All Hail, the King.
1650
Interlude
The music comes to a silence. There is an interlude of talking into a microphone from the founder of Indigenous House and the master of ceremonies. Yasss chyle! Most people are aware that Indigenous House is LGBTQIA affiliated, sadly most people are unaware the event is not called house music in the park. More words are spoken about acceptance and monetary donations. But more entertaining is reading the statement tees over here and over there, the best reads: “The dance floor is my happy place.”
Then it happens. The talking stops!
The moment of anticipation occurs. The King arrives. His aura precedes his abbreviated stature. His majesty steps onto the elevated platform. His crown, a silver fedora is in full view. His highness dressed in a brown tee stands regal behind a white pulpit. His sacrament is 3 Pioneer DJs, one Rand MP 2015, and a Pioneer DJ sequencer.
1700
At his alter, in the outdoor sanctuary a massive congregation gathered. And with his finger pressing one button. The drums talk. Sacred rhythms permeate the atmosphere. Bodies in motion fall into a trance. “Beeeep. Beeeep,” The sounds of whistles scream into the soundscape. Bodies twirl in not one, but triple circles. Arms are extended upright, waving left to right. Sneakers stomp the ground. Hips gyrate left-to-right. The waist is bent over. Arms hang downward. As fingers swipe the concrete. Heads nodding, up and down. Lips snarl feeling the funk. Eyes closed tightly. Bodies are baptized in the funk. Holy water drips down brows. The young and old dance together. Their bodies interpret movement from the Motherland. Birthed are dance circles. That crop up over here and meander yonder. Bodies contort into fanatical structures. Defying gravity, time, and space. The curious gather. Eyes bulge. Mouths drop. Spectators. Awe. This is nirvana. The dance ritual.
Act 1 The King of House Music
“Waaarrggghhh!” Warped screams eschew into the air. “Let’s go down there, let’s go.” A gospel falsetto faintly sings in the background. “That’s How He Works.” Louie Vega’s son, Nico Vega’s Funk Dub 2 proves effective as the first offering. Vega is telling. What he works and how he works.
In a flawless music transition, a familiar sounding voice confesses, “First we do it. Then we don’t. Then we don’t. And then we do!” The late Loleatta Holloway’s “Can’t Let You Go” (Louie Vega & Josh Milan Truth Dub 1) causes pandemonium under the grey top. Excitedly, the body hops on the ledge of the pavilion. Dancing on the edge becomes the norm. Viewing a 360 panorama of the get down on the floor below and sweeping glass skyscrapers in the clouds above is priceless.
Vocal interpolates of Loleatta Holloway’s “Hit and Run” are interwoven into the tapestry. A Louie Vega mix is layered: be vocals, instruments, drums and EFX. Two or three songs might play at one time. One edit might appear mid track only to disappear in the same song and reappear later. King Louie is a master at work.
Once more, the body is astir and jumps off the ledge. Onto the walkway, people dance outside the giant gazebo to Brutha Louie & Brutha Basil’s “Freedom of Dance (It’s the Beat)” (Louie Vega’s Ritual Mix). Sneakers kick up dust. Knees fall to the pavement. Arms outstretch wide. “I’m 53 years old,” one appearing youthful woman with cropped hair further explains, “Dancing is my life.”
Bang! The gong sounds. Vogue hands, catwalks, and duckwalks appear. Bam! A circle crops open and two figures twirl, prance and high-kick, their j-setting in full effect. The Master At Work’s “The Ha Dance” classic brings the ball!
“Beat That Bitch With A Bat.” Huh? Who knew? Louie throws a sharp curve ball for the voquers when playing Johnny Dangerous’ “Beat That Bitch (Problem #13)” that might cause problem #14 but nah, mouths are wide open screaming for more.
As the profane gives way to the parable, so too the music segues into Lil’ Louis featuring Chinah Blac’s “Fable.” Playing the Director’s Cut Unreleased Dub of swirling piano rifts and three chords uplifts and takes feet to dance in the heavens.
In the air, the feel is of an old-school family reunion. How apropos after a year of not seeing familiar faces? Family faces from decades surface ITP and OTP (inside the pavilion and outside the pavilion respectably). Out of towners arrive courtesy the Carolinas, Tennessee and Maryland. Toddlers dance with parents and parents dance with each other. Even a couple, age 70s, gets some action and dances OTP. They are all dentures and smiles. There is the nephew dancing. His best interpretation of MJ struts and shuffles. His feet glide across the cement. His neck pops.
“Yayyy!” Hearty hugs are exchanged. Selfies are exchanged with the occasional photo bomb. Dancing with friends on the jazzy Louie Vega Starring Monique Bingham’s “Elevator (Going Up).”
The Louie Vega Long Album Mix proves a bit sleepy until the familiar “Ba dah, dah” of horns startles. The instantly recognizable Chicago’s “Street Player” sample brings bodies to the speaker cabinets. The Souldynamic Brass Re-Cut interpretation scores! The people scream loudly, their legs jumping and their fist pumping.
“Reekee, reekee, reekee,” the beating of claves comes courtesy of DYBBUK 2’s “City, Country, Morales City,” a white label of War’s “City, Country, City.” The highlight amongst drums and sax is the sound of beating percussions. David Morales’ interpretation gets white sneakers dusty dancing in red dirt.
The fun continues boogieing to Honey Dijon rapping “I really don’t have time for this” on “Not About You.” Atlanta resident Hadiya George provides commanding vocals. Somewhere the KDA ‘Legacy’ Extended Remix morphs into Honey Dijon & Eats Everything “Not About You Miss Honey (KDA & Moi Renee VIP Moment) that scorches! King Louie lets the children have it. If his set were performed in front of judges on a ballroom reality program, King Louie would score perfect 10s.
Earlier when Vega played his “Vince Montana Tribute,” his highness dropped The 3 Winans Brothers featuring The Clark Sisters’ “Dance” (a cappella) over the RickLou Detroit 14” Groove. The time arrives for gospel house music to take center stage. Heard is singing and handclaps of praise. You can’t play the Clark Sisters’ “You Brought the Sunshine” without playing Elements of Life’s “(Into My Life) You Brought the Sunshine” as you dance in the glow of the sun.
Act 2: The King of Disco Music
Ever notice Vega graduated from wearing his once signature Pork Pie to wearing a full fedora. Rightly so, the Bronx born Luis Ferdinand Vega Junior rightly wears the crown of house/disco music. Years ago, at the passing of the Godfather of House music, the crown was coronated to a new bearer. A distinguished title arose. And Vega took the reins. Thus started his longstanding rule on the throne.
Imagine a world with no Louie Vega; soulful house and disco music would cease to exist. Let alone capture attention. Vega’s recording releases per year are mammoth. Unmatched by today’s young bedroom producers; they fail to rival Louie’s work ethic on his bad days. And let us talk about the quality of his music. Louie wears his music on his sleeve. He pours his heart and soul into every beat, every instrument, and every vocal he imagines. His profundity is experience. After all, he has been involved with music his entire life. Music runs in his veins. It is his lifeline. Even his family follows suit, his wife – a vocalist, DJ, and recording label founder, his son – a talented music producer and songwriter in his right.
A singer once dubbed Vega the hardest workingman in house music. So true. Louie Vega is #housemusicexcellence.
King Louie’s aim is to always take the listener on a journey. All aboard? The funky people take their positions, prime and poise, ready to ride the disco train into yesteryear. The music grooves along choo-choo tracks. Making stops at station #1, Thommy Davis Featuring Tasha LaRae and Sheila Ford’s “Hot Shot, (DJ Spen & Gary Hudgins Original Mix) the cover of the late Karen Young classic from 1978. Next stop is Loleatta Holloway’s “Love Sensation.” The song everyone sings and is no stranger to house music playlists the world over. What would Indigenous House be without Carl Bean singing “I’m happy, I’m gay, “I was Born This Way?” The Moplen Dub is the most befitting tribute. Rewind time back to 1975 when the funk ruled and keyboardists played the right notes as evidenced on John Hammond’s “Los Conquistadores Chocolates.” The Moplen Dizco Delight Part 1 dazzles before Inner City sings, “Ain’t No Mountain High Enough” that brings nostalgia for Afros and bellbottoms. As the disco train rides into the sunset on Ceronne’s “Love in C minor.”
Act 3: All hail, the king.
Ever heard a song that was aight until the day you had an experience with the song on a dance floor? Then it became your FSF – favorite song forever.
Listen to the playing of a tambourine and hi-hat over a signature drum kick before the “shika, shika, shika” of shaking Latin percussions introduce moody chords and a moaning bass line to play before a trumpet blasts life into existence. With the Italian Francesco Fratini on trumpet, moody jazz puts bodies in motion. As Chicago based vocalist Angel-A’s “Let Go,” serenades, it is Atlanta’s Kai Alcé’s Unreleased Trumpet Instrumental that makes perfect living room dancing to your new favorite track. Living room dancing is dancing to your favorite new song when no one is watching. Living room dancing is dancing to your favorite new song when you are the only being in the place. Living room dancing became a global phenomenon during lockdown all over the world last year. However, at no time does a live stream, online TV or recorded mix playing across a device ever replicate the authentic experience of dancing live to live music the way music was intentionally made to play. Loudly.
Or not. As the bass disappears. The volume drops decibels. The lowered sound throws off dancing feet. The sonorousness severely lacks. Ah, the park authorities told someone to lower the volume of the music playing.
Kudos King Louie keeps the fire burning despite the acoustic challenges. His majesty must have a secret vault of music as he digs deep in the crates and plays Whitney Houston’s “Love Will Save The Day.” The Louie Vega Unreleased Mix pays homage to the late great that was remixed during her passage to the ancestors.
Handclaps and toe taps make for a good ole’ country ho’ down. Sounds that throwback to cornfields, gravel roads, and rusty pickup trucks. Back when mothers prayed on their knees. Discerning ears take note, and mouths rejoice. One of the most anticipated anthems plays. Jasper Street Company’s “Praying For You” opens with the On My Knees Beats Edit heard before the singing of the Lord’s prayer, “Thy Kingdom come, thy will be done, on earth, as it is in heaven” on the Louie Vega Vonita Dub that segues in the alto of Randy Roberts singing “Praying for You.” This is signature Louie Vega. King Louie at his best with his remix that won him a GRAMMY from the prestigious recording academy. About damn time.
Smell the haze of smoke that chokes. Whiffs of weed and inhales from cancer sticks proves pungent. People can get contact highs while wearing masks, although the mask mandate was lifted for those fully shot days earlier. Is not smoking in city public parks unlawful? Real talk: Ya’ll do know if COVID did not kill ya’ll cancer will.
Sobering. Be careful not to step on the white sneakers sidestepping left-to-right. Feel the temperature rise. Let the thump vibrate the soul. Feel the bass jolt the heart. Experience the pulse of the thumping drum. The music becomes a steady deluge of rolling Rhodes keys, pouring bass drops and hissing snares on Kerri Chandler’s “Rain.” The Old School Vocal Remix brings the Jersey garage sound to the park.
One final time, dance on the ledge to view the bodies packed tight as Honey Dijon featuring Annette Bowen & Nikki O’s “Downtown” plays. “Meet me downtown, at the warehouse, don’t tell nobody, it’s underground.” The recently released Louie Vega Raw Dub is the tune that will play in heads long into the next day at work.
1945
Apropos, a king knows when to give shout-outs. That Louie does when playing new jack swing’s Guy’s “Groove Me.” The KZ’IRVIN version recognizes NDATL’s Kai Alcé’s accomplishment that sits behind the pavilion eyeing Vega as the music comes to a hush way before time. And why? Cause the city of Atlanta just shut the party down.
WTF?!?
wrds: aj dance
visual: aj art
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Tags: #dancefloormagic #housemusicexcellence, Atlanta, Atlanta Georgia, dance, dance floor, deep house music, disco music, gospel house music, house music, house music dancing, Indigenous House Music Festival, latin house music, Lil' Louie Vega, Louie Vega, masters at work, nuyorican soul, Piedmont Park, Thommy Davis, vega recordings