good friend of his, one time member of The Latin Rascals - Albert Cabrara. I agreed and sent the stems ahead of my arrival. By the time, I landed in New York Albert had already done the edit! I was given a CDR of the edit to approve - of which I did. I noticed AC was careful to credit himself as only the editor. But, by the time 12in & CD single had gone into production, the credits had been mysteriously changed to Remix & Additional Production by Albert Cabrera - Rascal Extended Mix & Rascal Dub. Even though he hadn't remixed it or added any production, Johnny was obviously keen to big up his buddy, even if meant telling a lie. To add insult to injury, he put AC's edits on the A-Side and mine on the B-Side - a minor matter, but cheeky nonetheless! I'm not quite sure why Johnny is affectionately known as "The Shark", but one can't help but wonder. I still have a lot of respect for JDM and his Henry Street label, despite his dishonesty.

Anyway, here is the Damien Mendis 'CHIC' Mix in it's extended form, by way of a neat and purposeful re-edit by Albert Cabrera (whom I am a fan of). You now know who the REAL 'rascal' is here! ;-)

Follow me on Twitter: @DamienMendis

To the person who I accidentally deleted their comment - Sorry, I clicked on the wrong icon! 
Please re-comment! Here's the reply to clarify your question...
That particular CD promo is slightly mistitled. Any version that utilises CHIC's "I Want Your Love" is either the so-called "Damien Mendis Remix" or derived from that remix. Thus, the so-called "Rascal Mix/Dub" is actually a 'Re-Edit' of the "Damien Mendis Remix/Instrumental/Dub". The stems were given to him with a view to re-EQing them - beefing them up. I wasn't happy with my original mix. I thought it sounded a bit thin. It was done quickly in the UK, with a view to mixing it once I was back in the USA. The 'Rascal' did a pretty good job of beefing it up on the whole. The balance wasn't perfect, but it sufficed. My OTHER version of "Full Moon" utilises Michael Wycoff's "Looking Up To You" and SHOULD be titled "Soulchild Remix" (which is one of my alternative production pseudonyms). The main Soulchild Remix has no rap, the other features a rap from Fat Joe. Hope that clears up any confusion?!

Brandy - Full Moon (Damien Mendis 'CHIC' Mix - Rascal Extended Edit)

This revamp remix was commissioned by Craig Kallman (who was then the CEO/President of Atlantic Records USA). He had signed me to a production deal with the label and I had to produce or remix whatever they asked me to do, whilst under contract. On this occasion, I was more than happy to run with a Brandy track. Mike City had written and produced the original, but the label explained that it was getting a lukewarm reception at radio and in the r&b clubs. What they wanted was 'hot'. Rodney Jerkins had produced her previous single "What About Us" with its fantastic clunky groove, in a fresh and new way. Unfortunately, "Full Moon" didn't lend itself very well to that or any modern style. So, it was my job to create new music to fit the original song 'naturally' - like it was meant to be. 

Michael Wycoff's "Looking Up To You" (produced masterfully by Webster Lewis) had been a big favourite on the soul and r&b circuit in the UK since 1982. So, it had never left my memory. It had also been sampled on Zhane's "Hey Mr DJ" - I loved that record, but man, didn't they sang badly out of tune?! I decided to revive the groove from "LUTY" - changing the key and tempo slightly to fit. Every bar was cut and spliced to play in metronomic time (the original had a live drummer who didn't play exactly in time). I added tougher drums, two synthesizers playing a top bassline and sub-harmonic one for 'boom'. Strings were added, along with a sprinkling of percussion. 

The initial production work was done in the UK. But, I wasn't completely happy with the mix that was done there. So, I made a call to an amazing mix engineer called Kevin 'KD' Davis, and asked if he'd help me mix it again. He's mixed Usher, Outkast, Rihanna, Ne-Yo, P!nk and too many to name here. KD was about to travel from L.A. to Miami, Florida where he had a bunch of mixes lined up to do. By this time, I was already in NYC. But, I agreed to fly down and we did it at Circle House Studios (owned by the reggae group Inner Circle). It's not like a regular corporate studio. It's a converted one floored house. In the pool house was Lil Jon, next door to me was Lenny Kravitz and across the TV room was Lauryn Hill. The kitchen chef is amazing. Everyone eats well there! KD got the vocals to sound so much better within a hour or two. 

Upon returning to the UK, on reflection, I felt the music was a bit lightweight. So, I used the Miami 'vocal' mix and created a new 'music' mix back in London; blended it together (one with Fat Joe's rap, one without) and Fed Ex'd it back to Craig @ Atlantic in NYC. Everyone loved it. But, before doing this version I had another idea that I wanted to investigate... C'est Chic :)

Follow me on Twitter: @DamienMendis

Brandy - Full Moon (Soulchild Remix) (Vocal)

Commissioned by Craig Kallman (CEO/President of Atlantic Records USA). He proudly told me he had signed only two people to a production deal with the label. Myself and Outkast's Andre 3000. Gulp! Motivation! During that time, CK commissioned me to work with/on a number of records/artists. Brandy's "Full Moon" was one. This CHIC version has actually my first idea when I heard the original song. I thought it might be TOO retro, so I didn't even attempt to put it together until after I delivered the SOULCHILD REMIX to a very pleased record label. Ironically, more people seem to like this than my other version. Who could've predicted that?! 

The sample: CHIC "I Want Your Love". Various portions from the full length version were extracted and put aside. Each portion was then manually manipulated to play in concert pitch. The original mastering engineer must've sped it up on the cut in 1979 (not unheard of). Then every bar, half bar, and quarter & eighth bar was spliced into (almost) perfect time. This was needed as I planned to add tougher new drums - percussion, strings, and synth bass too - and THEY would be in metronomic time(ish). This was a long convoluted process, but I knew it'd be worth it in the end. The original bassline was played by the late great Bernard Edwards. Guitar by the legendary Nile Rodgers, and drums by one of world's finest drummers - my hero - the late great Tony Thompson. 

I have never seen Craig Kallman so thrilled, when I delivered this version. He had it on repeat in his office (loudly) and started calling people in the building to come up and hear it immediately! After that meeting, I spoke to Jimmy Bralower (he worked in promotions and was previously and very famous drum programmer to A-List record producers). He told me Nile Rodgers had just left his office. I was gutted I didn't get to meet him and play him my CHIC Mix. It's still available on CD single, iTunes, and 12in vinyl. Hope you enjoy it. Thank you for your kind emails and comments. Much love, DM

Follow me on Twitter: @DamienMendis

To the person who I accidentally deleted their comment - Sorry, I clicked on the wrong icon! 
Please re-comment! Here's the reply to clarify your question...
That particular CD promo is slightly mistitled. Any version that utilises CHIC's "I Want Your Love" is either the so-called "Damien Mendis Remix" or derived from that remix. Thus, the so-called "Rascal Mix/Dub" is actually a 'Re-Edit' of the "Damien Mendis Remix/Instrumental/Dub". The stems were given to him with a view to re-EQing them - beefing them up. I wasn't happy with my original mix. I thought it sounded a bit thin. It was done quickly in the UK, with a view to mixing it once I was back in the USA. The 'Rascal' did a pretty good job of beefing it up on the whole. The balance wasn't perfect, but it sufficed. My OTHER version of "Full Moon" utilises Michael Wycoff's "Looking Up To You" and SHOULD be titled "Soulchild Remix" (which is one of my alternative production pseudonyms). The main Soulchild Remix has no rap, the other features a rap from Fat Joe. Hope that clears up any confusion?!

Brandy - Full Moon (Damien Mendis 'CHIC' Radio Mix)

Follow me on Twitter: @DamienMendis + Instagram @damienmendis
Tweaked for your pleasure...

This is a remix I did in 2012 for Universal. Uptempo Urban - a hybrid of AfroBeats, House, and a touch of UK Funky. As well as club play, it I has played on BBC Radio 1, BBC 1Xtra, Capital Xtra and many other good music stations. I've heard feedback from the UK to Africa, USA, Dubai, South America, India, Australia, Japan & back. Thankful!

Within the groove you may be able to spot Azonto (Ghana, West Africa) & Kwaito (Johannesburg, South Africa)influences.

Additional production/instrumentation: Drums, Percussion, Bass, Plucky Guitar, various sounds & FX by DAMIEN MENDIS/SOULchild 

THANKS FOR THE LOVE!

Drake ft. Rihanna & Gil Scott-Heron - Take Care [Damien Mendis UK Remix]

I created this mix on December 31st 2010 for a New Year's Eve DJ gig.
Upon first hearing LMFAO's "Party Rock Anthem", it seemed obvious (to me) that it needed to be blended with its original inspiration. 
I wonder if they'll ever own up and pay/credit the man?!

Dance. Laugh. Enjoy. Share :)

LMFAO - Party Rock Anthem
PHIL COLLINS - Another Day In Paradise
PHIL COLLINS - Sussudio

Mendis Mix - Paradise Anthem

Steve Ripley, Head of Club A&R @ Sony Music UK commissioned me to remix this in 2004. The brief was to land some airplay at Choice FM, Jazz FM & BBC 1Xtra. They had already asked Kardinal Beats & Highlighters to remix it for the clubs. So, I felt it better to do something a little more soulful, but also danceable. Jamie Scott came to the studio with a really open mind and we hung out, laughed and talked about all kinds of things. He was generous with his time and took direction really easily. The boy can sing! 

I de-constructed his song, losing the happy clapping quasi-gospel ending from the original version. The drums are a combination of live acoustic and electronic and were built on a 4/4 'steppers' groove. There are two bass sounds: Synth bass playing the actually bassline and live slap bass in the spaces. The others keyboards were Rhodes electric piano, Moog, Prophet-5 and 'live' string samples. ALL the background vocals were performed by Jamie. We layered the harmony parts down, part by part, and stacked them up to sound lush and airy. 

The final version was titled 'Feel Good Mix' for promotion and release. It got play-listed by BBC 1Xtra, Choice FM, Jazz FM and others too. The song even managed to reach #.29 on the UK Singles Chart in September 2004. Sony Music were so pleased with what I had delivered, later that year they commissioned me to remix another single called "Searching".

Follow me on Twitter: @DamienMendis

Jamie Scott - Just [Mendis 'Steppers' Mix]

The relative 'success' of my remix/re-recording of Jamie Scott's "Just" (#.29 on the UK Singles Chart/Lots of nationwide radio play) created a good impression for me with Sony Music UK. So much so, Steve Ripley (Head of Club/Urban A&R) commissioned me to go back into the studio with JS to remix another single - "Searching". 

Once again, the brief was to land some airplay at Choice FM, Jazz FM & BBC 1Xtra. The record company had lined up Yam Who? & Reza to remix it for the clubs. So, something a little more soulful and radio-friendly was needed. Like before, Jamie Scott came to the studio with a really open mind and we hung out, laughed and talked about what kind direction he'd like me to take the song too. As always, he was generous with his time and, despite having to put up with his stinky feet (!), it was really easy working with him.

I de-constructed his song, losing the silly DJ scratching sounds, the awkward key change ending and many other things from the original version. The drums are a combination of live acoustic and electronic and were built on a 4/4 'steppers' groove. There are two bass sounds: Synth & live bass. The others keyboards were Rhodes electric piano, Moog, Prophet-5 and 'live' string samples. There are a lot of old school school/R&B references hidden and not-so-hidden in my production. During the intro you can hear a percussive drum machine - the same one used on Frankie Beverly & Maze "Joy & Pain". I added a plucky guitar lick as a homage too. ALL the background vocals were performed by Jamie. Although, I sing some the middle eight too. We layered the harmony parts down, part by part, and stacked them up to sound tight and punchy. The final version was titled 'Feel Good 'Steppers Mix' for promotion and release. It got play-listed by BBC 1Xtra, Choice FM, Jazz FM and others too. The song even managed to reach #.32 on the UK Singles Chart in January 2005. 

Sadly, Jamie was dropped by Sony Music UK later that year, as he hadn't become the success that they had hoped. He re-appeared in 2007 as 'Jamie Scott And The Town' with a single, "When Will I See Your Face Again", that reached #.41 on the UK Singles Chart. This project was quickly abandoned and, year later, re-emerged with producer Tommy "D" Danvers under the guise of Graffiti6 - described as an Indie Pop duo. Their album 'Colours' was released in October 2010 and although chart success and sales have eluded them,  they managed to get some of their songs placed on TV shows such as Grey’s Anatomy, CSI: NY, One Tree Hill, MTV's Teen Wolf, via a USA album release from Capital Records. Jamie has since found success as a songwriter for other artists. He has co-written "Heartbeat" ( a duet by Enrique Iglesias & Nicole Scherzinger), "Don't Go" (an album track by UK boy band JLS), "More Than This" (a single by British-Irish boy band One Direction), & "Home Again" (by British singer Michael Kiwanuka) to name a few. 

Follow me on Twitter: @DamienMendis

Jamie Scott - Searching (Mendis 'Steppers' Mix)

Commissioned by Nick Gatfield - then President of Island/Universal Music UK. The brief was 'danceable retro-pop with a touch of soul'. 
Damien Mendis took inspiration from the grooves of 'Cinco De Mayo' by Funk group War; and 'Shake Your Groove Thing' by Peaches & Herb. 
Retaining only the original vocals, he wrote and produced a new musical back-drop, with a concise nip 'n' tuck arrangement that kept momentum. This was all created, completed & delivered within 24 hours!
The remix was serviced to Press/Media, Radio & Club DJ's as a promo cd. Radio picked it out as the most favourable version to play - ironically, the 'Damien Mendis Remix' didn't appear on the retail CD single. 
However, that didn't stop it from being Tyler's most successful release to date. 'Foolish' reached #.16 on the UK Singles Chart in March 2005.

Follow me on Twitter: @DamienMendis

Tyler James - Foolish [Damien Mendis Remix]

Shola Ama - You're The One I Love [Damien Mendis 'D&A' Remix]

This remix was created in May 1996 - for the re-release of Mark Morrison's "Crazy" on WEA/Warner Music UK. The A&R was Mickey D. 
As far as I can recall, this was never commercially released. It may have appeared as a 'DJ Promo Only'. As far as I am concerned it was a work-in-progress-never-completed-therefore-left-on-the-shelf.

Mark had just had a runaway hit with "Return of the Mack". 
As is often the case in situations like this, there is no follow-up single as strong as the last. 
"Crazy" had initially been released a year before - reaching #.19 on the UK Singles Chart. 
It was decided that a re-release, with some fresh remixes, might propel the song higher a second time around. Mickey D was right - this time it peaked at #.6 in July '96.
These were early days for me, producing & remixing. It was great to be finally learning my craft for artists who were having hits. I delivered 2 remixes - this was one of them. 
Five months later, Mickey D commissioned me to remix MM's "Horny" - which reached #.5. 
Enjoy :)

Follow me on Twitter: @DamienMendis

Mark Morrison ft. Daddy Wattsie - Crazy [Damien Mendis Dancehall Remix]

The year was 1997. Mickey D - A&R @ WEA/Warner Music UK called me in to discuss his latest signing - Martin Okasili. 
They had put out a single before on WEA called "Survival Technique". In a previous meeting, I had commented on how much I liked the B-Side 'Nok Kultcha Mix'...
Sometime after that Mickey played me the next single "Freedom" and talked about getting a dance mix done. I didn't put myself up for the job as I was concerned about being 'that guy who 'danced-up' a great song'. So, I recommended a bunch of producer/remixers that I rated who would probably do a good job. Mickey's response was, "No! I want YOU to do it!". He expressed that he felt safer giving it to me as I would take into account the integrity of the artist and not 'churn out' a 'generic-fit-the-bill-dance mix'. That was nice to be thought of in that way and, he was right. 
I never tried to push my own sound (not that i had one) or my own agenda onto a production. I always tried to do what I felt was right for the song and the artist, but also have a realistic view of what radio or club DJs would actually play.

Once the agreement was made and the contracts were signed, I headed into the studio with my keyboard player/programmer - Andy Spiller. He had been doing some TV commercial sessions at a studio in North West London. They'd just taken delivery of a new ORAM BEQ Series 48/24/2 Channel Recording/Mixing Console. It's creator, John Oram (dubbed the 'Father Of British EQ') had personally delivered and set the desk up. He'd gained a reputation whilst working for his previous employers - Vox & Trident. I mention this as his EQ had a rather unique and particular sound. When you pushed the EQ's gain (boosting the frequencies), it coloured the sound in a good way; a 'musical' way - as opposed to a technical or clinical way. You'd have to hear it yourself to understand what I mean. The desk had no automation, so all fader moves had to be done by hand, in real time (live). If you're really geeky you can read/watch more about Oram and his 'sound' here: http://www.soundonsound.com/sos/may98/articles/JohnOram.html + http://www.youtube.com/watch?v=JPGfRLFmT7A

I didn't want to time-stretch the original recorded vocal up to a 128BPM tempo (such is the norm with House remix producers). So, I requested that Martin should come in to re-sing the song. I thought he might reject the idea of performing to a 'dance version'. Thankfully, he obliged. I would much rather have the artist involved in the creative process. This way, it's still very much THEIR record. Also, it helps me get a better understanding of who they are and what they are trying to convey. As a producer, I can suggest ways of achieving a positive result - from the delivery of the vocal, to the development of the music and the eventual 'sound' of the final production/mix. Recording Martin, by the way, was a breeze and a delight. He's such a great talent. There was no need for Auto-Tune or intensive vocal coaching. He understood direction and gave a superb performance. 

In truth, I wasn't completely happy with the music/instrumentation on this remix. The kick drum & snare were, to my mind, too hard/distorted. Also, ironically, it lacked identity. That is too say, I should've (to some extent) carved a sound that allowed it to neatly fall into a catergory - be it Garage, Deep or Tech House, Electro etc - rather like The Wideboys, Bimbo Jones, or David Guetta do today. There was little time to experiment, try different ideas out. C'est La Vie....

The intro was a concept I had in my mind from the outset... I could hear the searing vocals singing the chorus and falling away into a breakdown with a synthetic upright jazz bass playing - much like the sound on Aly-Us ‎"Follow Me". The rhythm idea was something I had flirted with years before. It's a chopped up and re-triggered loop from a famous Jazz-Funk-Fusion band (Shhh!). I loved the intricacies of the shuffle -a dynamite groove too :) I pictured the fantastic jazz-dancers I had witnessed in my younger years when I'd frequent clubs like: Gilles Peterson's 'Talkin' Loud and Saying Something' @ Dingwalls on Sunday afternoon (circa 1986-1991); Norman Jay's 'High On Hope' in London; & Russ Dewbury's 'Brighton Jazz Bop'; Body & Soul, and Shelter in New York - all had a profound effect on me, an influence beyond measure. I was really taken aback to hear Joaquin "Joe" Claussell playing this at Body & Soul and numerous other DJs in various corners of the globe. Sadly, this single wasn't a hit and got lost in the deluge of releases during the late 90's. 

I recently found a clone copy of the master, blew the dust off, did an edit joining the Dub & Vocal mixes together and have placed it up here for posterity. It's a good song. Enjoy :)

Follow me on Twitter: @DamienMendis

Martin Okasili - Freedom [Mindspell 'High On Hope' Dub + Vocal Edit]

Another Mickey D signing! The year was 2000. UK Garage was at its height and almost every A&R person was signing a track from the scene. Some had crossover/mainstream appeal, whilst others did not. This was one of the latter. I had bought the origianl T.J. Cases 12in (http://www.youtube.com/watch?v=UUIJ9RHWGUE). So, I was more than familiar with the song when Mickey D asked me to do an R&B Remix for him. 

This was his second chapter, and sadly to be his last, at WEA/Warner Music UK.  He had jumped ship for a position at Sony Music UK. Unfortunately, that didn't pan out and was consequently left out in the cold. During that time, the Glamma Kid single that I had produced for him ("Why") had been a Top Ten hit hit, in his absence. Shola Ama, Cleopatra and his other acts were on the decline and their days were numbered. A new Managing Director - John Reid - had been aoppointed. I had seen him walk around the building, banging on tables, shouting "where are my f***ing hits?!". He was right to ask. The staff (as nice as some were) had fallen into a coma. There was a distinct lack of vitality and hunger for hits. Roger Ames, Warner Music Group's Chairman & CEO had not been impressed with Mickey's (perceived) lack of loyalty to the company. Nonetheless, he was given his own 'imprint' (a label, of sorts) - Inner Life - to sign and release music. One artist, from the Ukraine, Irina Sitnikova (whom I worked with) never got past the development stage. Another, was Marissa. She was the featured vocalist on T.J. Cases  UK Garage production "Dedicated To Love" - supported by DJs like The Dreem Team etc.

The challenge was how do you translate a 131BPM 2/4 UK Garage song into 102BPM R&B track? The first thing I did was learn the lyrics. So, that I could sing it in my head. All my records start off in my head as some basic (or detailed) sonic vision/idea. I'm not going to pretend I wasn't influenced by anything because that would be a lie. Around that time, I was listening to and was already a big fan of Edward 'DJ Eddie F' Ferrell. He had previously been a member of Heavy D. & The Boyz and the remix/production outfit, The Untouchables. In particular, I had loved his remix of Boyz II Men "Thank You" and his sound on Donell Jones ‎"U Know What's Up", Guy "Dancin'", Ruff Endz "No More" etc. So, that was my inspiration for this remix.

I booked a room Britannia Row Studios in London and asked Mickey to send Marissa down to re-sing the song. I thought she might have a hard time re-learning the song in this new key and slower tempo - not to mention completely different arrangement! - but she fortunately she wasn't fazed. Don't you just love a professional?! Singing Gospel is church will do that for you :) Although, Marissa wasn't a technical concert-pitch singer, she lots of vibe and, with my direction, really put some soul into the performance. I couldn't ask for more. Vocally, she kind of reminded me of Mary Davis from The S.O.S. Band. Don't know why exactly. She just did. Old school, definitely. The backing vocals come from Marissa, Irina Sitnikova & myself. The whole recording, production & mix took place over two days. The single itself was promo'd (rather poorly) in December 2000, released (without even a matchstick, let alone a firework display) in Jan 2001, and subsequently sank without a trace. I knew it wasn't going to be big, but I had hoped it get good exposure to the right DJs etc. Alas, that wasn't to be the case. Regardless, I enjoyed the experience :)

Follow me on Twitter: @DamienMendis

Marissa - Dedicated To Love [Damien Mendis 'Soulchild' R&B Remix]

During 2002 & early 2003 I produced and mixed a band from Detroit called Electric Six (formely known as The Wild Bunch). An early version of what would become their first global release was featured on the 2 Many DJ's mix compilation "As Heard On Radio Soulwax Pt. 2". That song was "Danger! High Voltage". After completing the Album/Radio Version, I then decided to do an additional 'Video Mix' (with a longer outro & cold ending) and an extended mix for the 12 inch release. The latter I named 'Soulchild Bltz Mix' in tribute to the legendary Tuesday night club event that took place in London, between 1979-1980. 

The 'Soulchild Blitz Mix' features many addtional production overdubs. A lot of my old analogue synthesizers were dug out for this version, such as: Jupiter 8, Moog, ARP Odyssey, Prophet 5. The live drum kit is punctuated by a processed Linn 9000 Kick. You can hear percussion loops. There's an entirely legal nod to New Order's "Blue Monday"/Donna Summer "Our Love". The sounds were so authentically recreated, it made the record company (XL) really nervous about being sued. So, they cleared it 'just to be on the safe side'! Trainspotters may be able to spot references to Roxy Music, Japan, David Bowie, Queen, Duran Duran, Sylvester, First Choice, and even... Modern Romance. Write to me if you can guess which songs/parts!

Purchase from iTunes HERE > https://itunes.apple.com/ca/album/danger!-high-voltage-ep/id7059143
Follow me on Twitter: @DamienMendis

Electric Six - Danger! High Voltage [Soulchild 'Blitz' Mix by Damien Mendis]

I got a call from Miles Leonard (President of Parlophone EMI Virgin) to talk about a project of Blur's Damon Albarn. It was called Gorillaz. Not a band as such, more of a collective of collaborators. They had inadvertently caught some heat, by way of a 2-Step Garage Remix of "Clint Eastwood". BBC Radio 1 weren't giving the original a lot of spins and decided (to keep in with its core audience) to do a radio edit of this popular dance mix. Since this version wasn't representative of what Gorillaz were about, EMI & Albarn initially weren't keen but relented to public demand. I was given a copy of all their demo's and unfinished/finished tracks for what was to be their debut album. The brief was "pick one that you can produce, remix or whatever into a hit single". I gave them all a listen and, nothing immediately screamed 'potential hit'. Regardless, I sent over a proposed budget for one song of their choosing. Things went quiet for a few weeks or so. I then got a call a few weeks later saying "Jamie Howlett has already started working on a video for the song "19-2000" - we'd really love it if you took that song and made into a hit". To my ears, it was a ropey durgy old demo lacking a great melody, let alone a big hook. After striking a deal with Miles, I agreed to do it. The fee (including production recording/mixing costs) wasn't what I wanted but he said "I promise I will make it up to you on another record". Well, 15 years later... He never did keep his promise! As far as creativity was concerned,  his exact words were "you have carte blanche to do whatever you want". What happened next was nightmare-ish 10 days....  [MORE TO FOLLOW]

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Gorillaz - 19-2000 (Soulchild Remix) [by Damien Mendis]

My Re-Edit/Remix, with additional production, of EJ/Jamie Jones's "Mama". Extended and heavily overdubbed with vintage Chicago & NYC House drums, percussion and sounds. You won't find this on Now That's What I Call Deep House! Jackin' - no 'G' :)

Twitter: @DamienMendis

Jamie Jones ft. EJ - Mama, I'm Gonna Sing [Damien Mendis Jackin' Re-Edit]

During 2002 & early 2003 I produced and mixed a rock band from Detroit called Electric Six (formerly known as The Wild Bunch). 
This was the 2nd recording and also became the 2nd single to be released from their debut album "Fire" (via XL Recordings UK). 

"Gay Bar" started out as jazz-lounge-bar arrangement, complete with 'swing' rhythm. Somewhere in the vaults is also a SNES (Super Nintendo) computer game version. I kid you not! My pitch to the band was to make it a fast, rip-roaring, rock-fest, mosh-pit anthem. I recall describing it visually like Godzilla stomping over a hill and smashing up the city. It wasn't the drink talking. I had just watched far too many Japanese/Kaiju films. 

The band I went into a rehearsal room (I can't recall if it was in Detroit or London) and fleshed out the arrangement of song. The tempo was set, the drops and returns were mapped. Sounds were agreed upon. We were all set. The day before I flew back out to Detroit, I spoke to the band on the phone, asking the lead singer ('Dick Valentine') to write an extra verse as I felt the song needed to build momentum - the whole track was ridiculously short too coming in at around 1min30secs. 'Dick' agreed, went away, and came back with 2 or 3 options. I chose the "do you have any money, i wanna spend all your money" verse.

There's more...

Electric Six - Gay Bar [Radio Mix #.1]

Before producing a song, I like to make sketches - different "arrangement ideas" - to get a feel for what's right and, more importantly, what's wrong.
The original theme tune to the popular 60's/70's/80's and now 10's TV show "Hawaii Five-O" had a great impact on me as a child. The rhythm/drum track & 50's surfing guitar sound was a definite influence in shaping the final version of "Gay Bar". 

Thought I'd share this one with you, just for fun :)

Follow me on Twitter: @DamienMendis

Electric Six - Gay 5-0 [Soulchild 'Hawaii' Mash]

My tribute mix. Hope you adore it ;-)

Come say 'hi' to me on Twitter: @DamienMendis

Mendis Adores Marvin

A shorter edit of my Marvin blend. Enjoy :)

Mendis Adores Marvin [Edit]

Damien Mendis > DJ, Music Producer, Mixer, Writer/Composer, Arranger.

As a DJ, recently played in the main room @ Egg London (alongside Dimitri From Paris & DJ Pierre) on their new insanely great Flipside Sound System - which has to be heard to be believed. 
Booked to play the main room @ Pacha London.
Has also played at a vast array of clubs, festivals & events including: Fabric, Ministry of Sound, Glastonbury, Notting Hill Carnival, London Fashion Week, Ibiza, Marbella, Miami, Los Angeles, Chicago - many more worldwide spots.
DJ'd at numerous private parties for A-List celebrities & artists in the UK, Europe, & USA.
Musically style: Right across the board. No style preference. Bespoke sets for each party - commercial, underground or mixed.
R&B, Hip Hop, all kinds of House, Nu Disco, Indie/Dance, Techno, Reggae/Dancehall... you name it.

As a Producer/Mixer - too many to list- production monikers: SOULCHILD, MindSpell, D&A. 
Highlights include > Gorillaz, Brandy, Drake/Rihanna, Electric Six, Foxy Brown/Jay-Z, Byron Stingily, The Fugees. Some are featured here on SoundCloud.

Damien Mendis SOULCHILD

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