For our third installment of the DO IT TO IT compilation, I made my own version of one of my favorite tracks - Man Parrish's "Boogie Down Bronx."

Boogie Down Bronx

KA - Vs - Ten City= Right Back 2 U

Someone didn't like my song
Said it didn't suit them at all
That's okay
That's okay
You don't have to like my song

Someone didn't like my song
Wanted to report me
Someone didn't like my song
And for no reason
Some people need mental health


Someone didn't like my song
Said it didn't suit them at all
That's okay
That's okay
You don't have to like my song

Someone didn't like my song
Wanted to report me
Someone didn't like my song
And for no reason
Some people need mental health

Someone Didn't Like My Song

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Mama Too: It's A F** G-Thang

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“Mama Too: It's A F** G-Thang” is a powerful chronicle of resistance and truth, stitched from authentic, brave voices broadcast on our mighty Instagram story feed. These voices illuminate the spiraling madness and horror we witness daily: the confirmed genocide in Gaza, enabled by western nations that declare themselves democracies but suppress peace, arresting those who protest the massacre of children under new 'anti-terror' laws—most harshly in the UK.

This song stands in solidarity with those fearless enough to speak, to shine a light, to withstand pressure and misunderstanding. Like Mama, we all know—forced to watch, forced to obey, forced into silence—but the truth demands to be heard. “Mama Too: It's A F** G-Thang” is not just a song; it's a tribute to every witness, every protester, every heartbeat refusing to surrender.

Mama Too: It's A F** G-Thang
is an alternate Garben take on the original drop:
Silencing Voices - Complicit (What Happens In 2025) // Allegro Con Acido
https://soundcloud.com/fictionalive/silencing-voices-complicit-allegro-con-acido

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music is the song 'Mama Too' written, arranged, played, mixed, produced by Garben @garben

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new vocal arrangement, new music arrangement and final mix by Garben

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artwork illustration by peter uertz, düsseldorf / germany

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fusion of it all - 
fictionalive with the popoems series and the hyper media reports

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dropped
friday, september 12th, 2025
time - 4 pm central  european
time zone, tea time, right?
9/11 was yesterday

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Mama Too: It's A F** G-Thang

Nightly Closures returns with a fresh Deep House single that perfectly blends smooth grooves and warm textures for the dancefloor. The release captures that late-night energy with refined melodies and deep rhythm, making it a true gem for House lovers. Adding to the experience, the package includes a stunning remix from Martin Luciuk, who brings his signature touch of elegance and drive. Together, these tracks deliver a versatile and captivating sound that will resonate both in intimate sets and peak-time moments.

Available here

Nightly Closures - You Got Me Down [Deep Clicks]

FREE WAV : https://copycatbeats.bandcamp.com/album/catch-wreck-e-p
<a href='https://theartistunion.com/tracks/64bd78'>Download for free on The Artist Union</a>

Twin Hype - For Those Who Like To Groove (Copycat/Ohm NRG Re-take) FREE DOWNLOAD

Mix by Dj ''S'' (DJ Stathis) - Soul, Funk Classics Mix 1

Dj ''S'' - Soul, Funk Classics Mix ''1''

2015 House remix of Dayton's "Sound of Music," a 1983 disco/boogie/funk essential.

Dayton - The Sound Of Music (Jon Iler & John Simmons Sound Of Chicago Mix) - WAV

Sister Sledge - You Fooled Around (Cosmic Disco Edit)

Cosmic Disco

Various selection of "House Beat" Disco & Funk Re-Edit compiled & mixed by Old skool Nemo With a special thanks & tribute to the "fabulous"http://soundcloud.com/johnnymeek ;)


In the House with Funk & Disco (Dj Mix by Old Skool Nemo)

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.”


BARRY - NEVER GONNA GIVE YOU UP [SNIPPIT]

For lack of having the gift of ubiquity, I cultivate a multiple personality to satisfy my eclecticism...

Old skool Nemo has spent the last 30 years in the jazz record racks going from soul to funk to breakbeat and hip hop, from drum n’ bass to electro. Brought up on psychedelic rock and jazz, between Montréal, Paris and Brittany , he launched himself into the vast world of Electronic music in the beginning of the 90's with Hip Hop, Dub and Drum and Bass. But it was towards the Breakbeat scene from England and San Francisco that Old Skool Nemo turned his mixes and attention at the end of the 90’S. He launched his first label in 1999 and started to support and produce many french and english artist. As a "musical globetrotter" he plays now for 30 years in many club and festival and being Producer, Promoter, Dj and Musician, he presents a "psychedelic" cross over of soul, funk, Indie Dance, cosmic disco and House with classical tracks, re-edit and amazing remix. With all his influence he shares with passion and generosity all the music who compose the soundtrack of his human and artist life ...

Faute d'avoir le don d'ubiquité, je cultive un trouble de la personnalité multiple pour satisfaire mon éclectisme...

Elevé au Jazz et au Rock psychédélique de Paris à Montréal, en passant par la Bretagne, Old Skool Nemo est fort de 30 années de passion pour la "black music" et les sons électroniques. Des sounds system Hip Hop à la scène Drum'n'Bass dont il est l'un des pionniers en France, il prend le contrôle des platines dès le début des années 90. Vers 1996, c'est vers la scène Breakbeat venue d'Angleterre, de New York et de San- Francisco qu'il oriente ses mixes et son attention. Fondant son premier label en 1999 , il travaillera à mettre en lumière une génération d'artistes français et anglais. En "Globetrotter" de la musique, il se produit depuis presque 30 ans maintenant dans de très nombreux clubs et festivals en France comme à l'étranger sans jamais négliger les "petits" établissements ou autres soirées privées où il n'a de cesse de séduire un nouvel auditoire. Aujourd'hui, à la fois promoteur, producteur, Dj et musicien, il présente des "mix" orientés "soul", "funk", "Indie Dance" "Nu Disco" et "House" avec comme "fil d' Ariane" une vision du "psychédélisme" qui l'a vu naître . A partir de classiques incontournables, de Re-edit et de Remix surprenants, il accorde ses multiples influences et ses mix sont une manière à part entière de partager avec générosité toutes ces musiques qui font la "Bande Originale" de sa vie d'homme et d'artiste...