Hit me up with all yer info...

JD, I know YOU gotta know sumthin - so SPILL!

Im pretty sure this is the guy I heard on the radio a couple o' years back who really made me sit up and listen, but as ever when ya wanna know who that artist was, they never said...

All I can say is Romanthony betta have sumthin going 4 Him, cuz the name's shit.

I know Bart Van Hemelen digs him. I have one of his CDs and some of the music is slammin whilst other tracks leave me wanting.

I absolutely love Ministry of Love. I wonder if that was a single track or if that's on an album. I've only found the one...

His R.Hide in Plain Site Hide is like the house gospel tribute to Prince, Romanthony's big inspiration. And if Ur a Prince fan then U will love this. In an interview he's said his fave Prince album is Dirty Mind becuz of its raw, stripped down funkiness be4, as he says 'the machines came in'.

He's best perhaps known 4 contributing vocals 2 Daft Punk's hit One More Time and on their album track Too Long from their Discovery album. Another band 2 check out BTW.

The R.Hide in Plain Site album came out in 1998 I think but it doesnt date and is definetly the 1 2 get. mixes Prince style vocals, funky breaks reminiscent of James Brown and cool house beats. Word is that Prince heard the album and muttered "Why am I not doing this?" If it's funk, soul, pop or house that lights your candle, check it out. Id bet U a fiver U'll be boppin' Ur head 2 Bring U Up the 1st time U here it!



Anyway, here's the interview...

According to Einstein, energy cannot be created or destroyed. It can change form, like when electrical current turns into sound, but it can never be born out of nothing. It must come from somewhere. A fact that makes life quite demanding for most recording artists. And even more for someone like Romanthony. Because he, like other musicians of his calibre - Stevie Wonder, Curtis Mayfield or Marvin Gaye - controls absolutely everything. From the basic operation of the sampler to the breath-taking vocals he lays over the top.

So what, you may think, there are countless producers that do the same. And you'd be quite right. If that is, you've never heard any of the wondrous, soul-bursting songs he's recorded. Because if you had, you'd know different. You'd know that anyone who was capable of magical moments like 'The Wanderer' (a track he recorded for Ron Trent and Chez Damiers' Prescription imprint) or 'Let Me Show You Love' (for Azuli), was someone that the basic phrase 'recording artist' didn't do much justice. In simple terms, he's like house music's version of Prince. On the one hand, he can turn out the mind-blowing 100 minute roller-coaster ride of 'Romanworld' (released earlier this year on Azuli) while on the other, the same-old New Jersey house groove can sometimes appear. But such is the way with genius. And, just as you forgive Prince his 'Emancipation' for the sake of his 'Sign of The Times' we do so Romanthony. And besides, it's not easy being the best.

"It drains me," he begins. "Not because it's a lot of work, but when the harmonies and the frequencies are speaking to my soul, they soothe me to the point that I'm almost having a climax. Like in the act of making love. You know what you're doing is going to end eventually but, as you're going along, you can never imagine what it's going to be like. And then once it happens it's like a release into a state of extacy. And that's what it's like recording. So I have to find the right time in my world to do songs like 'The Wanderer'. So that I can come out of it and have time to recouperate."

Because not only does Romanthony write and produce all his own material, he's his own manager too. When projects on his Blackmale or World Recordings need attention, it's him that has to get up and do it. If a company is late with payment, it's him that does the chasing. And if he wants his records to make sure his records get sold, then it's him that does the work.

"It's because I'm really serious about it," he explains. "I don't want to just put out singles that just get forgotten, you know? And it happens to some of my favourite records. They're out for three months and then you never hear them again. Romanthony is not the kind of dj/producer that puts out a track a month evolving around a certain sound and when that sound disappears, so does he. It's definitely a long-term thing."
Strange words from an American producer. Normally you just get that Armand Van Helden attitude. Big money remixers more interested than getting laid than laying down something worthwhile. Which is cool, you gotta get paid. It's just not Romanthony. When you talk to him you're hit with words like 'longevity' and 'commitment' and phrases like 'artistic responsability' and 'creative control'.

"It's crazy," he notes. "People used to use this music for communication and making life better. And now, that ultimate power of the music is being side-stepped because of certain technical innovations. To me, the vocal is still one of the most powerful things, something that lasts forever. Nowadays, the market is just flooded with these cheap, throwaway, bubble-gum records and the younger minds coming into the clubs are being weaned on music that's like skimmed milk instead of the real stuff."

It's like the machinery has taken over. Dance records made up of just one tiny sample, repeated over and over again. With maybe a piece of electronics to add some sparkle to it once in a while. What kind of music is that. Sure, it floods dancefloors the world over, but it also squeezes talented producers like Romanthony out of the picture. Because it'll take a brave dj to work 'The Wanderer' into his set whereas almost anyone can play a Dj Sneak cut at one o'clock on a Saturday night.

"I would just rather weather the storm than head out into the hurricane," he counters.. "I would rather build a solid place to wait until everything blows over because I'm not here to sacrifice myself. And right now, I'm just putting myself in the studio to work on material that can get put out when the market's fertile again."
And it's not just about making sure he chooses the right time to put the records out. He's has to be ready himself. Because if the crazed way his fans act now, when he's an underground dance artist, is any indication of how the public at large will react when they hear his music on day-time radio, he has to be prepared to be treated like Prince and other artists like that.

"It's confusing," he admits. "I'm trying to get myself ready to allow the songs to go further than the underground clubs, yet I don't know what I have to do. It's like I need to live better, organise my business better and, unfortunately, learn from some of the tragedies in dance music and in the music business as a whole. Like with Tupac, Biggie Smalls, Kurt Cobain and the Smashing Pumpkins' drummer.

"Because most of the time, when artists come out with a major album and they finally get broken around the world, they've got some dark thing following them. And just when you think they're having the best time, it comes out and they're on the edge. So I've been trying to keep my music back and keep it underrground with just the really serious supporters until I have an idea of what the responsability is to be a musician and the one who gives this message out. And I'm trying to learn because I really admired the music that those guys made and it seemed that when they were at the highest point, they couldn't relax and enjoy it. They couldn't really make a success out of their gifts. And I don't think that's right. Even Michael Jackson's been touched.

"I just hope I can figure it out before it gets too late. Because there's a need for me to get songs like 'The Wanderer' out to a larger audience but, first of all, I have to understand why other people have fallen before me."

Thankfully, it's almost bound to happen. It's something Romanthany has always done. Back when he was growing up in New Jersey, trying to learn the guitar, he'd listen to any record with a fly lick and try and copy it. He'd mess around in his garage with a bunch of mates, playing covers and work out how to write songs. Even when he made it into a big studio to record his first demo, he was so enraged by the engineer making him feel stupid that he didn't rest until he worked out how to use every piece of equipment in the recording process.

And once he's worked out how to deal with the pressures of the business, he'll still wait until everything's perfect. Until the major labels are filled with the type of people that understand him. Until the kids that respect him now are in a position of power to take his music further. He's not just gonna sign on the dotted line because someone thinks he's hip and the money's right.

"And for all the people that are waiting for me to ge the videos and all the rest," he concludes. "Take a look at someone who had all that and you'll find someone who wrote 'slave' on themselves and someone who said their concerts were hell. Then tell me that it's a good idea."

Kevin Lewis

Interview Out-takes

Romanthony on…

Stevie Wonder
He's a blessed soul. You look at him and think, how can he do what he does. It's so much more on a different level than a dj that samples something and repeats it forever. It's the difference between someone who stole a car to get somewhere and someone who can build a car from the pistons up.

Tony Humphries
I used to go to Zanzibar and sneak in like a dark shadow, a by-stander that nobody knew. I was just in the corner thinking about how effective certain sounds or records were. That's what really sealed it for me that I would make those kinds of records. And, after I started my label, Tony Humphries was one of the djs that supported me all the way and I felt that his support should be appreciated. So, like in other types of music, say with the Rolling Stones getting John Lee Hooker or Howling Wolf on stage or Blondie rapping about Grandmaster Flash, it was just my turn to say that when Tony Humphries is in the mix, everybody's diggin' it.

America
In America, the dominating music is either gonna be hip-hop or alternative/grunge. Dance music is in there, but it's not the dominant music. And that's because of the political climate and everyone wanting to have an attitude and the music gives them that attitude. In the UK and elsewhere it's different. You don't go out to a party thinking that you're gonna get shot. It's more along the line of whether you'll get a good trip on the drug you're trying. Or what the DJ's gonna be like. But over here, it's like, 'Am I gonna get out of this club alive?'. There's a real climate of chaos in the clubs over here.

First printed In Muzik magazine, 1997

Do you ever get sick of the comparisons between yourself and Prince? And do you think they're justified?
As long as the comparisons are being made to the time when he was happy making his music. I think in the last four years you can tell he's not been happy with what's been going on. In terms of whether or not these comparisons are justified, I would love to be able to produce the kind of albums and movies he did, but if it all ended up in self-destruct like him, I wouldn't want it. As much as I would love to receive the kind of accolades that were heaped on him and have the influence he had, I think that cost would be too much.

I heard you turned down an offer to cover '1999' for the Millennium. You obviously have scruples. But how far would you go for success?
Put it this way, if my fee for a remix was sleeping with the artist, I'd go with the likes of Destiny's Child, Janet Jackson and Jennifer Lopez. Even Mariah Carey man, she looked so delicious on that album cover. But Alanis Morisette, I couldn't do that.

You just turned down a major 5-album deal to work with an independent. Why is that?
Sometimes ideas are better played out when you're one-on-one with someone as opposed to dealing with the chain of command. At the majors you have this huge structure and by the time I've talkde to an A&R person and it's gone to a label manager, then to lawyer and then to a director and back down again, the feelings of the original ideas have got lost in the machine. At an independent I can talk to one person and that person makes all the decisions. It's a much better platform for communication.

You haven't had any of your material remixed in over 5 years. Why is that?
In the early days it was important for me to give respect to the originators of the scene. And I really believe I did that. The only ones I missed were maybe Masters at Work. But all the other producers that inspired to do what I do, I wanted themNot mentioning anyu names but some of my heros klet me down didn't give time to song that they could have. I really feel like I'm almost at the peaking with nmy studio to get the sound that I want. If someone can come along that cabn reaaly whip my ass, then I'll give it up. I need to be inspired otherwise I'll try myself.

Your record label is called Blackmale. Why?
I just thought it sounded cool. I feel like I know the music so much that I did't nee dto have the promotion. What IU had to p[ut on the vinyl had to be so powerful that it made people move.

Finally all I can say is.. Hope U like him!
[This message was edited Mon Sep 22 14:52:15 PDT 2003 by JDINTERACTIVE]
[This message was edited Mon Sep 22 14:53:03 PDT 2003 by JDINTERACTIVE]

R.Hide is the album I have. Floorpiece is the fucking shit!!! I'm gonna have to go back and listen, it's been a while.

who?

SupaFunkyOrgangrinderSexy said:

Yeah, theyre all good!

And there is a sample from floor piece that is used in the song Living to Love one another (found on the soulful house experience). Not sure who samples who but the sample is sped up in Floorpiece and slowed down in Living to love one another.

SupaFunkyOrgangrinderSexy said:

There's also a sample from Kool and the Gang's Magic Carpet Ride on 'Down 4 U'.

JDINTERACTIVE said:

JD, you're a Sheffield based man, aren't you? You really need to get yourself to Lights Down Low. Ask the guys behind the counter at Lowlife, they'll fill you in. It's a little under the counter. Myself & a few friends made the trip over a few months ago, because we'd heard so many good things, it was well worth the journey. It's the last Friday of the month, so the next one's this week. I'm trying to get my mates to go again, but they all want to go see Chris Duckenfield at The Electric Chair on Saturday, so probably not!

Handclapsfingasnapz said:

rofl

daned said:

Yeah daned, Im actually in London now though. Where is Lights Down Low btw? Ur also the chap who recommended some place 2 go 2 in Manchester right? I'll have 2 make a habit of jotting all this info down ehehehehe!

Lights Down Low is at The Point which used to be Under The Boardwalk. As it's only licensed for drinking until 11pm, the Lights Down Low night is run as a private party with no paying on the door, only advance tickets.

You sure get around a lot. Dunno where I'd recommend in London. The music's great in Shoreditch places like Herbal & Cargo but the people are a bit...well...what's the word? Too trendy for their own good, perhaps? Not bad folk, but not fun folk. Mind you, Camden Lock, pub there has some cracking free Sunday sessions.

I had an opportunity to work with this guy in the early nineties. He was still living in his parents house in Jersey in those days with a small studio downstairs. He asked me to play a little keyboards for him. When I told him I was into Stevie and Prince, he got kind of excited. After hearing his guitar skills, I could tell that he was kind of a "computer based" musician. He knew a few chords, but everytime we 'd start jamming he'd get frustrated, walk over to his midi controller and start triggering all these loops for me to play to.

I asked him, "Listen, do you play drums?"

"Yeah, but I'm so good I might scare you!"

So I said, "Come on, you won't scare me. Let's get a funk jam going. I'll play guitar."

He wanted absolutely no part of that. He wanted me to play keyboards in his band and on a few sessions. After a few more meetings with him, he wanted me to play on some new tune of his. I told him what I charge, and he said that was fine.

So I said, "What am I playing?" He triggers a drum loop and asks me to play to it.

I say, "okay...what though? You got a chart?"

"No, just play whatever you want and I'll record. Throw some Stevie sh*t in there."

I said, "Listen, it sounds like you want me to write with you, so let's sit down and work this out before we record."

We sat down for a few minutes before he turned to me and said, "Listen, I can pay your fee, but I really write my own material. Just play something and I'll write the song."

So I said, "I'm sorry, Tony, but this just doesn't seem right to me. I'm outta here."

...And that was it. I can't believe this guy try to rip me off a writing credit. He didn't even try to hide the fact that he couldn't play and wanted me to write his material for a lousy session fee. He's been sued by a lot of artists and musicians from Jersey for ripping them off, and these "well dressed Italian guys" even shot him in Queens once for doing the same thing to one of their "friends". It really sucks because there's a lot of great talent in Monmouth County (where we're both from), and he's had a lot of publicity. He could help a lot of people, but instead he uses them to make himself look like "da man".

I'm sure his album is good, SupaFunky, but I just can't bring myself to listen. Does that make me a jerk?


-SWANGstillthinksSupahasgreattasteinmusic

R. Hid In Plain Site

#6

FEELIN KINDA WRECK BABY WRECK!


A love jones is cumin over me
happens whenever ur around
seems 2 control me baby
know u gotta bring that sweet luv down


daym that song is a major Prince influence.

paisleypark4 said:

Isnt Wreck #5? Anyway thats my fave on the album.

hence why Rome, went overseas to do stuff for Azuli and subwoofer, if i remember correctly he did some white label stuff with Kerri Chandler ( another NJ Native) Rome put out some good records " fallin from grace, da change,Testify,Let me show you love,Ministry of Love, just to name a few, some of his cuts sounded like a dirty sounding bootleg lol, take Da change for instance its on "Black Male" very bootleggish sounding then he did one cut for Cajual in Chicago called "The Wanderer" which is now out of Print.

JDINTERACTIVE said:

OOH #5 yeah! Cool! My favorite on the album 2 ! I only bought it 4 that song alone..

bananacologne said:

http://www.discogs.com/se...romanthony

Try to get this cd with a black and yellow cover (sorry, can't remember the name while I know it VERY well): it's great, better than R.hide in my view.

Funky Flava is a very funky prince-flavoured track

DrD said:

Romanworld?

The album is called "Instinctual"

Try to get funky flava, it really deserves its name!