Brightest Young Things

Deep Sugar in Baltimore gets blessed with a special edition this Saturday as renowned DJ/producer David Morales joins Ultra Nate and Lisa Moody in the booth for a late night of great music and vibes on the thunderous Paradox soundsystem.

Morales' work in the music industry is inspiring and worthy of careful examination by anyone who is involved or looking to get involved with dance music in some shape or form. He has been actively involved in the scene on various levels as a DJ, producer, remixer and club owner for over thirty years. Morales is best known for his amazing Def Mix work and remix work for pop artists such as Mariah Carey, Ce Ce Penistion, U2 and others, but his productions under other assorted aliases also reflect a wide range of influences and sounds. His extensive discography and DJ touring over the years has played a significant part in shaping house music into a global phenomenon. Not to mention, the man can rock the hell out of a big room!

I was lucky enough to get a quick interview from him while he was on the road with his busy international touring schedule.

Have you played in Baltimore before?

The last time that I played in Baltimore was at the Paradox years ago.

What do you think will make Saturday night special?

Me lol......

What made you decide to revive your current deep house instrumental project Brooklyn Friends after only a single release in 1995 and a ten year hiatus?

I never intended to release another Brooklyn Friends record it just happened because I had some instrumentals laying around.

Your back catalog is stocked with aliases, such as the deep and darker Red Zone or "The Boss" mixes, or your high-energy house re-works under  "The Face" moniker. This is in contrast to your pop remix productions where you lent your name directly to whatever mix you happened to do. Was there a commercial reason for doing this or was it just to show off your different sides?

It was to show off some different sides for sure. "David Morales" is my commercial side and "The Face and The Boss and Brooklyn Friends" are my other sides. I like to do different kinds of records.

How has your strategy/approach to making music from when you started then until now changed with changes in studio technology? Do you still use your old stand-alone synthesizers and outboard equipment?

I personally prefer the old school way of having everything independent. There are some advantages and some disadvantages but I still use some old gear.

Have you ever thought of getting back into nightclub business as an owner since departing Stereo (in Montreal)? Did being an owner change your perspectives on the purpose and business of dance music apart from being just a dj and producer?

I would only do it if I don't have to manage it. It's alot of hard work. I've played both sides of the fence as far as being an owner and being a DJ. My purpose is to make and play music.

Do you have any opinions or thoughts on the prevalence of file sharing and a decline in record company sales? Do you have any ideas or thoughts how things should be changed?

I think it's a disaster for artists, songwriters and producers. There needs to be a way of policing the industry.

You got to contribute to and experience all of the great clubs and environment of dance music's heyday in NYC in the late 1970s, 1980s and early 1990s. What positive aspects of dance music and clubs do you think newer and younger DJs and producers can take away from the current atmosphere?

It's a huge difference bet then and now. It's alot easier to get a break than before. The technology has made it simple for people to make music.

I had a great time at the first "3 Kings" party that you played with Tony Humphries and Little Louie Vega last year. Do you have a preference for playing the older stuff vs. newer stuff?

I don't always get to play older stuff so when I do it's a treat. I def prefer to play new things more frequently than oldies.