Samantha Fox -- new single w/ Marc Mysterio
Sept 26, 2009 11:34:58 GMT -5
Post by Deleted on Sept 26, 2009 11:34:58 GMT -5
Sam is hoping to break this record in America, and being a huge fan of Ms. Fox, I'm doing my part to help in the effort :) The promoter sent me some of the mixes a few weeks ago, which is the first I had heard of this release. They've gotten some coverage in the mainstream press (FOX, ABC, CNBC, Reuters, etc) and just recentlly ALL the mixes were added to Beatport:
Tomorrow (Original Extended Mix)
Tomorrow (Tony Verdult Vocal Mix)
Tomorrow (Tony Verdult Dub Mix)
Tomorrow (DJ Brizi & DJ Varto Elec-fro Vocal Mix)
Tomorrow (DJ Brizi & DJ Varto Elec-fro Instrumenal)
Tomorrow (Paul Deighton Sexy House Remix)
Tomorrow (Future Disciple Trance Remix)
Tomorrow (Mike Bordes Remix)
Tomorrow (Funk Balls Mix)
....available here: www.beatport.com/en-US/html/content/release/detail/191152/tomorrow
How Samantha Fox And Marc Mysterio Want To Help Dance Music
by Kirsty Kane
She’s a sex symbol, a pop icon, and one of Britain’s most loved glamour models. And now after a long and successful singing career, Samantha Fox, the 80s dream girl, who got hearts racing from 1984 – 1986 with her topless photos in The Sun newspaper, who famously insured her breasts for a quarter of a million pounds, and who made teenage boys gush every time she moaned ‘Touch me, touch me, I wanna feel your body’, has moved into progressive house.
Whoops, you may want to mop that milk and breakfast cereal off your keyboard. All good? Ok, let’s continue.
Yep, Sam Fox has joined forces with Canadian dance producer Marc Mysterio on her debut dance single ‘Tomorrow’ (listen in the player below), and with more collaborations on the way it looks like we’ll have to put up with Ms. Fox for a bit longer.
If you’ve read this far, you probably fall into one of two camps: A) You’ve never heard of this woman, hate commercial vocal dance, and you’re sneering, or B) You’re an 80s kid, love Samantha Fox, and you’re salivating.
But unlike the other pop stars who have tried to muscle their way into dance music, Samantha Fox understands the culture (a bit), and wants to push the scene forwards, at least from the mainstream side of things.
“I think it’s crazy that the DJ and producers aren’t getting the credit they deserve in America, especially, as they do in the UK, France, Sweden, or even in Canada, with the emergence of talents like Marc Mysterio on the commercial vocal side of dance and Deadmau5 on the more credible side,” Sam Fox tells us.
She isn’t the saviour of dance music (not that it needs saving), but she does have something to say, so we sat down with the delectable Samantha Fox, and producer Marc Mysterio, to find out why she is here.
Sam, why did you want to make a dance music record now?
Because I absolutely love dance music and always have. When I was ten years old, the first single I ever bought was Donna Summer’s’ Love To Love You Baby’ and I realized then how dance music made me feel, which was really happy, free, and somewhat sexy.
Many of my hits have been recognized as big dance tunes in the past. It started with Full Force who produced Lisa Lisa & The Cult Jam and NSYNC who were both massive then.
Full Force wrote ‘Naughty Girls Need Love Too’ for me, which was a massive pop hit worldwide, but it also topped the dance charts in a lot of territories.
But why dance music? Why not rock, or hip hop, or something else?
Why not dance music? I’m ready to be excited again – ain’t you?! Anyway, I’m a chameleon in music and have recorded songs in most genres. But, I have already done the pop thing, ya know? This is a new challenge for me, and it’s something I’ve always wanted to do.
It gives me a bit more creative freedom to be the sidekick of a great DJ and producer like Marc.
Did you ever experience acid house when it was exploding in the UK back in the late 80s, or the early UK rave scene?
Throughout my career I’ve spent time in nightclubs. I feel it’s very important to know what’s happening in the clubs. Of course, I experienced the acid house scene. It actually happened in London at the end of the 80’s and acid house parties were held in disused warehouses that were taken over for one night only. I’m still trying to forget the improvised bathrooms!
Has club culture changed much over the years?
The music and beats seem faster, and the whole scene has become a lot bigger. It seems much more mainstream and acceptable these days.
What is your take on the fact that DJs and producers have now become the stars of dance music?
DJs and producers like Daft Punk, Roger Sanchez, Stonebridge, and Marc are truly the artists of their songs in dance music in 2009, and deserve to get the fame associated with it. This is coming from me who has sold 30 million albums!
I understand this may be a bit controversial, but I’m just gonna put this out there and I don’t give a damn how people take to it: in many parts of the world, such as in England, we have massive festivals where DJs and producers are like gods! Guys like Pete Tong, Judge Jules, Annie Mac and others are out there spreading the word about dance music.
America is a lot less accepting of DJs and producers as artists. You brought up the example of acid house - in the 80s, club music was quite different. DJs could not manipulate sounds with loops and they didn’t have software that allowed them to remix songs on the go, and as such, us singers retained the glory and spotlight, even on some of the more instrumental dance tracks.
But technology has now improved, and for example, if I perform ‘Tomorrow’ at a club, I can not loop my voice and make it sound all cool like Marc can all by himself and get that great crowd reaction from a vocal and instrumental build up which is what club music is about!
Take Carlos Santana’s ‘Smooth’. His guitar speaks to you more so than the words sung by Rob Thomas, so it was Santana that got the lion’s share of the fame from that tune. Santana could perform that song with any singer and it wouldn’t matter. People would still go nuts.
So, I think it’s crazy that the DJs and producers aren’t getting the credit they deserve in America, especially, as they do in the UK, France, or Germany.
Are you saying that the DJ/producer is more important than singers like yourself?
Certainly, when we talk about dance music. When I go out to a club, I want to dance. To me dance music is about the song and the vibe of the music. The vocals, my own included, are like another instrument in the mix.
It’s the beat and the sounds that matter most and how they are all performed and put together live by the DJ.
So DJs and producers need to be the face of the records they produce?
Yes, definitely. We’re talking about the mainstream. When a song becomes so popular in clubland that radio demands a radio edit, that is often a bit watered down from the original mix, however, that does not change the fact that the DJ is the artist.
So, even though ‘Tomorrow’ grows on radio internationally, Marc Mysterio remains the artist of the song, and he was nice enough to give me a feature credit whereas this is not always the case.
So it’s absolute rubbish when people out there say, “In America, you need a singer to be a face of a song or people won’t understand it”.
Therefore, I firmly believe that for dance to be successful long term in America, DJ and producers must be universally accepted as the artists of their songs, and be accorded the same respect as if they were pop stars.
Did you know much about Marc before you worked together?
Yes, Marc and I had been talking via MySpace for a couple of years and we became friends. We kept in contact through phone calls and email.
Then in February, I was listening to the radio on my way home in the car when Judge Jules introduced him as the guest DJ on his show. Jules noted that he thought Marc Mysterio was about to crack through to the top level of artists/djs/producers in dance music and I was proud since I’d been in contact with Marc since he started!
Marc’s set was magic! All his own original songs were mixed seemlessly together, and I was jealous of some of the singers that had been featured on his tracks as some of them were ridiculous!
After that, when I was on tour in Canada in April, I made it a point to seek him out and invite him over to our rehearsal studio, and it went from there! We really clicked and found that we had a lot in common personally and professionally.
Why choose Marc? There must have been legions of dance producers out there willing to work with Sam Fox.
We got on very well, had the same ideas, and I loved his energy and passion. You can really see it in his eyes - he is a great guy but can be very intense too! I thought this was someone I could see myself getting creative with, and having fun too. Then, when he told me about his new song ‘Tomorrow’ I was really keen on hearing it as I was a fan of his earlier work.
I really liked it and couldn’t wait to do the vocal. We have done some joint interviews on radio together, and it’s always a contest between us to see who is the better plugger and gets in the better punch lines!
Marc, why did you want to work with Samantha Fox?
She is the best, to be quite honest. Many of the singers in house music today have a fairly flimsy voice that is overpowered by the music.
Sam’s voice really combines well with modern dance beats and electro since it is thick enough to be able to compete against the fattest basslines! So, I had to work with her to tone it down a notch so that the bassline had a chance. Plus she is, and always will be, 10 times better looking than Kelly Rowland!
Can you explain a little about your musical background, and the process that went into writing ‘Tomorrow’?
Musically, I’ve played piano since I was five, and guitar since I was 14. Have studied musical arrangements in school, when I compose a song, I first begin writing it as a proper song. There are a variations of this, but it’s normally the same process. First I choose whether it will be a three or four chord progression, ascending or decending, or back and forth.
If I know the singer I’m working with, I know their range. ‘Roll Wit It’ was the first song I ever did with two singers. The original line up was to be myself with Chris Willis and Sebastian, known for his work with Timbaland on ‘The Way I Are’.
I found their range, by watching their live performances on YouTube via my monitor speakers and I tested out their highs and lows with my Martin six string guitar. The idea is to find a good key that fits with the singer.
With ‘Tomorrow’, I wrote the song and had the final arrangements on the lyrics, and I played it for Sam. She then grabbed me and started dancing around and singing the hooks with the song - ‘Tomorrow is another day’ and ‘The sun is gonna shine again’. It just worked.
Will you two be doing further collaborations?
Samantha Fox: Definitely. Marc and I are collaborating on more songs as we speak, and we will soon shoot the video for ‘Tomorrow’ together in Canada!
I’m very excited to be included in the video as well! We will also be in studio together remixing other artists songs together.
He is really showing me the ropes, and showing me new ways to control and record my voice to fit with the sounds of 2009, and it sounds massive!
As I said, I’m doing this because I love it. I’m not looking to change anything about dance music, but I do want to get the message out there and help re-establish dance music in America with the DJs and producers viewed as the artists. I don’t need the fame, I’m on enough walls as it is!
source = www.beatportal.com/feed/item/how-samantha-fox-and-marc-mysterio-want-to-help-dance-music/
Tomorrow (Original Extended Mix)
Tomorrow (Tony Verdult Vocal Mix)
Tomorrow (Tony Verdult Dub Mix)
Tomorrow (DJ Brizi & DJ Varto Elec-fro Vocal Mix)
Tomorrow (DJ Brizi & DJ Varto Elec-fro Instrumenal)
Tomorrow (Paul Deighton Sexy House Remix)
Tomorrow (Future Disciple Trance Remix)
Tomorrow (Mike Bordes Remix)
Tomorrow (Funk Balls Mix)
....available here: www.beatport.com/en-US/html/content/release/detail/191152/tomorrow
How Samantha Fox And Marc Mysterio Want To Help Dance Music
by Kirsty Kane
She’s a sex symbol, a pop icon, and one of Britain’s most loved glamour models. And now after a long and successful singing career, Samantha Fox, the 80s dream girl, who got hearts racing from 1984 – 1986 with her topless photos in The Sun newspaper, who famously insured her breasts for a quarter of a million pounds, and who made teenage boys gush every time she moaned ‘Touch me, touch me, I wanna feel your body’, has moved into progressive house.
Whoops, you may want to mop that milk and breakfast cereal off your keyboard. All good? Ok, let’s continue.
Yep, Sam Fox has joined forces with Canadian dance producer Marc Mysterio on her debut dance single ‘Tomorrow’ (listen in the player below), and with more collaborations on the way it looks like we’ll have to put up with Ms. Fox for a bit longer.
If you’ve read this far, you probably fall into one of two camps: A) You’ve never heard of this woman, hate commercial vocal dance, and you’re sneering, or B) You’re an 80s kid, love Samantha Fox, and you’re salivating.
But unlike the other pop stars who have tried to muscle their way into dance music, Samantha Fox understands the culture (a bit), and wants to push the scene forwards, at least from the mainstream side of things.
“I think it’s crazy that the DJ and producers aren’t getting the credit they deserve in America, especially, as they do in the UK, France, Sweden, or even in Canada, with the emergence of talents like Marc Mysterio on the commercial vocal side of dance and Deadmau5 on the more credible side,” Sam Fox tells us.
She isn’t the saviour of dance music (not that it needs saving), but she does have something to say, so we sat down with the delectable Samantha Fox, and producer Marc Mysterio, to find out why she is here.
Sam, why did you want to make a dance music record now?
Because I absolutely love dance music and always have. When I was ten years old, the first single I ever bought was Donna Summer’s’ Love To Love You Baby’ and I realized then how dance music made me feel, which was really happy, free, and somewhat sexy.
Many of my hits have been recognized as big dance tunes in the past. It started with Full Force who produced Lisa Lisa & The Cult Jam and NSYNC who were both massive then.
Full Force wrote ‘Naughty Girls Need Love Too’ for me, which was a massive pop hit worldwide, but it also topped the dance charts in a lot of territories.
But why dance music? Why not rock, or hip hop, or something else?
Why not dance music? I’m ready to be excited again – ain’t you?! Anyway, I’m a chameleon in music and have recorded songs in most genres. But, I have already done the pop thing, ya know? This is a new challenge for me, and it’s something I’ve always wanted to do.
It gives me a bit more creative freedom to be the sidekick of a great DJ and producer like Marc.
Did you ever experience acid house when it was exploding in the UK back in the late 80s, or the early UK rave scene?
Throughout my career I’ve spent time in nightclubs. I feel it’s very important to know what’s happening in the clubs. Of course, I experienced the acid house scene. It actually happened in London at the end of the 80’s and acid house parties were held in disused warehouses that were taken over for one night only. I’m still trying to forget the improvised bathrooms!
Has club culture changed much over the years?
The music and beats seem faster, and the whole scene has become a lot bigger. It seems much more mainstream and acceptable these days.
What is your take on the fact that DJs and producers have now become the stars of dance music?
DJs and producers like Daft Punk, Roger Sanchez, Stonebridge, and Marc are truly the artists of their songs in dance music in 2009, and deserve to get the fame associated with it. This is coming from me who has sold 30 million albums!
I understand this may be a bit controversial, but I’m just gonna put this out there and I don’t give a damn how people take to it: in many parts of the world, such as in England, we have massive festivals where DJs and producers are like gods! Guys like Pete Tong, Judge Jules, Annie Mac and others are out there spreading the word about dance music.
America is a lot less accepting of DJs and producers as artists. You brought up the example of acid house - in the 80s, club music was quite different. DJs could not manipulate sounds with loops and they didn’t have software that allowed them to remix songs on the go, and as such, us singers retained the glory and spotlight, even on some of the more instrumental dance tracks.
But technology has now improved, and for example, if I perform ‘Tomorrow’ at a club, I can not loop my voice and make it sound all cool like Marc can all by himself and get that great crowd reaction from a vocal and instrumental build up which is what club music is about!
Take Carlos Santana’s ‘Smooth’. His guitar speaks to you more so than the words sung by Rob Thomas, so it was Santana that got the lion’s share of the fame from that tune. Santana could perform that song with any singer and it wouldn’t matter. People would still go nuts.
So, I think it’s crazy that the DJs and producers aren’t getting the credit they deserve in America, especially, as they do in the UK, France, or Germany.
Are you saying that the DJ/producer is more important than singers like yourself?
Certainly, when we talk about dance music. When I go out to a club, I want to dance. To me dance music is about the song and the vibe of the music. The vocals, my own included, are like another instrument in the mix.
It’s the beat and the sounds that matter most and how they are all performed and put together live by the DJ.
So DJs and producers need to be the face of the records they produce?
Yes, definitely. We’re talking about the mainstream. When a song becomes so popular in clubland that radio demands a radio edit, that is often a bit watered down from the original mix, however, that does not change the fact that the DJ is the artist.
So, even though ‘Tomorrow’ grows on radio internationally, Marc Mysterio remains the artist of the song, and he was nice enough to give me a feature credit whereas this is not always the case.
So it’s absolute rubbish when people out there say, “In America, you need a singer to be a face of a song or people won’t understand it”.
Therefore, I firmly believe that for dance to be successful long term in America, DJ and producers must be universally accepted as the artists of their songs, and be accorded the same respect as if they were pop stars.
Did you know much about Marc before you worked together?
Yes, Marc and I had been talking via MySpace for a couple of years and we became friends. We kept in contact through phone calls and email.
Then in February, I was listening to the radio on my way home in the car when Judge Jules introduced him as the guest DJ on his show. Jules noted that he thought Marc Mysterio was about to crack through to the top level of artists/djs/producers in dance music and I was proud since I’d been in contact with Marc since he started!
Marc’s set was magic! All his own original songs were mixed seemlessly together, and I was jealous of some of the singers that had been featured on his tracks as some of them were ridiculous!
After that, when I was on tour in Canada in April, I made it a point to seek him out and invite him over to our rehearsal studio, and it went from there! We really clicked and found that we had a lot in common personally and professionally.
Why choose Marc? There must have been legions of dance producers out there willing to work with Sam Fox.
We got on very well, had the same ideas, and I loved his energy and passion. You can really see it in his eyes - he is a great guy but can be very intense too! I thought this was someone I could see myself getting creative with, and having fun too. Then, when he told me about his new song ‘Tomorrow’ I was really keen on hearing it as I was a fan of his earlier work.
I really liked it and couldn’t wait to do the vocal. We have done some joint interviews on radio together, and it’s always a contest between us to see who is the better plugger and gets in the better punch lines!
Marc, why did you want to work with Samantha Fox?
She is the best, to be quite honest. Many of the singers in house music today have a fairly flimsy voice that is overpowered by the music.
Sam’s voice really combines well with modern dance beats and electro since it is thick enough to be able to compete against the fattest basslines! So, I had to work with her to tone it down a notch so that the bassline had a chance. Plus she is, and always will be, 10 times better looking than Kelly Rowland!
Can you explain a little about your musical background, and the process that went into writing ‘Tomorrow’?
Musically, I’ve played piano since I was five, and guitar since I was 14. Have studied musical arrangements in school, when I compose a song, I first begin writing it as a proper song. There are a variations of this, but it’s normally the same process. First I choose whether it will be a three or four chord progression, ascending or decending, or back and forth.
If I know the singer I’m working with, I know their range. ‘Roll Wit It’ was the first song I ever did with two singers. The original line up was to be myself with Chris Willis and Sebastian, known for his work with Timbaland on ‘The Way I Are’.
I found their range, by watching their live performances on YouTube via my monitor speakers and I tested out their highs and lows with my Martin six string guitar. The idea is to find a good key that fits with the singer.
With ‘Tomorrow’, I wrote the song and had the final arrangements on the lyrics, and I played it for Sam. She then grabbed me and started dancing around and singing the hooks with the song - ‘Tomorrow is another day’ and ‘The sun is gonna shine again’. It just worked.
Will you two be doing further collaborations?
Samantha Fox: Definitely. Marc and I are collaborating on more songs as we speak, and we will soon shoot the video for ‘Tomorrow’ together in Canada!
I’m very excited to be included in the video as well! We will also be in studio together remixing other artists songs together.
He is really showing me the ropes, and showing me new ways to control and record my voice to fit with the sounds of 2009, and it sounds massive!
As I said, I’m doing this because I love it. I’m not looking to change anything about dance music, but I do want to get the message out there and help re-establish dance music in America with the DJs and producers viewed as the artists. I don’t need the fame, I’m on enough walls as it is!
source = www.beatportal.com/feed/item/how-samantha-fox-and-marc-mysterio-want-to-help-dance-music/
