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In 1986, three young DJs began making music on a 4-track recorder in a Baltimore basement studio. Little did they know at the time that more than 15 years later they would be viewed as pioneers of American dance music.
The original Basement Boys Production team was Jay Steinhour, Teddy Douglas, and Thommy Davis. Davis left to pursue other ventures in 1989, about the time DJ Spen joined the team. Along with musicians Irvin Madden (bass), Gary Hudgins (keyboard), Wayne Cooper (guitar), and Victor Williams (percussion), the Basement Boys have been responsible for some of clubland's biggest anthems.
Following the success of their debut single, "Love Don't Live Here", signed to Jump Street Records by Cynthia Cherry, the Boys rose to commercial prominence producing Ultra Nate's debut album "Blue Notes In The Basement" for Warner Bros., as well as her 2nd album "One Woman's Insanity". Meanwhile, they were quickly becoming underground club faves with their singles "Searchin'" (under the guise 33 1/3 Queen on Nu Groove) and "Tonite" (recorded as Those Guys on MCA Records). In 1991, they reached Gold Record status as the production team behind Crystal Waters, with her global smash hit "Gypsy Woman", and in 1994 with "100% Pure Love", from her gold Mercury LP-"Storyteller" (her second album). In 1992, they produced the debut album for R&B duo Mass Order on Columbia Records, spawning the international club hit "Lift Every Voice (Take Me Away)".
With their studio wizardry well documented in the charts and on dancefloors the world over; high profile artists began seeking the Basement touch for remix projects. To date, the Boys have remixed songs such esteemed acts as Michael Jackson, Erykah Badu, Angie Stone, Lenny Kravitz, and Paula Abdul. However, even with mainstream acceptance, the Basement Boys have remained true to their DJ roots, remixing underground artists like Shaun Escoffery, Bob Sinclair, and The Shamen. In addition, they continue to expose and nurture new talent on their own label, Basement Boys Records, which was established in 1995.
Over their 15+ year career, the Basement Boys have always had their ears to the future of music, with a knowledge, respect, and love of the past. Their solid disco, soul, R&B, and even rock roots have given them an open mind and ear for discovering fresh sounds and talent. The production team is always looking forward and expanding beyond the DJ booth with artists like Margaret Grace, Vinx, and Fertile Ground. Keep your mind and ears open, for you never know what sound will come from the basement.
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By: Bill Buckley (Blues and Soul Magazine UK) I know the Basement Boys label, but I don’t know Marcel and theTruth. If I didn’t know better I’d suggest that the great David Peaston has morphed into Marcel Russell, the lead singer here. Russell, you see, has one of those huge gospel reared voices that can do both whispers and screams with pure soul beauty. Hear that to best effect on this album’s title cut. “Hopes Too High” is simply one of the best real soul ballads I’ve heard this year. Boasting gentle Temptations style harmonies, the song has lovely melody and a delicious hook in the title line and Marcel plays it to perfection. There’s lots more great balladry here to notably “Maybe I’m Not The Man” (with a hint of “In The Rain”), “Time Stops” and “Its Been Too Long”. The best up-tempo cut is the wah-wah led ”Evil Woman”, while “Please Come Down” is a gentle mid-tempo shuffle. The opener “Never Leave You Lonely” is another delicious mid-tempo beater, while for classic old school soul testifying try ”Coming Home To You”. I loved that one, but in honesty I kept coming back to “Hopes Too High” its just one of those great recordings that only real soul people connect with. I guess you are so this is for you - honest. The album’s currently available Visit the MySpace Page |
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