While the global view on Detroit within the dance music community retains its emphasis on Techno, Detroit has been one of the most important historical cradles for development of all genres of black urban American music that have enjoyed deep interest and popularity in the city. The city’s influence on Blues, Jazz, Soul, Funk, Disco, House, Hip-Hop, Electro, and Techno stands unchallenged but the global focus on the most avant garde of the city’s electronic artists has always come at some cost to those working in areas that place more emphasis on the continuity of the city’s music culture. House has also been central to the city’s music and been present here almost since its original rise in Chicago, and the transition that led from Disco to House was played out here in nearly equal measure to the nearby Illinois metropolis. Thus figures like Norm Talley and his Beatdown Brothers crew should be looked upon not as outliers, but as a truly central and essential part of a diverse musical culture. Since the mid 1980s, he and friends Mike “Agent X” Clark and Delano Smith have been pushing a brand of DJing and production that fluidly integrates the Disco, House, and Techno cultures of Motown and has been far too often ignored by the music press at large. In spite of respect earned from people like Eddie Fowlkes, for a long time their profile remained relatively low as the word on Detroit’s unique and diverse House sound was slow to leak out.
A few years ago, all this suddenly begin to change. The first thing to break was the eventual rise to global prominence of such now world-renowned artists as Mike Huckaby, Moodymann, Theo Parrish, and Rick Wade, all of whom had been working for many years to bring a different, more elementally funky feeling to the well known Detroit groove. Although things had been happening on some scale for Norm Talley since the late 1990s, it was the 2005 releases on Third Ear that broke the name to greater international renown, and since then he and his Beatdown crew have enjoyed success both individually and collectively on a global scale by remaining true to their roots in the Detroit House sound. If the rewards were somewhat slow to start for Norm, they’re certainly coming in quickly now, and his recent Transmissions EP on Brooklyn’s THEMA met with global accolades and sell-out success within days of its release. Now returning to New York after a few months’ absence riding the success of his release, halcyon took a few minutes to speak with the mellow and always affable House man about his background and how all of these recent developments came to be…
Listen and Download Norm’s live mix at Discovery 7.9
Podcast (free-downloads): Play in new window | Download (Duration: 2:06:14 — 173.4MB)
halcyon: What’s up Norm? How you doing?
Norm Talley: All is well, it’s all good. Everything is just fine, glad to be here.
h: What have you been up to lately?
NT: I’ve got a couple of releases out, and, you know, doing a few gigs. I’ve got a gig coming up in Brooklyn so I’m looking forward to that.
h: Yeah I do know about those releases because I helped with one of them.
NT: Well then that’s what’s going down. We got a new EP out, Transmissions, and I think it’s going to be a good release for THEMA.
h: Yes, it’s already doing really well. Lenny told me yesterday he had sold it out in a week or so.
NT: All right, that’s good! Well then you know, I’m looking forward to kicking it back in Brooklyn, it’s going down.
h: Have you been playing out much lately in Detroit or other places?
NT: Just kind of local stuff, not doing too much traveling. Actually now I think I’m concentrating on tracks.
h: Oh nice!
NT: I’m going to do quite a bit of I think producing now and a little less traveling, do more productions. So that’s kind of where I’m at at least for now, maybe up until fall, then I may switch back to another gear, but I think I’m going to put out some music now.
h: Well I mean, in your whole career you haven’t really released a whole lot of stuff… there’s been tracks but it wasn’t tons and tons of stuff.
NT: No, I haven’t.
h: But now you have a couple releases that have done really well, so it seems like a good idea to get more out.
NT: Yeah, that’s why I think I’m going to ride that wave.
h: Traditionally though, it’s more like the other way around. In the summer time, usually you have to go everywhere and play right?
NT: Yes, that’s usually the way it works, but actually now the way I’m kind of tweaking it I’m pushing the gigs back until fall. I’m taking dates for November and things like that. I think I’m going to spend that time around here doing some production.
h: So you just took the date in New York as a one time thing? You’re not really playing anywhere else besides that?
NT: Not too much, no, because I did quite a bit of traveling, quite a bit of weeklies and one-offs here, and now I want to concentrate on putting out some music. That’s kind of where my head is at right now.
h: Cool man. If you don’t mind me asking, how was it that you ended up hooking up with Lenny at THEMA from the beginning?
NT: Actually, I got a booking from him for a party, and it was a party that he organized along with his friends. They organized the party, and I came out and played and I think it worked out pretty good. The party was pretty good, and they did an afterparty and that worked out pretty good, and I stayed at his house for I think 3 days. So we got a chance to talk, and over 3 days I got a chance to know him a little better, and I felt like I could work with this guy. He’s good people. I like him, I like his style, he’s a nice guy. So that’s kind of the way we linked up. You know, we talked on the internet and things like that, but before I had the booking I had never met him before.
h: Oh really? I got the idea that you guys knew each other a little better but it moves fast if you like the person, you know?
NT: Yeah, but then you really don’t know somebody unless you stay with them or you spend a few days with them, then you really get a chance to know the person compared to… Sometimes if you do a party and you’re in and out on that same day you really don’t get a chance to know the person that books you. So I think that was good, the few extra days that I did spend in Brooklyn worked out well all the way around. We built a good relationship musically and DJ booking style. I think it worked out for the best.
h: Cool. Actually I met you that time around and we went to the afterparty and all of that. It was really good fun. I had a good time.
NT: Yeah, that was a cool little spot, the afters spot. I liked the first spot and the second spot.
h: So while we’re talking about friends and people, how was it that you ended up hooking up with your DJ crew in Detroit? I mean, you’ve been in Detroit for a long time, but there’s a lot of different crews in Detroit…
NT: Well, we kind of knew each other from high school days, from when we were all still living with our parents. That’s kind of how we hooked up… Mike lived on 7 Mile Road, and I lived on 6 Mile. We were kind of in the same area, and then we were all spinning, through those circles of parties. Back then we were still living with our parents and everyone was living on the west side, so it kind of worked out like that. But when we went into the production side of it, we met Guy (McCreery) from Third Ear at the festival… I think that was maybe the year 2000 we met him at the festival.
h: At the Detroit festival?
NT: Yeah, at DEMF we met him at the festival… actually Eddie Fowlkes met him first, and Eddie Fowlkes introduced him to me. We were going to different parties. We left the festival and were riding around in my truck, so I gave Guy a ride to some parties. So then I was playing some of the tracks that I had made, and he heard them and was digging the tracks, so he wanted to get some tracks. So we ended up licensing the tracks, and then he wanted to do a compilation, and at that point in time he didn’t know that many people in Detroit. So he was looking for somebody to organize it, so that’s where I came in.
h: Oh nice!
NT: And it went from there.
h: And after that you just went from there because once you have one or two releases on good labels then people will just keep talking to you and getting more stuff from you.
NT: Yeah, it kind of went from there, and then we did some remixes, we did some other different projects and 12-inch projects after the album, and then I did some individual 12-inches just myself with him, and it worked out pretty good. We still have a pretty good relationship, and that’s been going on for over 10 years now… meeting him in 2000, now that I think about it, it’s been 11 years.
h: Cool man, that’s good. I think it’s also true that in the last 5 years or something, Detroit music has become popular again really.
NT: I think so. I think it’s a whole new generation of house heads and tech heads and a whole new generation of music lovers out here that are getting into the music. I’ve met some people whose parents were into the music and it ends up turning around that I’m meeting their sons and daughters now. It’s trickling down, which is a good thing… it’s keeping the vibe alive. Most definitely I support that 100 percent. The younger generation moving into the music and making tracks, doing parties, things like that, that’s a win-win situation.
h: Of the newer producers and newer DJs in Detroit, could you think of a few of them that you would like to talk about?
NT: I like stuff that Omar is doing… Omar-S, I like the stuff that he’s doing now. I like the stuff that Sherard (Ingram) is doing… he’s not younger but you know, he’s got the good stuff that he’s putting out now. I like the stuff that Rick is doing… Rick Wilhite and Rick Wade, they’re putting out some pretty good tracks. Mike Huckaby is putting out some good tracks. I like Delano’s stuff. He’s putting out some good tracks. Mike (Clark) has got a few things that are ready to come out. There’s a lot of good music around.
h: Yeah for sure, I agree with you. Actually Omar in particular and Jus-Ed from Connecticut a few years ago they did some releases across the labels where they released a bunch of tracks by new New York producers like Fred P, DJ QU, Levon Vincent, and Ed himself. Have you heard much of that stuff too?
NT: He actually sent me quite a few records. I like the Jus-Ed stuff and I like the DJ QU stuff… they sent me that colored vinyl, maybe about 8 or 10 pieces of vinyl, and they got some nice stuff. I play it out. I carry it out with me in my bag. I’m feeling that vibe that they’re putting out there as well.
h: Yeah, those guys have a lot of influence from Detroit in their music I think. I can feel it for sure.
NT: I would agree, no doubt about it. It’s a good vibe. Keith Worthy is doing some good stuff, some cool stuff. Patrice Scott is doing some cool stuff. It’s a good time musically in Detroit. For me, it’s kind of turning the corner I think.
h: For sure. Even not just in Detroit. I think across the world there’s been a lot of good stuff too.
NT: Sure, no questions. It’s a good time. There’s a lot of good music out. Don’t get me wrong, you’ve got to filter through because there is some stuff that is undesirable, but it’s always been that way. You surf through and pick out what you like as a DJ and program the music that you like.
h: Sure, that’s what you have to do. That’s what being a DJ is.
NT: Yeah, programming the tracks that you like, and I think it’s a good time.
h: So outside of Detroit and not necessarily just within House and Techno, what other music have you been hearing from anywhere else in the world that you liked a lot?
NT: I like those guys Motor City Drum Ensemble. They’ve been putting out some good stuff and have some nice pieces that I play. <? recording unclear> has some been putting out some pretty good stuff lately, and he’s out of the New York area I believe. He’s got some nice pieces. Some of the stuff I like… I like some stuff from Black Coffee, he’s got some pretty good tracks, and always guys like Kerri Chandler that are just kind of staples that put out good music consistently, good deep House.
h: But you play some Disco and some other stuff in your sets too sometimes, don’t you?
NT: Oh yeah, I’ll play some. Bring back the vinyl, or if I have to burn it to a CD if they don’t have turntables. I prefer it on turntables, but depending on the club and what kind of setup they have, but no doubt about it. That’s where it all began before House was Disco, and from there it all progressed. That’s the roots of the music.
h: Yes and you started off just collecting records right? You were mostly listening for a long time right?
NT: Yes, a collector, and I still am. I collect… it doesn’t necessarily have to be House. I like good music regardless. It may be a Jazz album, and even if I can’t put it in a mix I like to listen to it.
h: Yeah, for sure. For myself I like to listen to quite a bit of Jazz, I listen to Dub, I listen to a lot of Techno but that’s something different. Sometimes I listen to Hip-Hop if it’s good.
NT: Yeah, I’m more stuck on the old school Hip-Hop. It’s got to be most definitely old school. The newer stuff to me I’m not really feeling it. I’m feeling the older stuff.
h: I think a lot of people would agree with you, especially people from New York because it just seems like something’s been lost the past few years, you know.
NT: It’s a whole different world too. Some people are making music for different reasons. It’s not like they’re making music just strictly to make music. Sometimes some people make music for money. That can be a whole different situation there… that can change the whole vibe of the recording and everything if you’re just thinking about how you’re going to make money. That changes the whole vibe of the record I believe.
h: Well, if you’re making House music and Techno music right now, it’s pretty hard to make too much money doing it…
NT: Sure, you’re doing it for the love, you know what I mean? You’re doing it for the love, because you love the music and you’re doing it. You ain’t going to be getting super rich making underground House tracks so you must love it.
h: Yeah, but it’s a lot of fun too. You must have had some pretty cool experiences DJing all over the world, haven’t you?
NT: Oh yeah! I’ve played at some nice gigs and some nice places. Mostly in Europe though… Switzerland, Italy, France, London, Scotland, mostly UK and Europe as a whole. I’ve never been to Africa before. I would like to go to Africa. But Japan I’ve played and stuff like that, but I’ve never been to Africa or Australia, so those two are untapped for me DJing wise. I have sold some music there, but I haven’t played there. That would be something I’d like to do in the future.
h: I’m sure, yeah. It might take a little bit of work… I don’t know how much they listen to this sort of music down there. I’m not that familiar. They have their own music too, and it’s really good.
NT: Yeah, that South African scene is doing really good right now from what I hear. I mean, I haven’t played there but from what I hear it’s doing pretty good over there, so that’s another avenue as well to expand and send out transmissions their way.
h: So if you had to talk about maybe your one or two favorite gigs, could you tell me something about that?
NT: I’d say one of my favorite places I like to play is at the Sub Club in Scotland. That was a good club because they had a nice system, and the crowd was responsive to the music. They got there early and they partied late. It was good. A place that a lot of people play, but every time I play there has impressed me, is in Berlin at Panoramabar. They always seem to keep it going. They’ve got the all-nighter. I had a great time there.
h: It’s interesting you said the thing about Scotland because there’s only a few DJs that talk about that club that much but I’ve only heard really good things too.
NT: Sure. They’ve got a nice system there, and the guy was nice, Mike, he was good, and everyone else in Scotland, Dominic, Harry, they were nice, and they took us out to a nice dinner and everything. It worked out good. We had a nice room, nice party, and everything worked out excellent. I had a good time in Japan too. I did Japan on New Year’s Eve. That was nice. On New Year’s Eve it makes it a special party, but they took care of us too. Takemuri was breaking out the champagne and brought it in and toasted it in right. That was good! That was another good party I would say, in Japan, and Mike and Delano were with me.
h: That was this year?
NT: No, that wasn’t this year. That was in 2007.
h: 2007, okay. So it was all three of you there, the whole crew.
NT: Yep, worked out good.
h: That sounds like a good time already.
NT: Yes, it worked out really good. They had a nice system, nice club. They had it all set up. They had turntables and CDJs, a nice stage.
h: Yeah, I interviewed a few people recently and everybody likes playing in Japan because they always really do a good job of taking care of the artists.
NT: Yes, they took care of us. They took us out to a nice restaurant up high maybe on the 60th floor, it was like a view of all of Japan. It’s was pretty nice. We had some nice seafood and nice saké, then vodka. It was good. We went to dinner with Hiro, and he took care of us nicely, and it was all proper. Everything was nice.
h: Cool man! So I was just going to ask you one more thing before we go off into the night here. I’m really happy to see you back in New York. And you’re playing for a kind of new group of promoters… These are the guys that at the Bakery, right?
NT: Yeah, I believe I did meet them at the Bakery. I’m not positive that I did… within recent memory, I remember they were here during the festival this year.
h: And they talked to you then, okay.
NT: Yes, they came to the parties that I was doing here during the festival, so that’s within recent memory. We were hanging out every night. We hung out 3 or 4 nights in a row here.
h: And that’s when they booked you was then during the festival?
NT: Well I think we had talked over the internet. We exchanged messages and things like that, but then that was another situation where sometimes when you meet somebody in person it gives you a different and would say a better vibe. I mean, meeting a person face to face compared to just sending emails or texts back and forth… Face to face I prefer that. That’s a better way to meet a person and really get to feel them out.
h: Yeah, for sure. I think most people would agree with that.
NT: Yes, and we sure had a good time when they were here. We partied, so I’m looking forward to this coming up July 9th so we can get it down again and put it down.
h: Cool man! Do you have anything special planned for this or are you just going to rock out like usual?
NT: Oh, I’m going to play a little bit of everything. First I want to feel out the space and feel out the people that are there, see where their heads are at and see what kind of music they’re really digging.
h: It’s a nice club man. Santos is a really good club and the sound system is world class. It sounds good in there man.
NT: Okay, well that’s a good thing. That’s nice to know because that leave you room to play whatever you want to play. If the system is right, you can drop whatever you want to drop and it’s going to sound good. That’s always a plus-plus thing from the DJ’s perspective. If you got a nice system, you can play what you want to play and it will sound good. That’s an excellent thing. And for awhile, I hadn’t got that many bookings in New York. It was mostly European bookings, which were good, but I’d like to play a little more in the States.
h: Yeah well I think it’s happening now. The scene in the United States is picking up a lot. I was in Detroit for the festival and there were just a ton of people there, way more than in past years, and there were probably about 50 or 100 people just from New York in Detroit that I knew. It was pretty crazy… I would say definitely 50 people that I knew and another 50 that I didn’t really know at the time but that I got to know when I was in Detroit.
NT: Yeah, I did some of that as well… I did a little networking and met a few people and got a few leads on some more local stuff like San Francisco, LA, those type of closer, 3 or 4 hour plane rides, which is not bad. That’s a nice close hit.
h: It’s better than 12 hours, right?
NT: A nice close plane ride, you get to the party quick, boom, you don’t have to take too long of a flight so that works out excellent.
h: Cool man! I’m really happy to see you back in New York. I’m sure it’ll be quite a night, we’ll find something to do afterwards, and I think you’ll have a really good time at the club. We’re working with these guys who are doing the party, so they’re good people, and we’re happy to work with them actually.
NT: No doubt, and I’m looking forward to it.
h: Alright, it’s been nice talking to you, and I’ll see you again in a little over a week!
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