Moodymann (Live) at Remedy....

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Full details on our site tomorrow....www.remedyireland.com

Thanks Remedy

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Remedy Exclusive

Mahogani Music presents
Moodymann (live) with Paul Randolph, Pirahnahead,
Andres, Roberta Sweed & Nikki-O

Saturday, June 18th
The Sugar Club.
8 Leeson Street Dublin 2.
Doors 8pm til 11pm.
Moodymann on stage at 9pm sharp.

An outspoken voice in the normally non-confrontational world of electronic dance music, Moodymann (given name: Kenny Dixon Jr.) is committed to keeping a distinctly black imprint on techno and house. While he may frustrate people with his refusal to be interviewed and insistence on reminding people of the genre's origins, the soulfulness of his output is unquestioned. Utilizing classic soul and jazz samples, low-slung bass lines and an approach to drum programming that is diametrically opposed to the tendency to push the tempo faster and faster, he has achieved classic status. As this is Kenny's first Irish date and is taking place in the intimate surroundings of the Sugar Club, it has all the hall marks of a very special evening.

Tickets are 28.50e (subject to booking fee and handling charge) are on sale now from www.tickets.ie
Tickets are also available from tomorrw (April 30th) from Carbon Records (Urban Outfitters), Road Records, Spin Dizzy, City Discs and Big Brother Records, priced 28.50e (plus 1e booking fee).

For Further info / images
mail to info@remedyireland.com
www.remedyireland.com

remedy dublin

Moodymann Article

"I don't make music for the masses to dance to, I make music for the small majority that listens."

Moodymann on Radio as featured in Mahony Brown.

"The point is… the blues is gone"

Gil Scott Heron on Moodymann's Amerika

"The City = A place where most suburban kids think they're from
Detroit= A place where Neggahs roam, Neggahs like me…
DON'T BE MISLED"

Moodymann on the sleeve notes of Don't Be Misled

This series of one-liners is a colourful and paradoxical introduction to one of the most complex and radical artist to emerge from Detroit in the mid nineties. Kenny Dixon Junior, better known as Moodymann, is the advocate of a strong soul and blues-tinged house music that ideally combines New York's or Chicago's original disco sound with the usually deeper approach -as materialized on most Detroit techno releases- of Motor City's musicians.

His producing and musician skills put him on the same level as "Amerika" 's most talented black musicians ( Curtis Mayfield, Stevie Wonder or Marvin Gaye to name but a few) whilst his radical views on publicity, the ransacking of black music by sample-hungry producers and racial tensions in the United States have often puzzled outside observers of the Detroit music scene.

There has been many interpretations of Dixon's intricate political philosophy and controversial racial agenda. Some see it as a wise marketing stunt. For them Dixon is only transposing the bravado and defiant attitude of US rappers such as Tupa Shakur or more accurately KRS One to the electronic music scene. But then why keep on releasing so few copies of each track?

To some others, Dixon's ideology holds a certain sulphuric appeal. Extremism is after all a decent alternative to the naïve and sometimes irritating mindless hedonism of the global house nation. However, this is merely equating firm political convictions to pop-counterculture.

Finally some prefer to trace the resistant spirit and partisan-like mentality that drives the man and many other Detroit-born musicians to the city's environment - shaped by 1943 and 1967's riots and their shattering aftermath).

Nevertheless, it's pretty obvious that this complex imbroglio cannot be solved easily and certainly not by people who haven't experienced what it' s like to live in today's Detroit. Ironically enough, Moodymann's fight for complete control over his work is bound to be lost : the profound meaning of music is to expand, to be felt and "shared". However exclusive some producers may be, their music will always escape its personal context to be given a broader and more mixed collective meaning. That's why Moodymann's "deeper than lake Michigan" groove, lackadaisical disco and punchy blues can and will also be listened to without a clear understanding of the "environment" that fostered it. Sure enough black music "goes a lot deeper than a goddamn record collection" but in the end the "small majority" of people who feel good music can certainly not be controlled