Maybe you’ve heard a song called
"The Bomb". Or maybe a song called
"Funk Phenomena". Or perhaps you’ve heard the early hits of
DJ Sneak.
Those tracks and hundreds more were originally released on arguably one of the greatest house music labels of all time, Henry Street Music. Started by A&R kingpin Johnny ‘D’ DeMairo, the label was instrumental in launching the careers of artists like Armand Van Helden, Kenny Dope, Terry Hunter, Johnick, Mateo & Matos, Todd Terry, 95 North and Brutal Bill. Nearly 20 years old, Johnny has been releasing remastered versions from the massive catalog the past couple years, and the testament to their timelessness can still be heard with each re-release.
We had a chat with Johnny, who has had a formidable career in the music industry, including most recently heading up A&R over at the major label Atlantic/Warner. Read more for an insider’s view of the music business.
Stompy - What was the initial seed that planted the original Henry Street label, and what were the first steps you took to get it going?
Johnny I was watching and listening to what was out and I felt the labels (especially the indy dance labels at that time) had hit a wall. I wanted to put out stuff I knew was going to have a life more than 2 months. I’ve always been a disco head and felt if I flipped a record that was 20 years old, I’d get 20 more years out of it. That’s it in a nutshell. I was close friends with Tommy Musto at the time (still am) and he had Northcott Productions with Silvio Tancredi at the time and they had distribution going. After a night at sound factory bar, we left and I was talking about how I’d like to A&R my own label and do it and we shook hands, and my first release came from my boy Kenny “Dope” who took care of me.
Stompy - The artists that were on the label have become some of the biggest names in dance music now--Armand Van Helden, DJ Sneak, Kenny Dope & Louie Vega, Markus Schulz, Todd Terry, Robbie Rivera--and quite diverse in their style of music. What was the A&R process like to get these artists signed and added to the label?
Johnny Fortunately, I had good relationships with a lot of talented djs and producers. I was in promotion and was a dj since 1980 and actually knew what the fuck I was talking about. So when I’d speak to these guys, whether gay/straight black or white, I could relate. I knew what I was talking about. I felt it was good for both parties communicating as I was interested in what they were doing and they were interested in what I was doing.
Stompy - What was your biggest personal accomplishment with the label during its initial run?
Johnny Well success-wise – Kenny “Dope” presents the Bucketheads “The Bomb” was the biggest.
As for personal, I was very happy that I was able to get records from people I had respected and build something that is still around today. I never did it for the money. It was about the music. My relationships with just about everyone on the label are still strong today. At the end of the day, I’m a fan of the music, the dj’s and the producers. No matter what success I have, I always give praise to others. I always felt my label had the best roster in the game. With the exception of a record I did, I love just about every record on the label today as much as I did then
Stompy - Why did the label stop releasing music?
Johnny I wasn’t getting stuff that excited me. I never wanted to put out records just to put out records. I have to feel it.
I’m getting some new stuff now but quite honestly, I’d rather get stuff from my old crew than most of the new kids out today. I am open to it all but very rarely get stuff I feel will stand the test of time and quite honestly, dj’ing has become a fuckin’ circus – everyone is a dj, everyone produces. When that happens, the quality control goes away fast.
Stompy - How were you spending your time during the break?
Johnny Still in the business doing A&R for Atlantic and Rhino/ Warner Music up until a few years ago.
Stompy - You've been releasing remastered versions of the timeless catalog the past couple years. What's your vision with the new incarnation of Henry Street?
Johnny The way I look at it is this: Years ago, with vinyl, we had 2 month shelf life. Then 2 weeks. Then a week.
With digital – when someone refreshes their computer, your song could be done.
I’m optimistic about the new crop of djs and music fans coming across my productions and my catalog. The music still sounds good in my opinion and the label has been getting a lot of love from an entirely new generation. The people buying music today don’t know David Morales, from Armand from Louie.
There is so much to digest, that its impossible for them to know it all. There are those who do their homework and care and get into it, but the majority are going after the ‘for the moment’ crop in my opinion.
Stompy - What do you feel is the biggest challenge between when Henry St started in 1994 and in today's music environment?
Johnny As I said, today on the computer and phone and however people are finding music, it has to be exciting, it has to stand out. Even though I feel Henry Street really paved the way for disco and filter house, there are many others out there who attempted to add and its my hope that people can sift through the garbage and find my stuff and appreciate it.
I have to say, my re-launch of the label has been very well accepted and I’m happy with what I’ve done in the last year.
I look forward to new music as well as remixes of the older stuff and more remasters.
Stompy - With an A&R prowess that spawned so many superstars, who are some of the newer producers that are exciting to you now?
Johnny As I said before, I am pretty much still listening to and appreciating many of the older guys – who in my opinion, know songs and music and can always come through. There are so many out right now. Its funny, years ago, there were producers who knew nothing about dj’ing, then they became djs for the money, now, we have djs who knew nothing about producing and they are taking every acapella and putting in computer and putting shit out.
At the end of the day, I’m impressed with Osunlade, Stonebridge – who in my opinion still puts out quality music even though some is a bit harder for my tastes--and Dave Lee and Z Records always impresses me.
Stompy - What advice can you give to people who want to run a successful label?
Johnny Have another job and do it for the love. I feel if you are forced to have any business (especially entertainment) because of money, you can get clouded judgment and sidetracked very fast and fall into a bad situation. At the end of the day, we are all guessing. I’ve had some very big records I’ve signed and A&R’d that have sold millions of records and if I, or anyone else was to tell you there is a formula or a way to do it, they’d be lying. You do the best you can, have somewhat of a clue, believe in what you are doing, don’t jump on the bandwagon and pray it all lines up. With all of the big records I’ve signed and A&R’d, my favorite Atlantic remix ever was Tony Moran’s mix of “For the love of you” by Jordan Hill and produced by David Foster. I think of what it was, and what it became and it sold so few copies but it is my favorite.
Stompy - If you were to perform a set comprised of only the Henry Street catalogue, what would be your opening single as an introduction, what would be the defining single played during the peak hour, and what would be the single you close with to leave the lasting impression?
Johnny Great and hard questions.
I’d start with Non stop action “The Force” which is produced by King Britt (I came up with 2 old graffiti crews I was in as name/title).
Of course, “The Bomb” and “Funk Phenomena would have to be defining.
I might want to close with Johnick “Play the World” since its one of the biggest songs Nicky and I did.
Very good but hard question. I could have answered this so many ways. Those came to me fast.
