JUNIOR VASQUEZ INTERVIEW

BILLBOARD MAGAZINE'S DANCE TRAX

DANCE TRAX: Vasquez Defies His Detractors & Revives His Career (Billboard - 1167 words - July 15, 2000)

BY MICHAEL PAOLETTA

LIFE AS A DRAMA: Twelve months ago, club punters and industry veterans alike were labeling veteran DJ/remixer/producer Junior Vasquez a has-been. In fact, we'll never forget the phone call we received one day last August. Amid all the rumors circulating about Vasquez's "early retirement," which had tentatively been "scheduled" for Jan. 1, 2000, one label executive, who shall remain anonymous, called to give us his take on Vasquez: "His career is over. Period."

Rough words, indeed. The problem was, they rang true. At the time, his remixes and productions were sounding too similar, and his DJ sets at New York's Twilo club were bordering on lackluster. As for his days collaborating with superstars like Madonna and Cher; well, they were yesterday's headlines.

But then his remix of Mariah Carey's "Heartbreaker"/"If You Should Ever Be Lonely" surfaced during the last days of summer, and all of clubland was turned inside out. Without question, Vasquez was back with a feisty vengeance.

Since then, Vasquez has undergone a complete rejuvenation (a reinvention, if you will), ridding himself of his former management team (he's now assisted by Jerome Farley) and producing and remixing as if he were 17 again.

In addition to his recently launched label, Junior Vasquez Music, Vasquez's Saturday night/Sunday morning musical journeys at Twilo are, once again, essential; a showcase for new dance music in all its beautiful shadings.

On a recent visit, Vasquez's deft musical journey, which spotlighted many of his latest productions/remixes-including Mary J. Blige's "Your Child," K 's "Believer," Kristine W.'s "Loving You," Sam Harris' "Holding On," Kina's "Girl From The Gutter," Donna De Lory's "On & On," Whitney Houston & Deborah Cox's "Same Script, Different Cast," Vernessa Mitchell's "Higher," Macy Gray's "I Try," and his seamless merging of Whitney Houston's "I Learned From The Best" and Evelyn "Champagne" King's "Shame"-kept us on the dancefloor for hours. And quite honestly, that hasn't happened in a long, long time.

When Vasquez and I spoke recently, he said he was putting the final touches on a new two-disc, beat-mixed compilation, "Junior Vasquez Live At Twilo," which is scheduled to street Aug. 29 via Junior Vasquez Music/Twilo Records/Virgin Records.

In addition, he said he was being photographed for a DJ layout in an upcoming issue of Abercrombie & Fitch's A&F Quarterly.

One year ago, many were saying that your creative days were over. What was going on in your life at that time?

I lost my father during Gay Pride last June. Prior to that, a relationship I had been in ended. I was seriously feeling like it might be time to stop DJing. It was around this time when many people said I should retire. It's also when the rumors began circulating about my final days as a DJ. To say that the past 12 months have been bad for me would be an understatement, but during this time I became more creative and put myself back into high gear.

How difficult has it been to re-build your career?

Through all the crises, I began to see things differently, and I put things in perspective. I realized it was either sink or swim. First, I got rid of my former management [Jane Brinton and Sooze Plunkett-Green]. Then, I brought Jerome on board. He's been keeping me-and my label-afloat. Unlike before, it's a true partnership.

What has all this taught you?

I learned that you can't always take things at face value. At one point, Jane and Sooze were only managing my money-and I didn't always know where it was going. I got the feeling that they saw me as a washed-up remixer who could still get DJ work. And although the three of us had a good working relationship, I didn't feel the need to be managed anymore. I thought, "What am I paying them for?'

Did you ever consider quitting?

No, but I did consider working less and settling down somewhat. In a way, I wanted to change the way I was living my life. But then, I reinvented myself. I learned that it's very difficult to have a relationship in this industry. I live a basic life. For me, it's either business or marriage.

And what of the rumors that you were quitting?

Well, I must say that my crowd on Saturday nights at Twilo was terribly afraid that I wouldn't be there for them. They didn't realize that all the talk was just that! If I hear rumors, I'll prove them wrong.

How do you feel about the DJs, remixers, and producers you've influenced and spawned over the years?

A lot of these young guys don't have any sense of music's history, which is really sad. But if somebody says they've been influenced by me, that's cool and exciting. It gives me the feeling that I'm doing something right.

Do you feel you get the respect you deserve?

I don't know. Furthermore, I don't know if I necessarily care about that. I've had my years of love and hate with people. Throughout, I've always focused on my crowd on the dancefloor. Of course, it would be nice to receive a lifetime achievement award or a Grammy.

What did you learn from working with such superstars as Madonna, Cher, Cyndi Lauper, and John Mellencamp?

You can't enter the studio feeling intimidated-or the artist will catch that vibe. I learned that we're all human and that we're all vulnerable. All artists look to the producer/remixer to help them get through the recording process. Having said that, I must admit that I was most nervous working alongside Cher. My hands were sweaty during that entire process.

What's the one thing that most people don't know about you?

I take each project as it comes. Unlike other guys, and for no particular reason, I'm not into schmoozing. I'm just not that type of person. In fact, I'm very much the introvert. I prefer to stay at home and listen to the Sundays, No Doubt, ballads from the '60s and '70s, that kind of stuff. And I love to watch "The Golden Girls." That's where I get my release.

No one's discography is flawless. How do you live down the bad records?

I move on after I do a production or remix. I don't worry about things I've done in the past. Everyone has their dog records.

Of all the remixes you've done over the years, which ones remain your personal favorites?

Cher's "One By One," Whitney Houston's "I Learned From The Best," and Madonna's "Bedtime Story" and "Secret."

Do you consider yourself one of the elder statesmen of clubland?

I like the fact that many newcomers want to be like me. But I'm troubled when they want me to guide them. I'm most comfortable behind the turntables. It's where my attitude best covers up my shyness.