Classics: David Morales & Róisín Murphy – Golden Era (David Morales Disco Mix) (Ultra Records)
“People are changing”, used to sing Timmy Thomas. With the same applying to the times we’re living. Nothing stays the same, with a generation pushing another. And both this song – ‘Golden Era’ and its video clip makin’ proof of a rare clear-headedness. But also eventually acting like a distorting mirror for those of us feeling like at the crossroads.
Mind you, our environment has changed so much from the 90’s until now. And I’m not even talkin’ about the Disco days which bring us back to the 70’s. In other words, at a period when, for those currently in their fifties/sixties, everything was to be written. As an observer, I can’t help myself neither feeling a certain nostalgia. And how could it ever be different at the end? With so many things definitely gone. From the insouciance of my youth to the passing of so many of my people. Not to mention the disappearance of so many of those places I sued to hang in at the time…
Nothing stays the same. And I guess what David Morales and Róisín Murphy are calling the ‘Golden Era’ has quite a lot to do with what we consider as our ‘Happy Days’.
“Is this the end of the Golden Era?”, mourns Murphy… To a certain extend, the response is yes. And I’m also and most likely thinkin’ of that tough transition that’s seen a majority of us jumpin’ on the mp3. And, by that, soundin’ the death knell of the vinyl record and everything associated to it as a matter of fact.
No matter what, ‘Golden Era’ marks a rupture. With both its lyrics and interpretation providing a rare emotion. Quite illustrative of that feeling we have in front of something that feels now definitely behind. Something that could apply to a love story, a current environment in search of landmarks, not to mention a record industry that has gone upside down. This makin’ it so universal at the end…
A cut which we heavily championed back then on our Facebook page
Download from Traxsource.
A quick typing – ‘David Morales’ – in the search box of our site should give you a certain idea of his legacy. And, by that, of the consideration we have for him. Standing among the most prolific but first and foremost talented producers/remixers of his generation. With his name firmly associated to a signature – the Def Mix Sound – and an alter ego – Frankie Knuckles. Themselves synonyms with some of the most brilliant episodes in the maturation of the contemporary groove.
A native New Yorker of Puerto Rican ancestry, David Morales grew up during Dance Music’s most influential era. Thus, unsurprisingly frequenting its legendary clubs such as The Loft and The Paradise Garage.
As a result, it wasn’t long before he started his own nightclub – the Ozone Layer – in Brooklyn, by the beginning of the 80’s. His residency which lasted until 1986 eventually leading him to spin at The Paradise Garage in 1983. The 80’s seeing him DJing later at Newark, NJ’s famous The Zanzibar. With the latter standing as the craddle of the famous Jersey Sound also known as Garage. But also joining forces with Frankie Knuckles and For The Record DJ Pool founder Judy Weinstein under the Def Mix Productions banner to help manage remix requests and handle artist business affairs.
All in all, on his own or along with Frankie Knuckles, David Morales has remixed and produced over 500 releases. With the list of those he happened to rework the music of givin’ a better idea of the impact he generated. And this way above the strict spheres of House Music. Eventually bringin’ fragments of his universe on ‘Mine To Give’ by the likes of British Junglist Photek along with Robert Owens. But also working along Brit-Soul / Acid Jazz activists. From James Taylor Quartet feat. Noel McCoy‘s ‘I Love The Life’. To the Brand New Heavies‘ ‘Never Stop’, Loose Ends‘ ‘Love’s Got Me’ and Imagination‘s ‘Instinctual’. Not to mention Lisa Stansfield‘s ‘8.3.1.’. And how to not think of Alison Limerick‘s ‘Where Love Lives’ or Incognito‘s ‘Always There’ among others?!?
Of course, David Morales made some noise in the House scene. Responsible for seminal tracks such as ‘I’ll Be Your Friend’, ‘Finally’ and ‘My Piece Of Heaven’, respectively for Robert Owens, CeCe Peniston and Ten City. This in addition to Ce Ce Rogers‘ ‘All Join Hands’, Inner City‘s ‘Whatcha Gonna Do With My Lovin” and Richard Rogers‘ ‘Can’t Stop Loving You’. If not Doug Lazy‘s ‘H.O.U.S.E.’.
But, just like Frankie Knuckles, he also created serious bridges with R&B names. Beginning with Mariah Carey (‘Fly Away (Butterfly Reprise)’) with whom he established a long term working relationship. But also Luther Vandross (‘The Rush’) and Alexander O’Neal (‘What Is This Thing Called Love’). This in addition to Miles Jaye (‘Heaven’) and Whitney Houston (‘Love Will Save The Day’).
Meanwhile, under his own banner, Morales also made quite an impression. Beginning with his debut-album and single of the likes – ‘The Program’ – as David Morales & The Bad Yard Club back in 1993. But also ‘Needin’ U’ as The Face, five years later. And how to not remember ‘Golden Era’ along with Róisín Murphy? A cut which stood among the essential tracks of the year 2012… Or, more recently, ‘Lovin” as The Face feat. Kym Mazelle. And ‘There Must Be Love’ as fronted by Janice Robinson. This with remix courtesy of Nigel Lowis, which we welcomed as our Single Of The Week back then…