Sarazino is the brainchild of Lamine Fellah, a musician, songwriter and producer whose nomadic life is reflected in the multicultural influences in his songs. Fellah is a true child of a globalized world and Sarazino’s music draws on reggae, Latin and African grooves, Arabic music and catchy, international pop to create an upbeat celebration of the diverse world we all share. On Ya Foy! (which means “no problem” in the Dioula language of West Africa), Sarazino presents a musical melting pot of roots reggae and Latin grooves with Arabic and West African flavors spicing up the mix. Many songs feature the inspired vocals of Revelino Aguidissou, a native of Benin, Africa, who also somehow ended up settling in the Andean metropolis of Quito. Ecuadorian guitarist Pablo Estrella adds tasty riffs, backing up a selection of guest artists ranging from reggae legend Toots Hibbert of Toots and the Maytals to Latin toaster Blanquito Man from the ska-rock band King Chango. Fellah also collaborated with a number of lyricists, including Isidro García, a Spanish poet who wrote the words for more then half of the songs on the album. The result of this musical mélange is a savory stew of catchy, accessible songs that offer a soundtrack for a true world party.
Jeffery Broussard and The Creole Cowboys
Blazing out of Opelousas, Louisiana are Jeffery Broussard and The Creole Cowboys with their red-hot traditional Zydeco. Broussard has been playing music professionally since the age of 8, when he joined his father’s band as drummer. Out of his love for the music and the culture it represents, he learned to play every instrument in the band before settling on accordion as his instrument of choice. He more recently has also been leading workshops and giving lessons on fiddle, to pass along this musical heritage to the younger generation. Along with The Creole Cowboys, he is carrying on the tradition of Zydeco and the band travels the globe to educate others about the great culture of southern Louisiana and its music. Zydeco music is synonymous with happiness – as it grew out of familial and social gatherings of South Louisiana Creoles, where housedances to celebrate life, food, and friends ran well into the night and everyone gathered to dance away their troubles. Broussard and his Cowboys bring that unique brand of happiness to audiences wherever they play – “It makes me happy to see my music make people happy. My goal is to keep our tradition going, to continue making people all over the world happy.”.
More fun than a barrel of funky monkeys. Spicy, Texas-Louisiana blues, rock ‘n’ roll and boogie-woogie…awesome piano.” –National Public Radio
“Based in Austin and steeped in New Orleans, Marcia Ball plumbs the richness of both musical meccas. From rootsy swamp pop and blues-drenched boogie woogie to languid ballads, Ball is equally comfortable with brash roadhouse romps and caressing love songs.” –USA Today
Marcia Ball is a woman with a reputation. The Texas-born, Louisiana-raised pianist/vocalist/songwriter is famed worldwide for igniting a full-scale roadhouse rhythm and blues party every time she strolls on stage. Ball’s groove-laden New Orleans boogie and rollicking Gulf Coast blues have made her a one-of-a-kind favorite with music fans all over the world. But she’s also a master at transfixing her audience with an emotionally rich, passionately sung ballad. The Boston Herald says, “Ball plays masterful, red hot tracks from the Texas-Louisiana border. Her voice can break your heart with a ballad or break your back with a rocker.” On her new CD, Roadside Attractions (her 15th solo recording), Ball’s songwriting is at the forefront, ranging from tales of wild parties to stories of twisted motel affairs to declarations of the enduring power of love and family. It is inspired by her years on the road and from insights gained from everyday life, making it her most autobiographical album. Roadside Attractions is certainly more than capable of starting a no-holds-barred bash. But more than that, it’s a tour-de-force of Marcia’s seemingly endless talent, and among the most emotionally moving recordings she has ever made.
Sonny Landreth has been boggling minds with his guitar wizardry for nearly 45 years. Having been born in Mississippi and growing up in southern Louisiana, his style is a veritable gumbo of culture and influences, from Mississippi blues, to cajun, zydeco, New Orleans jazz and a good healthy dose of rock-n-roll. Starting out as a trumpeter gave him an understanding of phrasing and slurring which he carries into his guitar work. Yet it was out of his frustration to emulate multiple instruments and his desire to “make the guitar sing” that led him to his signature slide style, in which his fretting of notes behind the slide and a dizzying combination of finger/thumbpicking, palming, slapping, and generally manhandling the neck and body of his guitar creates otherworldly harmonies, overtones and growling choruses. The oft-called “King of Slydeco” could be a one-man traveling band himself, but the rock-solid backing of childhood friend David Ranson on bass, and fellow Louisianan Brian Brignac on drums connects with audiences around the globe with their understated power and support. At nearly every show some slack-jawed listener can be seen searching for more musicians on the stage and exclaiming, “How can three guys make all that SOUND?!?” Given Landreth’s technical prowess, it’s surprising that his songwriting skills are equally as impressive. Bassist Ranson has said, “Sonny plays with all of that technique and still with so much soulful feeling. A lot of technique players, they lose that. Sonny lacks neither.” Landreth himself has admitted, “The only thing I ever want…it’s always about finding the soul of the song.”
Madagascar Mifohaza featuring Jaojoby, Razia Said, Saramba and Charles Kely An all-star celebration of salegy music from Madagascar featuring some of the country¹s top artists. A magical concert experience designed to raise awareness of threats to this diverseisland¹s ecosystem and traditions. Singer, songwriter and environmental activist Razia Said spent her childhood in the vanilla-growing region of Madagascar’s northeast coast. After years of living abroad, she returned to discover her country’s landscape ravaged by illegal logging, slash and burn agriculture and the impact of climate change. In an effort to raise awareness at the local and international level, Razia organized the Mifohaza Masoala (Wake Up Masoala) music/environmental festival which took place at the edge of the Masoala Rainforest in October 2011. Before the concert a total of 20,000 trees were planted by the local inhabitants. The concert featured some of Madagascar’s most exciting performers, and the festival was a huge success. The participants agreed that the next step was to take the music and the message to the world.
The Wake Up Madagascar Tour will showcase the same outstanding musicians and dancers who create an uplifting celebration of salegy music. The music that makes Madagascar dance with its heart pounding rhythms, rippling guitars, lush vocal harmonies, bouncy accordion and hip-shaking dance moves, salegy represents the soul and spirit of the island. The featured artists will be supported by an all-star lineup that will total 13 musicians on stage. Never-before has the amazing music and dance of Madagascar been presented to the world with a concert event this ambitious…and this imperative.
Big Sam and his Funky Nation
Back in the day, the kids in the horn section weren’t the cool kids. Sure, they could blow, but it was the guitar players, piano players and long-haired moneymaker-shaking lead singers who got the spotlight. There’s a whole wave of musicians fronting bands in New Orleans who are changing that. “King of the Party,” the latest release from Big Sam Williams and his Funky Nation goes a long way toward destroying that stereotype. Williams knows where the traditional sound lies. He cut his teeth as the trombonist for the Soul Rebels and Dirty Dozen brass bands before forming the Funky Nation. And on “King of the Party,” the band’s fourth album, he has pushed farther afield from those roots than ever before.
From the very first notes, it is clear that Big Sam’s Funky Nation is not your dad’s brass band. Guitar, bass and drums swirl around the horns like some sort of aural caduceus, with Sam’s trombone weaving the melody over the crunchy bits of psychedelic soundscape. If there was a name for what BSFN has created, it’s Noladelic. At its heaviest, the band can hold its own with any of the dinosaur rockers of old. But when the sound starts to move forward and twist the beat around those complex horn lines and head-exploding guitar leads, something completely alien to traditional funk and rock pops out and makes you want to dance. The eponymous lead track lays out the architecture for the record. There’s the killer pulsing beat from drummer Milk and bassist Eric Vogel, then the guitar wall of Takeshi Shimmura. Inside that you hear William’s call-and-response vocal beckoning the listener to jump right into the mix and dance their funky butts off.
‘For a three piece, Genticorum makes a very full and glorious noise, both instrumentally and vocally… This is a band that’s going to go places. –SING OUT!
Over the past decade the trad Quebec group Genticorum (Pascal Gemme, Alexandre de Grosbois-Garand and Yann Falquet) has become a fixture on the international world, trad, folk and Celtic music circuit. The trio’s first three albums met with critical acclaim in Canada, the United States and Great Britain, assuring the band a brilliant future. Known for its energy and its stage presence (and often mistaken for a larger ensemble), Genticorum (Latin for “Of The National Men”) has given more than 700 concerts in no fewer than 15 countries – and is showing no sign of slowing down: this is a band in high demand. Firmly rooted in the soil of their native land, the energetic and original traditional ‘power trio’ also incorporates the dynamism of today’s North American and European folk cultures in their music. They weave precise and intricate fiddle and flute work, gorgeous vocal harmonies, energetic foot percussion and guitar and bass accompaniment into a big and jubilant musical feast. Their distinctive sound, sense of humour and stage presence make them a supreme crowd pleaser.
Papa Grows Funk
“They are instruments of New Orleans music at it’s best… Any way you drop the needle you will be pleasantly surprised and feel good about it.” – Allen Toussaint
Booty shaking party music best sums up the inimitable Papa Grows Funk, one of the most successful funk bands to emanate from New Orleans. Rooted in improvisation, the group of all-star musicians led by Hammond B3 keyboardist and lead vocalist, John Gros, has built its enthusiastic vibe on a long-standing musical tradition that dates back to the hot jazz of the legends, Fats Domino and Louis Armstrong. Like Dr. John and the Neville Brothers, Papa Grows Funk keeps that New Orleans lineage alive while always funkifying towards the future.
Papa Grows Funk has fused the individual talents of its members into one unique sound, but still retains the first spark they ignited in the beginning while jamming together at the Old Point Bar. “While we throw in New Orleans classics, now our songs and our groove are all our own,” says John Gros. “We still love playing together and that comes through in our music.”
The band plays over 100 shows a year for its international and growing fan base. From the Highline Ballroom in New York City to the Great American Music Hall in San Francisco, from the Nancy Jazz Festival in France to the Fuji Rock Festival in Japan, Papa Grows Funk has brought their “Mardi Gras in a bottle” music to iconic clubs from coast to coast and renowned festivals worldwide.
With no play lists and no rehearsals every Papa Grows Funk performance is its own masterpiece of funk. On any given night, the band might change songs or grooves. But one thing is certain: whether it is jam band college kids or seersucker wearing professionals, five folks or 100,000, after John Gros announces “We’re Papa Grows Funk from the great city of New Orleans,” the crowd is going to go wild.
Sergent Garcia burst onto the French music scene in the late 1990s with a searing blend of Jamaican reggae and dancehall with Latin grooves that he dubbed “salsamuffin.” A veteran of French punk and indie rock, Sergent Garcia has explored his Spanish roots and passion for Caribbean and Latin music to create a popular sound that earned him fans across the globe and sales of hundreds of thousands of albums.
While no one in his family played an instrument, music was an important part of Bruno’s childhood and his family had an eclectic and diverse record collection that included African, Latin and Caribbean music, not to mention French and Spanish sounds. At the age of 14, Bruno started playing around on a friend’s guitar, later joining this friend’s rock band as a bass player. “I used to say that I played with the best musicians in the world because I learned with records.” Bruno points out, “I learned with Bob Marley, Joe Strummer, Bob Dylan, I learned with a lot of people I liked, I was just copying their styles in the beginning, you know, when I was a kid. At the same time, Bruno remained a devoted reggae fan and he especially gravitated toward bands that blended punk, reggae and ska. As he began making the transformation into Sergent Garcia, Bruno started investigating other Latin music styles, from Colombian cumbia to Puerto Rican bomba and plena, and of course the fundamentals of Cuban music. Bruno finally got to visit Cuba for the first time in 1998, and he immediately found something he had been searching for his entire life. “When I was in France, I needed more Latin flavor and when I was in Spain I needed more hybrid culture. When I got to Latin America, this was exactly what I was looking for. It reminded me of my family: the African way, and the Spanish way. A very hybrid culture.” Since then, Bruno has visited Latin America and the Caribbean numerous times, traversing the continent in search of new sounds and collaborators.
Milwaukee’s Robin Pluer will enthrall with her dead on Edith Piaf-inspired club act on Saturday. Pluer, a perennial WAMI (Wisconsin Area Music Industry) Award winner, has been awarded Milwaukee’s Best Female Vocalist by the Shepherd Express for an unprecedented third year. This chanteuse with panache has become a mainstay at Bastille Days in Milwaukee. Her fresh, engaging talent has afforded her opportunities coast to coast including Garrison Keillor’s “A Prairie Home Companion” and NPR’s “World Café.” Pluer will treat us with two performances in the big tent on Saturday afternoon backed by the terrific Mrs. Fun.
Curley Taylor was born and raised in Louisiana and has been around music all of his life. At the age of 16 Curley started playing drums in his father’s band, (Jude Taylor & His Burning Flames) which is deep in Louisiana Blues, Soul and Zydeco. By the age of 25, Curley had played drums for some of Louisiana’s finest legends including: CC Adcock, Steve Riley, John Hart, “Lil” Bob of the Lollipops, and his uncles, “Lil Buck” Senegal and Wayne “Blue” Burns. He traveled with CJ Chenier, also considered a great Louisiana legend. While traveling with Mr. Chenier, Curley found an interest in playing the accordion. After practicing and playing the accordion, Curley enjoyed it. He was told he “played the drums and the accordion with great emotion and natural feeling.” Now his band,Zydeco Trouble, is one of the finest dance bands in the land. Curley has learned his craft well and is a highly skilled and charismatic performer.
Johnny Chimes will provide New Orleans-laced piano grooves leading off the festivities on Friday at the newly conceived Le Happy Hour (pronounced le appy our) sponsored by Heartland Credit Union. Johnny has been a mainstay on the Madison music scene for more than a decade. Chimes paid his dues learning from the real deals in Nashville and toured the country back in the day, an experience that resulted in many interesting stories and well-honed musicianship. He can now be caught solo every week playing piano in Madison at Louisianne’s. Johnny’s son, Moses Patrou, will be visiting from New York City and will sit in on drums and/or percussion. That should be fun. Moses is quite talented.
Most bands start repeating themselves long before they pass the decade mark, so at 13, The Iguanas can certainly be forgiven for reuniting with their first producer, since the resulting album is a marked departure from all four of their previous studio recordings. Hailing from New Orleans, where Latin and Caribbean music have a long and glorious history of interaction with R&B, blues and jazz, the band was formed in 1989 by guitarist/accordionist Rod Hodges and Joe Cabral, who alternates between saxophone and a traditional Mexican stringed instrument known as the bajo sexto. The two also share lead vocal duties. Within a few years, the current longtime lineup was assembled (bassist Rene Coman, drummer Doug Garrison and saxophonist Derek Huston) and The Iguanas emerged as one of the most popular bands in one of the world’s most musical cities.
The Iguanas haven’t forsaken their signature sound on Plastic Silver 9 Volt Heart. However, the prime elements — roots-rock, New Orleans R&B, Latin and Caribbean rhythms — were fused with a fresh jolt of inspiration during an eight-day recording session helmed by Justin Niebank, producer of 1993’s The Iguanas and 1994’s Nuevo Boogaloo. Many of the vocals are early takes, lending the tracks the raw ease of a club gig. At the same time, sophisticated songwriting and rich yet uncluttered arrangements make Plastic Silver 9 Volt Heart the band’s most mature, cohesive album to date.
Mama Digdown’s Brass Band
Mama Digdown’s has traveled the world spreading the gospel of New Orleans brass band music. While Mama Digdown’s nods respectively to the tradition of New Orleans jazz, the street beat they add has earned them the reputation as one of the hottest and hardest hitting brass bands.
After 13 years and 7 albums, Madison’s own Mama Digdown’s Brass Band is still at the top of their game. It all started back in 1993 when a bunch of surly brass band junkies unexpectedly ‘second lined’ through Madison’s Art Fair on the Square. From that moment on, Mama Digdown’s Brass Band has ignited crowds young and old, from coast to coast, with the rich tradition of New Orleans brass band music. While Mama Digdown’s nods respectively to the tradition of New Orleans jazz, the street beat they add has earned them the reputation as one of the hottest and hardest hitting brass bands. Their able versatility to play tunes from old standards to new smash hits is why they are as equally at home in concert halls as in the second line parades of New Orleans. Digdown’s makes frequent tour stops in the Midwest main stays of Madison, Milwaukee, Chicago and Minneapolis, while also making trips to New Orleans at least twice a year. Bob French, New Orleans drummer and former member of Fats Dominos band, said of Mama Digdown’s “I don’t know if the folks up there in Wisconsin know what they have, these Digdown cats can play!” Whether you catch them uptown, downtown or back-o’town, Mama Digdown’s Brass Band will make you shake what your mama gave ya.
“The best zydeco or Cajun music album Grammy Award nominee “En Couleurs” (by Feufollet) , the lyrics (to old and new songs) are in Cajun French, but the traditional fiddle and button accordion are being redeployed. The band is downright radical in the studio. While it can still huff and stamp through a two-step, it reconfigures its sound for each song: adding backup vocal harmonies, assorted electric keyboards (not to mention a toy piano), horns or pedal steel guitar, as well as some electronic effects. Elaborate or austere — Anna Laura Edmiston sings one gorgeously plaintive song unaccompanied — Feufollet’s innovations only bring out the ache and gumption of its music.and collaborators. “
Jon Pareles – NY Times
Formed in 2003, Dumpstaphunk was initially assembled by keyboardist Ivan Neville on a whim, to perform a solo slot at the New Orleans Jazz and Heritage Festival. Ivan tastefully selected the unique double-bass attack of both Nick Daniels and Tony Hall on bass, enlisted his own bloodlines for the scorching guitar rhythms of cousin, Ian Neville, and most recently, added the newest member to the group, heavy-hitting female protégé Nikki Glaspie on drums, replacing original powerhouse Raymond Weber. The project has since grown from a chance side-project into what is now widely considered to be one of New Orleans’ most prestigious modern funk ensembles. An offspring with a direct lineage to their fathers in The Meters and The Neville Brothers, Dumpstaphunk is a recipe for creating a new standard for an entire genre.
“Dumpstaphunk’s groove is a unique monster. It’s not the minimalist funk of the Meters and it’s not the relentless funk of James Brown, although it has that rhythmic drive. It’s not the psychedelic, over-the-top circus of Parliament-Funkadelic, but it often has that political slant. It’s not the party funk of the Ohio Players, but it shares the high vocals that take the pressure off the bottom. Dumpstaphunk is a whole other school of funk. If you’re under 35, you think you’ve seen funk, but you haven’t. You missed the original Meters, James Brown when he wasn’t a parody, Parliament-Funkadelic’s landing of the “Mothership”, Sly and the Family Stone before he went M.I.A and Booker T. and the M.G.s before the demise of Stax. Dumpstaphunk is as good as all that, and they’re in their prime now.” – Gambit Weekly
“Dumpstaphunk is the best funk band from New Orleans right now.” – The New York Times
“Ivan’s so good…I play with him.” – Keith Richards
JOINT EFFORT, Madison Music Review, & Prognition Productions presents
AT LA FETE DE MARQUETTE ON JULY 13th & 14th ON MADISON’S EAST SIDE WITH MARK FARINA, PAUL JOHNSON, & More…
Madison Music Review, Prognition Productions, and Joint Effort are proud to announce the second annual Musique Electronique at La Fete de Marquette. A two day electronic music festival celebrated side by side with the renowned La Fete de Marquette Festival on Madison’s near east-side.
Headlining this years festival is the one and only ‘Mushroom Jazz’ man, Mark Farina. With other exciting performances by Chicago house music legend Paul Johnson, as well as hometown favorites Nick Nice, DJ Elle, Vinnie Toma, and DJ Urbane. The festival includes performances at the outdoor La Fete de Marquette Festival, as well as club nights Friday and Saturday.
The Festival begins with a bang on Friday the 13th with a 45 minute DJ set by Mark Farina at the Music Electronique dance tent at La Fete de Marquette from 8:45pm – 9:30pm. Then perfectly capped off with an evening at the High Noon Saloon, where Mark Farina will take us on a Mushroom Jazz and house music journey for 3 hrs after DJ Elle opens up the evening at 10pm.
On Saturday Nick Nice will get the crowd going at the Music Electronique dance tent at La Fete de Marquette with a DJ set from 6:45-7:30pm followed by house music legend Paul Johnson from 8:45 – 9:30pm. After La Fete de Marquette wraps up, the party shifts to Plan B, where Paul Johnson will play an extended DJ set with local support from Vinnie Toma & DJ Urbane starting at 10pm.
In support of La Fete de Marquette’s commitment to the Wil-Mar Neighborhood Center, all profits from Musique Electronique at La Fete de Marquette will be donated to the Wil-Mar Neighborhood Center.
For additional info, press kits, or any inquiries on Musique Electronique at La Fete de Marquette please contact Jason Van Nurden @ 715-379-6749 or firstname.lastname@example.org. Additional info on our headlining artists and ticket pricing can be found below.
Shortly after Mark befriended Derrick Carter in 1988 at a record store in Chicago, his passion for House music, and sharing it with the world, exploded. Mark experimented with a deeper style, dropping De La Soul, disco classics and other stuff that wasn’t being played in the main rooms of nightclubs. While exploring his love for the purist forms of House Music, Mark developed his trademark style: Mushroom Jazz; acid jazz infused with the West Coast’s jazzy, organic productions combined with urban beats. Fans embraced Mark’s downtempo style so much that he started a weekly Mushroom Jazz club night in San Francisco with Patty Ryan. In 3 short years, the club established a fanatical, cult-like following for Farina and the Mushroom Jazz sound. When the doors closed, Farina continued the tradition by releasing a series of Cds on OM Records: simply titled, “Mushroom Jazz”. Since then, Mark has been traveling the globe performing 100s of shows, to over one million club goers, every year. His House sets take fans on journeys to the jazzy side of Chicago House mixed San Fran style. Some of these sets have been known to last up to 8 hours. And sometimes you’ll find Mark playing in two different rooms at the same party, showcasing his range of big room sound to the uber-chill. When Mark’s not touring, you can likely find him in his studio, working on his next release for his imprint, Great Lakes Audio, or on another signature mix for Mushroom Jazz. Mark’s chunky-funky underground house style continually turns the heads of tastemakers worldwide, drawing him not only new fans, but landing him on the Top DJs in the World lists by URB, MUZIK and BPM Magazines. http://www/djmarkfarina.net
Born and raised on the south side of Chicago, the birthplace of house music, Paul Johnson, started making waves in the music community at the early age of thirteen. In the summer of 1984, Paul Johnson taught himself how to spin after watching his cousin Marc spin and scratch in his bedroom. As a self taught artist, Paul’s pulsating energy and passion are apparent in all his work. In high school while his peers were holding down after school jobs, Paul was a popular radio DJ. Raw talent, dedication and a deep love for house music have made Paul Johnson one of the most sought after DJ’s in the world. Paul Johnson’s musical resume is both extensive and impressive; he released his first record in 1990 titled, “Overload” on Dance Mania Records. During this time, Paul quickly made a name for himself as a producer, responsible for many of the now famous DJ/Producers that we all know and love. Paul’s innovative and inspiring production work gained industry recognition as the go to guy. Paul has released over 200 E.P’s himself as well as a vast amount of music for some of the most consistently underground dance labels, all prior to signing with Peacefrog Records. Paul also boasts 12″ releases on the likes of Cajual / Relief and Dance Mania which led to his debut album release, “Bump Talkin”, in 1994. “Bump Talkin” and the follow up release, “Feel The Music”, became two of the most talked about releases of their time. In 1998, Paul Johnson released his dance floor killer “Get Get Down” which sold over 3 million copies worldwide. “Get Get Down” was an international mega hit; its smooth melodic beats could be heard in clubs from Chicago to Ibiza, quickly gaining crossover success. Paul achieved record book notoriety, earning him a spot in the Guinness Book of World Records, for the most said word in a song. “Get Get Down” was also licensed on more than 100 CD and house compilations worldwide. Since good music stands the test of time, “Get Get Down” still has an infectious body moving effect on dance floors all over the world. With Paul Johnson you receive electrifying performances and an unwavering commitment to excellence crediting him the respect of both fans and peers alike. Paul Johnson unsurpassed crowd pleasing capabilities have made him one of the best DJ’s to come out of Chicago, packing dance floors all over the planet. This living legend doesn’t seem ready to stop anytime soon, his remix work for Destiny’s Child, Jon B, Ce Ce Peniston, Daft Punk, D.J Sneak, K-Alexi, Stacy Kidd, Joey Beltram, Green Velvet, Armando and Ron Trent, just to name a few have made its way into all the big jocks boxes and remain there to this day. His distinctive rhythmic and soulful sound is what keeps house music fans craving for more. As a seasoned artist, Paul Johnson has released singles which all have made it to many countries top 50 billboard’s and higher. Continuing to do what he was born to do, in February 2010 Paul released “Sound of P.J.” on Mindtravel Recordings Italy and “World Feel It – So Much” on Sonrisa Records Australia. His latest releases are already satisfying his enormous yet growing fan base and are being played in clubs nationwide. “He’s a hit making machine” say’s Yello Records CEO Bob Sinclair and he’s shown so many artists the way. Much respect to everything that Paul Johnson has done and is going to do for house music. During 2010, Paul Johnson will be celebrating his 25th year in the music industry by creating a special 25th year DVD. Promoters have a chance to bring this tour to their homes and be a part of house music history.