5/6/2021 0 Comments Masters At Work The Album Rar
Log in or create an account today so you never miss a new release.For over a decade, Little Louie Vega and Kenny Dope Gonzalez have shepherded dance music down new paths with their inventive production style and imaginative feel for different musical forms.The two native New Yorkers have amassed an overwhelming body of work in that time, one that includes hundreds of original productions, remixes and side projects, redefining the way we think of music in clubs.
![]() Vega and Gonzalez defiantly mix everything they can find house, hip-hop, funk, disco, Latin, African and jazz into a universal groove. And in doing so, MAW has become a cultural mlange unto itself, emblematic of the multicultural society in which we live. Our Time Is Coming is the groups third official album, second under the MAW moniker, and first for Tommy Boy Records. Comprised of wonderful new compositions and a handful of their most popular singles from recent years, it is indicative of the ambitiously eclectic MAW sound: a vibrant dance groove culled from a mesh of Latin rhythms, jazz and soul. Vega and Gonzalez composed, produced and arranged the albums ten songs, using crafty studio work and live instrumentation and help from some regular collaborators (India, Roy Ayers) and a few special guests (Patti Austin, James Ingram, Stephanie Mills). Little Louie Vega and Kenny Dope Gonzalez officially started their union as Masters At Work in 1990. Vega, a prodigious DJ around New York, met Gonzalez, a producer, through burgeoning house DJ Todd Terry. Gonzalezs song Salsa House was a favorite of Vega, who fell for its Latin-influenced, everything-goes flavor. Desiring to remix the song, Vega asked Terry for an introduction, and almost instantly the two bonded over their insatiable appetite for music of all kinds. Vega was born in the Bronx in 1965 and raised in an environment rich with Latin music. His father was an accomplished saxophone player and his uncle was renowned salsa singer Hector Lavoe (of Fania All Stars fame). ![]() Already taken with roller-disco and hip-hop, Vega attended Paradise Garage for the first time in 1980. There he witnessed the magic of DJ Larry Levan, whose ability to blend music from seemingly every genre and era into a seamless groove would foreshadow the spirit of Masters At Work. Through the mid-80s, Vega began to make a name for himself as an up-and-coming DJ, playing house and freestyle in Bronx and Manhattan hotspots like Devils Nest, Roseland and Studio 54. He was also doing remixes and original rhythm tracks, including one of his early breaks remixing Information Societys Running for Tommy Boy. As a kid, he initially shunned Latin music, falling in love with the rebellious party beats of hip-hop. He worked as a buyer in a local record store while a teenager, mastering his skills as a DJ playing on the side. In the late-80s, Gonzalez and a friend began organizing popular neighborhood block parties under the guise Masters At Work. Gonzalez met Todd Terry through these parties and lent Terry the fresh MAW moniker for two eventual club hits Alright, Alright and Dum Dum Cry. In return, Terry let Gonzalez borrow his drum machine and recording equipment, on which the blossoming producer recorded several tracks for the influential Nu Groove Records, including Salsa House. The first collaboration between Vega and Gonzalez came in 1990 when Vega produced the debut album for singer Marc Anthony, an underground club prodigy at the time.
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