LEM of MOOD II SWING
22.06
“Geeoooogia.” The emphasis pronounced in drawl. “You’ve traveled here? For this?” A heavyweight doorkeeper asks as he returns a peach-stamped driver’s ID.
“Of course. I would not have missed tonight,” an enthusiastic voice replies as the license is obtained.
The bouncer beams with confused pride. “Welcome.”
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Indoors, androgynous shadows dart to and fro, bouncing and pouncing left to right. Inconspicuous figures scurry to liquid spirits as the obscurity scurry to restrooms. From wall-to-wall the room oscillates with buzzing activity, beneath a musical umbrella of ontz-ontz-ontz.
Playing the soundtrack to the undertaking is Austen Van Der Bleek of Open House Conspiracy . A secret plan to commit a house music act? If so, the secret is out of the closet. After all, this is the weekend when people celebrate-Living. Out. Loud. And. Proud.-Pride weekend. It is a must to throw a Pride party-post Pride parade(s)-playing house music. But it is genius to celebrate house music’s Black and Latinx LGBTQ roots. Be a dance instructor holding a pre-festivity class teaching voqueing, to a stand-alone website curating the party’s purpose, to commissioned art showcasing the soiree, for this event no stone was left unturned, every detail in rightful place. A blueprint that most house music events need implement and practice nonetheless.
At the helm of the inclusive pursuit scores the brilliance of want. To draw a house music legend, ahem, house music god to West Florida. Where other party promoter’s efforts dare not tread, OHC dares, and succeeds in creating a fulcrum, where time and space pivots the city’s underground house music destiny for time to come.
A return to the dance floor yields two men standing side-by-side on a performance stage. To the left, Manny Cueva, dubbed ‘Florida’s original house and techno DJ’ keeping the song he plays from skipping beats, as the other, a tall drink of chocolate milk, bald, and wearing frames plays with knobs and controls.
“Hurry up.” Someone whispers to a friend, to whom she replies. “It does not take minutes to transition from one DJ to the next DJ.” Anticipation straddles the air. Budging eyes swell from sockets that stare erect. Mouths agape as jaws collapse. A mass of visages stunned in silence.
Morph
Perched adjacent I-275’s overpass is a modish underground music establishment in the heart of St. Petersburg. When two days earlier a post on social media declared, “We are always #morphing” with three thumbnails showing off a newly refurbished floor of black-and-white checkered squares. The multi-level venue is operated by women-determined to bring back the underground club aesthetics to the bay. So far Morph has succeeded.
Cash registers “cha-ching.” Drinks overflow. A shirtless man twirling rainbow flags to female impersonators bedeck their turf. The music gives all the feels. Tonight, the second level over looking the lower level of the club is closed. Great idea, as everyone present needs to experience the sweat that drips off a true music innovator; musician, music producer, songwriter, vocalist turned DJ.
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“Everyone. The moment has arrived. Let’s give a warm Sunshine City welcome to…” An amplified voice announces over the gathered motley.
“Closer to my heart,” a soprano vocal repeats in refrain. When the drum kicks into existence, high-pitched squeals traverse the beams across the ceiling. As the guitar bass bops its maw ensnares the dance. Feet swivel, legs spin, hips thrusts, limbs wave, hands reach towards LEM. Mr. Springsteen, of Mood II Swing. The party’s headliner head dives deep into his catalog, the year 1994, when Mood II Swing featuring Carol Sylvan “Closer ” not only ruled, but when vocals topped dance music charts. Already, LEM lays the foundaton for the affair-courtesy a request OHC posted on social media weeks prior.
“What a vibe! With so many DJs afraid to touch vocals these days, Mood II Swing bringing their timeless style back feels necessary. Sharing powerful emotions through the human voice shouldn’t feel like a courageous act. Looking forward to LEM taking us to church with the help of house music’s many great divas.”
Rightfully so, as the third song plays, church service is in full swing. “Ha-lle-luuuuuuu-jah!” An angelic voice cries to the heavens. The ethereal vocal of Sade on “Pearls” creates the apex where music and dance collide; the moment when the dancers become the music. Their language of dance breathes life into the arteries of the dance floor. As the dance floor’s heart flutters with its arms extended wide inviting all to join the boogie. LEM is serving heat to the children.
Florida heat! That is what everyone feels within the four walls. When playing Kenlou’s “The Bounce ”-aurally the clacking sounds a rollercoaster car makes ascending the rail tracks before a 300 ft. plunge-LEM takes a white face towel and wipes his brow dry. A dancer grabs a black sweat rag for the ensuing deluge. Another guest unfolds a large silk hand fan for cooler air. Management, please crank up the AC!!! It’s hot AF.
“We’re comfortable in the recording studio.” Lem Springsteen explains later. The transition from studio producer/musician to DJ is no yellow brick road. Often, brilliant music producers do not translate as live DJs and often, brilliant DJs produce horrible music. “We learned from the best. Louie Vega. We would go out and watch him DJ.”
Practiced talent separates DJs who only play songs from those who were born to play music. Great DJs know how to read a crowd. The best DJs understand when to play the right song at the right time. Legendary DJs use their music-producing repertoire to elevate their dynamic performance. Thus does Lem Springsteen, one-half of the legendary production outfit Mood II Swing.
Enough can’t be attributed to the musical genius that emanates from Mood II Swing. Lem Springsteen and John Ciafone are responsible for crafting several of garage music’s golden-era anthems. In the 1990’s the two rarely interviewed and never toured as DJs. They were faceless-although house music lovers knew their music and owned at least one Mood II Swing record. Lem Springsteen was responsible for vocals, songwriting and playing keys while John Ciafone programmed drums, samples and constructed dubs and instrumental driven tracks for Mood II Swings copious releases.
Including the track LEM plays in homage to his missing production partner, John Ciafone’s “Ohh.” Mid-song, the bubbly bop sizzles over and…“WERK.”
LEM is crafty.
“C’mon let’s WERK,” a boisterous voice commands. LEM throwing into the mix LNR’s “Work It to the Bone,” the 1988 classic, excites the queens. In the age of Make House Music Gay Again, “Ohh” becomes a queer anthem.
“Can’t, can’t slow down-No-I won’t slow down,” delivers a head rush of adrenaline. Before one Mood II Swing anthem ends, another begins. The familiar a cappella, Loni Clark’s “Rushing” (Mood II Swing Dub), a timeless classic that is played in gay clubs to this day, drives feet to the floor.
And that was only hour one and-a-half of LEM flexing his musical muscle.
Music runs deep in the “All Night Long” vocalist’s fibrous. He first experienced notoriety when winning a talent contest with his brother at the famed Apollo Theatre in Harlem, New York. As a teen he was signed to a major recording label in the United Kingdom. Although an LP never surfaced, Lem’s music aspirations were not diminished. After college, he met his future music partner at a party on Long Island. Soon, the two formed a band with a lead vocalist. When the singer parted ways with them, Lem and John, now Mood II Swing met a certain Lil’ Louie Vega who took the two under his pork pie. The two would study the master at work, learning how to write, produce, and even DJ dance music. One day the opportunity to remix a Master At Work tune materialized and come releasing their own track cemented their fates in the pages of dance music’s history.
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At 2 am LEM appears ready to be sucked into the mother ship. A rainbow of intensity falls upon and swirls around him, entertainment courtesy a dazzling lightshow. As the colorful craziness of curiosity subsides, sweating bodies’ shuffle-feet as fingers snap and smiles appear larger than life. Amazingly, everyone left on the floor actually dances. Some better than others. A trilby hat wearing bearded gent and his lady wearing too-high heels twirl and spin into each other arms. Salsa dancing to a disco dub of Diana Ross’ “Love Hangover,” is oh so sexy.
It’s disco time betchesss!!! What is a party without a sniff of disco? After all, Mood II Swing is as much disco as they are face-numbing dubs. Listen to any of their classics and heard is a groovy bass oozing from the cocaine era. Tonight is no exception. “C’mon get up.” People do. “Time to get up everybody.” They are. “Dance, Daaaannnnce.” Gay icon, the late Sylvester’s “Dance ” brings the Disco Heat. Louie Vega’s Re-touch Main Mix glistens amongst sex-soaked gyrations on the checkered squares.
“Gurrrl, disco is the gay man’s soundtrack.” One lady wearing a rainbow headband describes to her date wearing pasties.
Um-hum? Where did the late Prince’s “Controversy” come from? Someone else questions.
“I want you-want you, I, I want you-want you.” Boom! The drums and that all-too-famous dirty sax lick explode. The Mood II Swing featuring Carol Sylvan “Closer ” (Swing II Mood Dub) that laid the foundation for UK Garage is the most-wanted track to be played of the night. Pure fiyah!
The “you got your wig snatched” moment goes to playing St. Etienne’s “Only Love Can Break Your Heart .” The Master At Work Dub with high-voltage bass jolting through the nervous system never felt better or sounded more crisper booming from one HD sound system, proclaimed to be the best in the city.
“You must really like house music.” A dancer is asked over beating Afro percussions looped from Todd Terry featuring the House of Gypsies’ “Sume Sigh Sey” (The Masters Remix). “When did you begin listening to house?”
“1988.” The dancer replies, dressed in black with white suspender straps prior to dropping to the floor to do a back bend.
“Me, 1993.” A bearded man in dress explains. “I’m MC Skatea.” (Pronounced Scotty.) His hand outstretched. His blonde wig bounces and his red dress swooshes-yas, he freestyles over beats. He points to his fierce floral arrangement of flaming magenta, red, orange, and gold decorating the altar-the space where the dance floor ends and where the performance stage begins-on top of perched subwoofers. Also, where the gathered dancers, with outstretched arms, sing aloud, “Praise him till your blessings come down/Praise him till your situation turns around/You gotta lift up your voice and sang “Hallelujah Anyway.”
After all, Candi Staton is to gospel as Greta Gripp is to performance art. Peep above, her hourglass figure-hugged by sparkling sequins-sashays and shimmies across stacked speaker boxes. She drops and squats in dangerous pumps where the floral arrangement accentuates her soaring angular frame. The queen gives face; angled cheekbones, batty eyelids, doe-eyes, pouty lips and big curls, as her children “ooh” and “ahh.” Ms. Thang melts hearts as she twirls to Ultra Nate’s “Free .” The Mood II Swing Vocal anthem enchants. The entire crowd singing, “Do what you want. Do what you wanna do.
LEM does exactly what he wants pulling the beating Afro percussions back to the fore, ushering Childish Gambino’s “This Is America .” The Todd Terry & Louie Vega & Kenny Dope Remix closes on a somber note leaving diehards crying “more.”
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The music did not stop for LEM after Mood II Swing. The year 2010 marked a “New Beginning ” when he “Seize The Moment ” as a solo artist, established his Urban Lounge Music imprint and would go on to produce artists Vanessa Daou, Joi Cardwell and occasionally work alongside Sean McCabe. Five years later, a call from Strictly Rhythm came for Lem and John to regroup, not for old times sake but to promote Strictly Mood II Swing, a three compact disc, 34-track digital download compilation showcasing their finest gems spanning a decade. How could they refuse? Times had changed. Today, music streaming rules the world, vinyl releases are experiencing resurgence and EDM makes cake throwers and button pushers-deities. This time the awesome twosome would undertake the endeavor as DJs touring the globe. Interviews came from international online sites. The once faceless were now being recognized in type with the accolades of music’s elite. Their experience teaching new generations as they were taught by their masters. A great receives honors. A legend receives lifetime awards. An icon receives all of those but also gives-honor to the current up-and-comers whom they paved a way for.
“I want to say. This is a young promoter who brought me here (St. Petersburg) tonight.” LEM announces into the house microphone noting Austen Van der Bleek. “Give him a round of applause.” Handclaps and cheers erupt from all four corners. “This is the next generation of promoters. Continue to support him. Happy Pride.”
words: aj dance
illustration: nick sheridan
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Tags: Austen Van Der Bleek, dance, dance music, disco, DJ M-Traxxx, Florida, garage, house music, Junk, LEM, Lem Sprinsteen, LGBT, Manny Cueva, Mood II Swing, Morph, Morph Nightclub, Nick Sheridan, Pride, PrideSt.Petersburg, St. Pete, St. Petersburg, What the Punk?