The architect, producer, musician and composer, Gui Boratto, born in 1974 in São Paulo, Brazil. He started his career working in the Publicity sector in 1989.
He produced for major record and recording companies, such as, BMG, EMI, Plastic City, Circle, Irma Records, Kompakt, Audiomatique, Harthouse, among others.
Currently he works for Brazilian and multinational recording companies and is responsible for countless international licensings.
The son of a jazz trombone player, Boris Dlugosch established his own legacy as one of Europe's top DJs and producers. In addition to producing the remix hits "Keep Pushin'" in 1996 and "Hold Your Head Up High," the following year, Dlugosch has brought remix success to Moloko, Michael Watford, Edesio, Djaimin, DeMage, and the Jasper Street Co..
Dlugosch continued to DJ every Saturday night at Germany's premier house music club, the Front, where he launched his career in 1986. As the club's booking manager during the '90s, he introduced German audiences to such American artists as Frankie Knuckles, Masters at Work, Roger S., David Morales, DJ Pierre, DJ Disciple, and Deep Dish.
While his early work was inspired by American R&B artists including James Brown, Marvin Gaye and the Commodores, and British rock bands, Dlugosch began to incorporate hip-hop and funk influences in the late '80s.
Shortly after agreeing to host a Saturday night show for N-Joy Radio in 1994, Dlugosch made his first forays into the recording studio. Working with New York producer Lem Springsteen, he scored hits with remixes of Moloko's "Sing It Back" and Hot 'N' Juicy's "Horny." Although his 1996 release, "Keep On Pushin'," became an international dance hit, "Hold Your Head Up High" did even better a year later. A video of the tune was placed in rotation on MTV and the European music TV station Viva.
Dlugosch opened his own recording studio in Hamburg in the summer of 1997. ~ Craig Harris, All Music Guide (from mp3.com)
Primarily the brainchild of musician Matt Winn (nee Wienevski), the British experimental dance act D*Note originally emerged out of London's rare groove scene, with the 1993 debut LP Babel -- recorded with the assistance of DJ Charlie Lexton and keyboardist Matt Cooper -- reflecting a strong acid-jazz background. Hit singles like "Devotion" and "Garden of Earthly Delights," however, recalled house music, while the second D*Note LP, 1995's Criminal Justice, plunged into drum'n'bass. In addition to music, Winn also tackled film, rejecting short-form video clips in favor of more ambitious productions like the ten-minute short Round the Block; in 1997, he premiered the half-hour featurette Coming Down, an acclaimed portrait of the London drug culture. Its soundtrack appeared shortly after the release of the third D*Note album, an eponymous ambient effort issued earlier that same year. ~ Jason Ankeny, All Music Guide (from mp3.com)
The don of British dance DJs, Pete Tong has maintained his status as the most influential man in British dance through his weekly Essential Selection radio show on BBC Radio One (broadcast to an estimated one million listeners) as well as his club gigs in front of thousands of people. Born in Dartford, Kent in 1960, Tong played drums in a school band during his teenage years, but later switched to DJing. After leaving school, he worked as a mobile DJ -- playing weddings and parties -- during the late '70s, and did time at small record labels as well. By 1983, Tong had hired in with London Records as an A&R representative, and several years later his position exposed him to the house music coming out of Chicago. After meeting with the owners of DJ International and Trax Records (the two most important Chicago house labels), Tong organized a 1986 compilation entitled The House Sound of Chicago, Vol. 1, the first British release to deal with the sound. He had never given up DJing during his stint with London Records, and he began hyping the style at clubs around London, leading to its breakout during the late '80s. When the BBC began giving airtime to house music, Tong was a natural choice to lead the sessions, and his Essential Selection radio show (broadcast every Friday night) became the place for club-kids -- as well as label executives -- to learn about the latest in dance music. Tong's reputation grew as big and as fast as the world-wide popularity of house music during the early '90s, and he released several collections detailing his mixing skills -- four volumes of the Dance Nation series, as well as compilations from the Essential Selection show. ~ John Bush, All Music Guide (from mp3.com)
MC out of Brownsville, Brooklyn and raised in Mooseknuckle, New York, New Jersey, and Virginia. He is signed to Atlantic Records, through Just Blaze's Fort Knoxx imprint.
Mike Skinner's recordings as the Streets marked the first attempt to add a degree of social commentary to Britain's party-hearty garage/2-step (and later grime) movement. Skinner, a Birmingham native who later ventured to the capital, was an outsider in the garage scene, though his initial recordings appeared on Locked On, the premiere source for speed garage and, later, 2-step from 1998 to the end of the millennium. He spent time growing up in north London as well as Birmingham, and listened first to hip-hop, then house and jungle. Skinner made his first tracks at the age of 15, and during the late '90s, tried to start a label and sent off his own tracks while he worked dead-end jobs in fast food.
At the end of 2000, he earned his first release when Locked On -- already famous for a succession of burning club tracks from Tuff Jam, the Artful Dodger featuring Craig David, Dem 2, and Doolally -- signed him for the homemade "Has It Come to This?" By the following year, the single hit Britain's Top 20 and the inevitable full-length followed in early 2002. That album, Original Pirate Material, unlike most garage compilations and even the bare few production LPs, found a home with widely varying audiences, and correspondingly earned Skinner a bit of enmity from the wider garage community. By the end of the year, it had been released in the States as well, through Vice. After a quiet 2003, Skinner returned with A Grand Don't Come for Free, a concept record that pushed his production and performance eccentricities to a new level, but also resulted in a fresh wave of critical praise. A succession of live dates followed, after which Skinner began recording his third full-length, 2006's The Hardest Way to Make an Easy Living, which shone a bright light on the vagaries of fame as Skinner had experienced it. ~ John Bush, All Music Guide (from mp3.com)