MAGNET - October 2004

"Q: What do you get when you cross an Anglo in dreadlocks, doodles from the Dead and a backbeat that's more rave than indie? A: Perry Farrell's Coachella set or a record that would never see the light of day in MAGNET. Until now. DJ Harry is from Boulder, Colo.-better known for its university's colorful football program than for the sort of Rocky Mountain High heard here-and first made the backpack set's radar via 2001 debut The String Cheese Remix Project, an hour-long continuous house mix composed of samples taken from the SCI's voluminous live archive. This left DJ Harry in a category largely of his own making: jam house. Collision is DJ Harry's follow-up and easily bests his inaugural release; the album travels a quietly funky path (the first three cuts are extremely strong, with "The Monkfish" providing a dash of Screamadelica's stoner-beat ambience) and grooves in a fashion familiar to fans of fellow house savant Mark Farina. But it's his collaboration with singer Lissie on "All My Life" that will garner all the attention; lithe and sexy in a Morcheeba sort of way, the track is custom built for the summer, whether it be with drink in hand and sunset ahead or hand in hand and bed behind." - Corey duBrowa

CMJ Chart - August 2004

Reuters/Billboard - October 2004

NEW YORK (Billboard) - Throughout the '90s, numerous DJs, remixers and producers evolved into full-fledged artists with proper albums. Among the more successful were Frankie Knuckles, Armand Van Helden, David Morales, Fatboy Slim, Todd Terry, Masters at Work and Paul Van Dyk. Now, despite the state of today's music industry, several DJ/producers are forging ahead with their own albums, hoping to move from the underground club scene to the mainstream -- just as their predecessors did. "Because of how the industry is today, it's probably the worst time for a DJ/producer to release an artist album -- particularly when, historically, artist albums from club DJs and producers have not been as commercially successful as their DJ-mix-CD counterparts," says D:Fuse, whose debut album, "Begin," arrives Nov. 2 from System Recordings. While this is often true, it does not appear to deter those club DJs and producers who have a strong desire to take their careers to the next level. DJ/producers Robbie Rivera ("Do You Want More," Ultra), DJ Harry ("Collision," SCI Fidelity) and DJ Sneak ("Housekeepin'," Magnetic Recordings) already have released artist albums. Still to come are CDs from the Scumfrog ("Simmer," Effin, Oct. 5) and DJ Jackie Christie ("Made 4 U," Motema Music/Radikal, Oct. 26). Patrick Moxey, president of Ultra Records, acknowledges that it can indeed be a challenge to market albums from artists who are primarily known as DJ/producers. "The role of the DJ has been changing over the years," Moxey says. "They started out with a box of records, playing in a club. Then they began remixing records, which paved the way to production work." At a certain point, he adds, "some of them reach a higher standard and want to create a proper album. Of course, the big test is whether or not they are more than a DJ and a producer of club tracks." To illustrate, Moxey points to Van Dyk, who is an accomplished DJ as well as a classically trained musician. On his album, the Scumfrog plays all the instruments and -- unlike the others, who work with singers -- handles all vocal duties. "After hearing BT sing on his last album, I realized that I wanted to do the same thing," he says. "In this way, it is completely artist-driven." But the Scumfrog says that since he's "not really a singer," he had to devise "personality-driven vocals." Richard Bridge, Virgin Entertainment Group music product manager for dance and singles, believes commercial success for these artists depends on their backgrounds. "The artists that stand out are the ones that come from a musical, and not just technical, background," Bridge says. He also mentions Van Dyk. "Paul translates well to a consumer viewpoint. Still, exposure is key." For most dance/electronic DJs-turned-artists, who receive little or no radio airplay, this means nonstop touring. "We are accustomed to playing in clubs around the globe," Rivera says. "But now, in addition to giving people a good time, we're promoting our own albums." - Michael Paoletta -- Reuters/Billboard

Groove Radio - September 2004

"For all the twirling, swirling live music disciples who now find themselves pumping their fists in crowded superclubs, DJ Harry is the missing link. His full-length artist album, Collision, is the bridge that funky progressive house rhythms and groovy strings and horns built. Part of SCI Fidelity Records, home to experimental jazzy rockers the String Cheese Incident, Collision acts like a mini-set of the merging of Coachella and Bonnaroo. One moment it’s sprawling by the pool, floating in the cocktail with a kick called “Tragedy in Blue.” Next it’s skipping through a dense forest of melody and the lovely vocals of Lissie on “All My Life.” There are 10 magical musical moments in all on Collision, bringing together the best of live instruments and electronic pulses. The result is a collection perfect for bumping in the parking lot boom box or for pouring through the speakers at the Delano." - Gena Nason

Atomic Life - September 2004

"Three years after making The String Cheese Remix project, DJ Harry slides back up in your face with Collision. The title cut swoops down on the listener with an inviting acid house style but gets a tad too busy with guitar plinking at points. "Tragedy in Blue," however, is a bouncy little number that's tied in the middle with a horny bridge -- it just rolls along. Other highlights are "Shadows," which slinks along like those two Siamese cats in 101 Dalmatians, while "The Monkfish" is a dubby slice that would make Mikey Dread and Soul II Soul's Jazzy B both smile. The best tune of the set is easily "All My Life," which features the vocals of the newcomer Lissie who's easy on the ears. The track is reminiscent of the Nelly Furtado sprinkled with the Disposable Heroes of Hiphoprisy, without all the little birds and political angst. Archeologists would call an album that sounds like this an OOPA (out of place artifact) because although it sounds as if it was cut in some smokey studio on either coast,. In fact, DJ Harry was landlocked in Boulder, Colorado while creating his brew, a great album to check while cuttin' in the crib." - (CP)

JIVE Magazine -October 2004

JIVE Magazine Rating: 4 out of 5 stars

AudioVideo Revolution - November 2004

"The hip DJ Harry is from the most un-urban city of Boulder, CO, and his house-derived music also bares little similarity to much of what blasts through the club speakers of today’s hallowed dance music scene. He works with approximately 15 musicians here (live ones, not sampled) to help create an organically funky-jazzy album. You’d almost expect that -- what with a title like Collision -- this recording would underscore some imaginary intersection between DJ mixing and actual live playing. But such a cross-pollination is not the purpose here. Instead, this release sounds a whole lot like a loose musical jam session, more than anything else. Harry’s previous release, The String Cheese Remix Project, should have given listeners a few clues about where this adventurous cat was heading with his muse. Listening to this release makes one picture a one-man jam band, standing behind a turntable. The disc starts off with “Collision,” which is a nice burbling, bumping bass-driven jazz-funk track. Such funkiness is repeated again and again, especially on “Other Side of You,” which mainly utilizes electric guitar as its primary funkified element. “Flock,” on the other hand, sounds closer to the soundtrack for an action film, especially because of its wordless backing vocals and synth squirts. There’s more here than just smooth grooves, however. “The Monkfish,” in contrast, is much more clanky-sounding and also contains overtly echoing dub-like elements. It’s a track that even sports a wah-wah guitar section at the end, which further highlights DJ Harry’s String Cheese jam band influence. “Aquarium Man” is another noteworthy musical experiment, if you will. It contains spoken word drop-ins, in addition to funky keyboards. It also retains a sort of tropical/reggae/Caribbean feel to it, even though its beat is far more ambient than are most other island rhythms. To up the ante, there is also a jazz trumpet solo on it. “All My Life” is DJ Harry’s most striking track of all, as it features a Norah Jones-like jazzy female vocal from newcomer vocalist Lissie. The song is based upon DJ Harry’s backing tracks and random lines from Lissie’s journal. Its smooth sound is built mainly upon guitar, bass and drums and is primarily acoustic stuff. It’s a track that drops the hint that there just may be a traditional song guy living somewhere deep inside this club land dance artist. With Collision, DJ Harry is quickly outgrowing his limiting, club-centric “DJ” title. This club mixer just may have earned himself the far more respectable title of musician with this highly musical new release." - Dan MacIntosh

Jammed Online - September 2004

"Fresh, enervating, and non-synthetic are the words I would use to describe DJ Harry’s new CD, Collision, due out in stores on August 31. All ten tracks showcase his unique ability to combine danceable rhythms with authentically produced sounds from live instruments. With his current discography, DJ Harry has defied musical boundaries by interlacing the DJ’s realm of being a master of mixing sounds with a composer’s ability to piece together live instruments to create a distinctive compilation that appeals to not only house music or hip-hop fans, but also music appreciators of other genres as well. After being the only non-hip-hop DJ playing Bonnaroo in its first year, DJ Harry realized, through somewhat of trial and error, that if you incorporate other styles into your own music, you will be able to capture a wider array of fans. “In watching people’s reactions at Bonnaroo, I thought that on my next album I would focus on something more people would understand, while still appealing to house music fans.” In his current effort, DJ Harry explains, “I tried to make music that represents me, but also hit a lot of different points. It is all one vibe, one kind of energy.” While gathering the sounds that have come together to make up Collision, DJ Harry narrowed down the available tracks from one hundred to ten and brought in approximately fifteen different musicians to help with the process. Writing everything himself, his musician friends were simply there to provide their expertise in producing quality sounds, beats, riffs, and my favorite horns, to give this CD the extra edge that the live-ness of it brings. The only vocals found on Collision belong to newcomer Lissie. Her occasional lines help to provide a soothing touch to the otherwise instrumental collaboration. The Boulder-based DJ and producer DJ has once again forged the musical boundaries after his first attempt with The String Cheese Remix Project which came out in 2001. He continues to produce unprecedented work that will certainly attract fans from across musical lines allowing them to appreciate styles that they may not have chosen to expose themselves to before."

Chain D.L.K -October 2004

"You may not have heard of DJ Harry. The name is more evocative of someone you’d find spinning at the local bar on 2-for-1 margarita nite. But in the dance world, Harry’s shared tables & phones with the likes of Doc Martin, DJ Dan and Mark Farina, so you can say adios to those discount margaritas… Another thing about Harry- (and this is what elevates this DJ’s CD so far above those who come out with mix CDs that seem to scream “Let me show you what I’ve done with my record collection!!”) He’s a producer, arranger writer AND musician. And, he’s based in Boulder, Colorado. ...Boulder?? Yep, you wouldn’t expect a progressive house album like this to come out of Boulder, Colorado; then again, you wouldn’t expect a house music DJ who’s prior claim to fame was “The String Cheese Remix Project” to come up with an album as sophisticated as “Collision”. 2001’s String Cheese only hinted at where Harry was heading- the funkified monster of “Collision” shows what he’s truly capable of after absorbing as many influences as there are here. The album opens with the title track, a bass-poppin’ dance-a delic party favor that pours the funk on thick and saucy with all the right moves to keep it interesting. Sliding seamlessly into “Tragedy In Blue”, there’s a hint of downtempo as electric piano and a haunting synth line take over. It wasn’t until the 3rd track, “Monkfish”, that I realized the similarities to William Orbit here, both in style and production. Snippet guitar lines interplay with melodic percussive elements that seem to zip in and out of the nether-regions, all building to a jazz-jammy climax of sorts only to fade away. It’s not only house music, it’s head music too! The real blow-away track on “Collision” is the only real song with lyrics, “All My Life”, sung by Lisette, who’s voice resembles a laid back jazzy Bjork with a hint of Beth Gibbons. The reason why the song works so well is that it flows beautifully and effortlessly. The hook washes over you before you even realize it. Haunting and memorable, it has all the potential of a Sneaker Pimps’ “Six Underground” to become one of those classic little numbers that make you stop and say “whoa, who’s that?” By the time the mode of the music changes, you’re well into the next track subtly ushered in on a cloud of vibes. Throughout the rest of “Collision” Harry keeps the party going with a jazz-funk infused stew of great musicianship- standout guitar playing, groovy rhythms and heady electronica that jams into the wee hours. Be warned- if you don’t care for funky jazz, and prefer music borne out of the darkness, then you might want to steer clear of Harry’s place. But if you can dig that funky vibe, then you must be on a Collision course with the most refreshing progressive house-electro jazz hybrid I’ve heard so far this year." - Steve Mecca

Smother -October 2004

"That dreadlocked guy sitting next to you on some redeye from Denver to New York might just be one of deep groove’s greatest contributors DJ Harry. Calling Boulder Colorado his home might have most electronic/dance snobs stunned—one would expect this groundbreaking and genre-leading sound to emanate from the likely spots of Detroit, New York, L.A., even Ibiza, certainly not the town most talked about in a Stephen King novel. Well its DJ Harry’s marriage of the organic sounds of deep house to funky downtempo groove that will soon be generating such a large buzz in clubs in all of the aforementioned towns that it will be easily forgotten what the setting was for such a great dynamic blending. Perhaps it’s that this album was the work of 15 live organic musicians or perhaps it’s because originally DJ Harry started with no less than a hundred different songs only to release these ten that it feels as if this album is just leading us to what will be the future of club sound. Whatever the cause, the reason for justification of album obsession is larger than words." - J-Sin