Henry Street Music, a reference in the industry
The legendary New York house label Henry Street Music becomes 25! Formed in Brooklyn back in 1993 by Johnny “D” DeMairo and Nicholas (“Nicky P.”) Palermo Jr., they became a reference in the industry. Putting out records from the likes of Todd Terry, Kenny Dope and Armand Van Helden they sure became one of the key exponents of New York deep house in the ’90s
A quarter of a century demands an interview. We sat down with label owner Mr. De Mairo about the past 25 years, the changes in the music industry and their fantastic music of course.
Connect with Henry Street Music on Soundcloud | Mixcloud | Twitter | Facebook | Instagram
Henry Street Music over the years
25 years in business. Congratulations! How does it feel?
“It feels great.” I can’t believe it’s been 25 years. It seems like it was yesterday when I had the thought and turned it into reality.
How are you going to celebrate this giant milestone?
Not really sure, we’re trying to get some international gigs together where different DJs and Producers who have recorded for the label get together and play music.
Maybe tell us a bit about the organization. I am sure this is not a one-man show. Who is doing what?
At this point, I do it all. In the beginning, I was distributed by Northcott Productions and had more staff. At this point, I sign music and put it out and get it to where it needs to be. I now work with someone who takes my music and gets it to the proper outlets. Since it has become a digital world, most of the work is done over the internet, but my strength has always been A&R and I have always been very concerned about the face of Henry Street Music and the legacy. I never signed music to make a quota or to satisfy shareholders!! It has always been about the music.
Prior to starting a record label, what did you do?
Before starting the label, I worked at an independent promotions company where I worked all genres from Dance to Rap. I took that company from one place to another. I made major contacts from all around the world and worked 20 hour days.
Let’s go back in time. How did it all start out for you 25 years ago? What have been the main reasons to create your label back then?
I was working at the promotions company and Tommy Musto and I were very close friends. We had met years before when I was DJing at a club in Staten Island, New York; where he would come with his artists who were performing at the time. Tommy Musto and I used to hang out almost every night of the week, and on Wednesdays, we would go to The Sound Factory Bar. One night after I was talking about how I felt the House Music scene and labels at the time were hitting a wall, he told me that I should start a label with my vision and that he would do pressing and distribution. A few months later, my label was born. We did our deal on a handshake.
Did you focus on one specific sound or where you open for multiple genres?
My vision was about Disco House. I felt that house labels were putting out boring and very generic sounding records. I have always been a Disco guy so, my philosophy was, if I could take a groove that was 20 years old, I can get 20 more years out of it after it was modernized. The formula worked and many labels followed the Disco House movement after Henry Street Music was born.
I have always been a Disco guy so, my philosophy was, if I could take a groove that was 20 years old, I can get 20 more years out of it after it was modernized.
A lot has changed in those 25 years. What have been the best changes and the worse in the industry for you?
A lot has changed. Obviously going from physical to digital has been a major change in the music business. The good thing about the changes has been that most of the day-to-day things that took a staff, can now be handled over the internet with a lot fewer people. The bad thing is that everyone today is a DJ and a Producer and people are making music in their bedrooms, on their phones, etc. The art and talent, I feel, has been compromised with the technology and there really haven’t been many hits in Dance Music in the last 15 years. When I say “hits”, I mean across the board hits.
Today, there are 100s of genres of House Music. To get the DJs on the same page, or playing and focusing on 1 song, is impossible. The promotion and marketing aspect of the business is gone. Today, all of these social media people are guessing what the next thing will be and what will help. The truth of the matter is that most labels, especially The Majors, have never fully recovered from the “Napster” situation. Basically, all The Majors do is demand money from anyone who is sharing music but, they still have not got a grip on it and it trickles down to the independent labels.
Is there a moment in time of which you can say ‘Those were the days’?
I can say that the mid 90’s were very healthy. At the time, you had a lot of dance radio stations in the U.S., and Europe was on fire with House Music. The club scene all over the world was happening in a big way. DJs were more focused and records were being broken. Another key factor was that many producers were using different gear, so the demos and music being shopped around for was different. It was exciting and experimental and technology was moving slower, producers were working harder and being more creative.”
I can say that the mid 90’s were very healthy. At the time, you had a lot of dance radio stations in the U.S, and Europe was on fire with House Music.
If you could snap your fingers and dramatically change some aspect of the music industry, what would you do?
I would try to make the Dance/House scene come together in the same way Hip Hop has. I have been preaching this for years but, if a Hip-Hop song is hot, all Hip-Hop DJs play it everywhere. Today, we have thousands of house DJs playing their own music and it is not leaving each of their respective club gigs, so breaking a dance record is impossible.
Today, we have thousands of house DJs playing their own music and it is not leaving each of their respective club gigs, so breaking a dance record is impossible.
You have been releasing some fantastic music over the years from renowned artists by the likes of Kenny Dope, Lil’ Louie Vega, Todd Terry, Terry Hunter, DJ Duke, DJ Sneak and Armand Van Helden. Absolutely fabulous. How did you manage to get these awesome masters aboard?
Fortunately, I have had great relationships with many of the biggest names in the business over the years and I have been very lucky to have many big name guys give me music to release. My label has always been run like a family. I have pretty close relationships with them all and I continue to look forward to new music from each of them. Today, most people have their own labels so it’s harder to get them to give up anything as they are all building their own brands, which is understandable.
Looking at fresh talents? What is the one thing, being a skill, personality, sound, … that would make you sign a new artist?
To me, with music, it’s a quick thing. I am not interested in the look or the social media or anything that could be manipulated; I’m not into the smoke in the mirror thing. It is in the music. I can listen to a track for 30 seconds and know if it is something that I want to be involved with. I have been very fortunate to be behind some of the biggest records of the 90’s like Everything But The Girl – “Missing”, Tori Amos – “Professional Widow”, The Bucketheads – “The Bomb”, and Armand Van Helden -“The Funk Phenomena” to name a few. I have a good ear and know what I like. Having said that, and having sold millions of records worldwide, I have put out records on my label that I love that have only sold 500 copies. As a label owner and A&R guy, I always hope that what I hear and feel will translate, but a hit record is a mini-miracle. If it was an easy process, there would be more hits!!! So, what I am looking for is something creative, good groove and something I cannot create myself in 10 minutes. I also produce, so when I get music sent to me, it is important to move me in a way where I feel like “wow, I didn’t see that coming”, and I wouldn’t have done that.
I’m not into the smoke in the mirror thing. It is in the music. I can listen to a track for 30 seconds and know if it is something that I want to be involved with.
What do you expect from your artists in your story?
I basically expect artists on my label, especially the newer ones, to know my history and want to add to it and keep my legacy alive. Most who I sign are honored to be a part of my roster and I am honored to have them. It’s a family as I said before. I am looking to be the guy that producers want to send their music that they’re excited about, as soon as they do it!!
What do you have planned for the near future and what are your long-term goals with the label?
I want to keep the label going and hope to find some new talent to rival the heavy hitters who helped build the label in the 90’s!! I would love to find the next 4 or 5 guys to build the next wave of great music for Henry Street. I would love to get involved with some club partnerships in Canada and maybe U.K, and Italy. I know there are a lot of fans and people who care about the sound of my label and what it is all about. I really want to link with new promoters with vision. I am not into the N.Y. scene, where it is all about bottle service and people on their iPhones taking selfies. I want smaller venues with people who want to sweat, sing along and feel the music.
I am not into the N.Y. scene, where it is all about bottle service and people on their iPhones taking selfies. I want smaller venues with people who want to sweat, sing along and feel the music.
I am sure you will go on for another 25 years. What would you like your legacy to be as Henry Street Music?
I feel that the first 25 years have been great. They’ve taught me a lot and have brought many people great memories around the world, and of course, I would love to keep going for another 25 years. One really good thing about music today is that, with technology, there are millions and millions of people being turned on to music every day and it is spreading faster and to more people today through streaming and YouTube, etc. The possibilities are endless as to how many people can be reached and that is very important. Years ago, you would press 1.000 copies of 12″ vinyl and hope to get some re-orders, and that was it. Today, every day is a new opportunity to spread the music and we are not at the mercy of buyers who then sell to vinyl retailers.
Thank you very much!! Good luck with the next 25 years to come.
