Four on Four | SoCal's best house and EDM mixes by DJ Alexander

Trance Wax (1)
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Feel & Papulin (1)
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Carlos Adonis (1)
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BT & Tritonal (1)
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NoMosk & Alpha Force (1)
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Mauro Picotto (1)
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Mauro Picotto (born December 25, 1966) is an Italian electronic music producer and DJ. Previously a member of the Italian eurodance group, Cappella. He became well known as a solo artist with techno-trance tracks including "Komodo" (2000), "Pulsar" (2001, with new mixes in 2002) and most famously for "Lizard" (1999, remixed in 2000). He has collaborated with other techno-trance musicians such as Tiësto and Mario Più. He now promotes his own techno club night, Meganite (named after an early 21st century track of his), which has run for consecutive years annually since 2005 at Privilege Ibiza. He now produces under his own record label, Bakerloo. Born in the Italian town of Cavour, near Turin, Picotto was raised in a family of stonemasons and dancers. His father ran a mason's yard called CRW, a name Mauro would later use as a pseudonym for his trance side-project. Picotto longed to start making his own productions, but felt that to be successful he must first become a DJ. After winning the Walky Cup competition on national TV, an event for the top DMC[clarification needed] DJs in Italy, he met with Daniele Davoli who was there to promote his Black Box single "Ride On Time", and this led Picotto towards record producing. His first track "We Gonna Get", produced under the name RAF, became a Top 20 hit single across much of Europe. Another RAF release followed, alongside remixes and co-writing credits for Clubhouse (who had a European hit with "Light My Fire"), Cappella (best known for rave hits like "U Got 2 Let The Music" and "Move On Baby") and the 49ers. A track released under his own name, "Bakerloo Symphony", ended up being Number 1 in Italy for eight weeks. Also in 1996 Picotto became a partner in Media Records alongside Gianfranco Bortolotti. 1998 saw the release of the gatecrasher anthem, "Lizard (Gonna Get You)". The track ended up being a Top 30 hit in the UK Singles Chart - and was followed by two further instalments in the reptilian trilogy: "Iguana" (#39) and "Komodo (Save a Soul)", which would give Picotto the highest UK chart position of his career - #13. This would see him make his only solo performance on BBC Television's Top of the Pops. Picotto was the first DJ to mix live on the show. Later tracks he was involved in also made an impact on the UK chart. "I Feel Love" - released under the pseudonym CRW - reached #15 in 2000, whilst "Communication (Somebody Answer The Phone)" - which he produced alongside Mario Più - reached the UK Top 5 at the end of 1999. His remix of "On The Beach" by York, also helped to propel that song into the UK Top Five in Spring 2000, when it was selected by the record company - Manifesto - to be used as the official radio edit. Two solo albums, The Double Album (2000) and The Others (2002), followed, as well as remixes and productions for Freddie Mercury, Jimmy Somerville, the Pet Shop Boys and U2. Upon leaving Media Records in 2002, Picotto formed Bakerloo Music, as well as a new label Alchemy, releasing several club tracks, including "New Time New Place" and the "Alchemy EP". That same year he launched his Meganite party at the Miami Winter Music Conference. In 1995 Mauro headlined the Radio 1 big weekend in Sunderland, in front of 1000's of people, one of Radio 1's highlights!!!! Picotto has more recently released several Meganite Ibiza albums on a new label Big In Ibiza. Picotto's 'Meganite' party is held every Wednesday at Ibiza'a Privilege club.

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Warrant (1)
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Warrant is a glam metal band from Los Angeles, California that enjoyed its greatest success in 1990 with the album 'Cherry Pie'. Spearheaded by frontman Jani Lane, the band's brand of metal was often loud, cheesy, sex-obsessed, and usually delivered with a mischievous sense of humor. The generally lighthearted band became known for raucous party anthems (such as "Down Boys" and "Cherry Pie") but also featured a versatility producing sentimental, melodic power ballads (such as "Bed of Roses", "Heaven", and "I Saw Red"). Formed in 1984, the group endured several line-up changes and soul-searching before coalescing around vocalist Jani Lane, guitarist Erik Turner, guitarist Joey Allen, bassist Jerry Dixon, and drummer Steven Sweet. In January 1988, Warrant signed a contract with Columbia Records. They then released their debut album, which they titled 'Dirty Rotten Filthy Stinking Rich'. Although coming in at the tail end of the 80s pop metal boom, their tuneful rock brought them some critical and commercial acclaim, the album reaching the #10 slot on the Billboard 200 top albums chart. The band's second record, 'Cherry Pie', was released in March 1990, and spawned the hits "Cherry Pie", "Uncle Tom's Cabin", and "I Saw Red". It reached the Top Ten in the United States, and went on to sell over three million copies. The group found the title song, written by the band under studio pressure with the lyrics literally composed on a pizza box, a 'throw-away' type tune, giving them a commercial breakthrough. Yet their other tracks showed a desire to branch out into diverse subject matter and styles. For example, their southern rock inspired track "Uncle Tom's Cabin" alludes to the famous 1852 novel on racial divisions and features lyrics discussing shocking, covered-up murders while power ballad "Bed of Roses" discusses a romance beset by poverty and struggles reminiscent of Bon Jovi's "Livin' on a Prayer". Through riding high after their multi-platinum success and passionate touring, the band found itself in the middle of the rise of alternative music in the early 90s. In 1992, Warrant released 'Dog Eat Dog'. The record, an attempt by the band to evolve in the face of changing musical trends, received some critical acclaim but achieved only moderate commercial success. Single "Machine Gun", the title alone showing the change in direction, still managed to reach the top 40 rock charts. After this, the band would begin a long string of member changes, including even singer Jani Lane leaving the band briefly. Lane achieved some small success producing work without the group, doing some covers of other hard rock and metal bands. He would then return before the band released 'Ultraphobic' in 1995 and 'Belly to Belly, Vol. 1' in 1998. These were released on a smaller label and featured a new darker sound. Neither album would remotely come close to the success of the earlier albums. A live album and an album of re-recorded classic tracks as well as an all-covers disc, titled 'Under the Influence', followed these. Jani Lane would once again leave the band in 2004. Ironically, all the other original members would return to the band the same year. Vocalist Jaime St. James, known for serving as the frontman of Black 'n Blue, would take over as singer. In 2006, Warrant released 'Born Again', which was their first album to not have Lane on vocals. On May 12, 2017, Warrant released their ninth studio album, Louder Harder Faster with their new and current vocalist, Robert Mason,

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Filter (2)
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Sammy Hagar (1)
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Dirt Devils (1)
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Mike EFX (1)
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Will Atkinson (1)
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Days Of The New (1)
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Goo Goo Dolls (1)
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The Goo Goo Dolls are an American rock band formed in 1985 in Buffalo, New York, by vocalist and guitarist John Rzeznik and vocalist and bass guitarist Robby Takac. Since the end of 1994, Mike Malinin has been the band's drummer, a position previously held by George Tututska. Although renowned for their commercially successful 1998 single "Iris", they have had several other notable and popular singles include "Name" from 1995's A Boy Named Goo, "Broadway", "Black Balloon" and "Slide" from 1998's Dizzy Up The Girl, which produced five top-10 singles, and "Here Is Gone", "Sympathy" and "Big Machine" from 2002's Gutterflower. The Goo Goo Dolls have 14 top-10 singles and have sold more than ten million albums worldwide. The band's original line-up included John Rzeznik (vocals, guitar), Robby Takac (vocals, bass guitar) and George Tutuska (drums, percussion). In the beginning, John would not sing, due to his shyness. Takac and Tutuska had been long-time friends in school and met Rzeznik while he was playing in the band The Beaumonts with Takac’s cousin. The trio picked their name from a True Detective ad for a toy called a Goo Goo Doll. "We were young and we were a garage band not trying to get a deal. We had a gig that night and needed a name. It's the best we came up with, and for some reason it stuck. If I had had five more minutes, I definitely would have picked a better name" John stated. With Takac as their lead singer, the band released their first album, Goo Goo Dolls in 1987 on Mercenary Records, but was picked up in 1988 by Celluloid Records, a larger record company. They would play around Buffalo's underground music circuit opening for punk bands such as SNFU, Dag Nasty, ALL, and DRI and playing with fellow Buffalo bands. The band released its second album, Jed, in 1989 after moving to Los Angeles. The band released its third album, Hold Me Up, in 1990 and featured Rzeznik as the lead vocalist on five tracks, including the single, "There You Are" - as well their then concert favorite, Two Days in February. Despite being earlier dismissed as having a sound too similar to The Replacements, as well as being embraced by local college radio and punk scenes (including playing such venues as CBGB), the Goo Goo Dolls' third release had incorporated elements of heavy metal, pop rock, and punk rock. In 1991, the song "I'm Awake Now" was recorded for the soundtrack of Freddy's Dead: The Final Nightmare. Superstar Car Wash, released in 1993, received significant media attention. The critical success and encouraging sales of their last album resulted in a larger budget from Metal Blade Records. The album was partially recorded in Metalworks Studio in Mississauga, Ontario. "We Are the Normal" (the single for which Rzeznik asked frontman Paul Westerberg of The Replacements to write the lyrics), received a major push toward play on college and independent radio, while its video was displayed on MTV's 120 Minutes program. "Fallin' Down" made it onto the 1993 soundtrack of Pauly Shore's hit film Son in Law.

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The Airborne Toxic Event (1)
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Fabio Papa (1)
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Nick Hook (1)
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Franck Roger (1)
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The Smithereens (1)
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Dressed in leather, brandishing heavy guitars, and exhibiting an unabashed fetish for British Invasion pop, the Smithereens were an anomaly in the American college rock scene of the late '80s. Lead singer/songwriter/guitarist Pat DiNizio stood out not only with his strange beatnik goatee, but also because his catchy hooks were haunting, not punchy, and because his lyrics were morose. As time wore on, the group became more straightforward, turning into an excellent bar band, one that attacked pop songs with the weight of AC/DC. A few hits followed, but the Smithereens seemed hopelessly out of date in the alternative rock explosion of the early '90s, and they quietly faded into a working cult band. Beauty and Sadness Of course, the Smithereens essentially started out as a working band. After playing in several cover bands, including a handful of prog rock and metal groups, DiNizio was inspired to form his own band after listening to Buddy Holly. Placing an advertisement in a New York paper for musicians influenced by Holly, Nick Lowe, Elvis Costello, and the Clash, DiNizio eventually came into contact with New Jersey high-school students Dennis Diken (drums), Jim Babjak (guitar), and Mike Mesaros (bass), who had all played together in school. By the end of 1980, they had independently released Girls About Town, an EP featuring four songs with "girl" in the title that was a moderate local success. For the next three years, the group played around New Jersey and New York, not releasing another record until 1983's Beauty and Sadness. While the EP earned some play on college radio and received a positive review in Rolling Stone, they still had trouble gaining an audience, so they began supporting traveling oldies artists like Otis Blackwell, with whom they recorded an album's worth of material, and the Beau Brummels. Especially for You By 1985, the Smithereens were growing frustrated by their lack of progress, as most of the demos they sent to labels were ignored. They did send a demo to Enigma, where Scott Vanderbilt, a former college DJ who was a fan of the band several years earlier, signed the group. In 1986, the band released its debut album, the Don Dixon-produced Especially for You, to positive reviews. On the strength of college airplay, as well as MTV's airing of "Blood and Roses" -- a video financed by a film studio that included the song in the B-movie Dangerously Close -- the album became a moderate hit, climbing to number 51 on the charts and leading to a major-label contract with Capitol. the Smithereens supported the album with an extensive tour, and they recorded their second record weeks after they left the road. Green Thoughts Green Thoughts appeared early in 1988, and the first single, "Only a Memory," not only became a college and modern rock hit, but it crossed over to album rock stations as well. the Smithereens made their attempt for big-time album rock success with their third album, 11. Hiring producer Ed Stasium brought a heavier guitar sound, which made "A Girl Like You" -- a song rejected as the theme for the comedy Say Anything -- a Top 40 hit, sending 11 to gold status. "Too Much Passion," the first single from their fourth album, Blow Up, indicated that the new record was more adventurous and produced, and the single did become a Top 40 hit, yet the album itself failed to replicate the success of its predecessor. Date with the Smithereens Blow Up was their last album for Capitol, and they moved to RCA for 1994's A Date with the Smithereens, their first album since Green Thoughts to be produced by Don Dixon. By that time, the alternative and mainstream rock scenes had been heavily altered by grunge, which essentially left the band without an avenue for their records to be heard. The album bombed, but the Smithereens retained a sizable cult following that helped them tour successfully into the late '90s. In 1995, they released a pair of compilations, the hits package Blown to Smithereens and the rarities collection Attack of the Smithereens. God Save the Smithereens After a five-year recording hiatus, the group returned to the studio for 1999's God Save the Smithereens. Another series of compilations and live recordings appeared between 2000 and 2006, with Meet the Smithereens! arriving the following year along with a holiday album, Christmas with the Smithereens. Live in Concert! Greatest Hits and More, recorded at the Court Tavern in New Brunswick, NJ, appeared in 2008. Two tribute albums would follow, with B-Sides the Beatles arriving in 2008 and The Smithereens Play Tommy following in 2009. In 2011 they issued Smithereens 2011, their first album of original songs in 11 years.

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Dorothy (1)
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Machine Gun Kelly (1)
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Barr & Winchester (1)
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Dex & Nik C (1)
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Tony De Vit (1)
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Tony De Vit (/dəˈviː/də-vee; 12 September 1957 – 2 July 1998) was a British club DJ, Producer and Remixer and one of the most influential of his generation. He was credited with helping to take the "Hard house" and fast "Hard NRG" sounds out of the London gay scene and into mainstream clubs. His single "Burning Up" reached number 25 in the UK Singles Chart in March 1995, with "To The Limit" making number 44 in September 1995. Tony de Vit began DJ'ing at the age of 17, as a wedding DJ in 1976 playing at local pubs in his home town of Kidderminster, followed in his early 20s, by his first residency at the 'Nightingale' in Birmingham on a Monday night where he played pop and Hi-NRG. His Monday night slot progressed into midweek Wednesday nights and then to the main Friday and Saturday night slots. In a relatively short space of time de Vit, through his talent and the diversity of his music, had taken the 'Nightingale' from a kitsch gay haunt to a respected club. During the early 1980s, he worked at Wolverhampton's Beacon Radio, playing club tracks during a regular late-night slot on the 1922 show hosted by Mike Baker (now with Smooth FM). Tracks from Bobby Orlando and Patrick Cowley featured heavily. It was around 1988 that London's infamous Gay, Superclub, 'Heaven' was looking for an alternative DJ. After some persistence, Tony landed the gig there and every other Saturday night he would play the main floor along with his residency at the 'Nightingale'. 'Heaven' was the epitome of the gay club scene and Tony found that his lifestyle fitted in perfectly with this scene; at the time gay clubs were musically way ahead of their straight counterparts and were heavily influenced by the New York disco scene. Gay clubs became very much a pivotal point in the development of today’s Dance Music culture, where Hedonism, Sexuality, Race and Gender unite as one for the cause of dance music. While de Vit’s set at 'Heaven' was rapidly establishing a reputation for itself, 1990 saw another pioneering and soon to be influential club named Trade emerge onto the scene, which was promoted by the then unknown Laurence Malice & Tim Stabler. De Vit heard good reports about 'Trade' and so one night went there. From the moment he walked into the club, de Vit couldn't believe what he was hearing, he went onto the dance floor, mesmerized by the music and loving every minute of it! Not one to do things by half measures, Tony transformed his record box overnight to this new style of music. The following week Tony turned up at the 'Nightingale' and began to play the entire contents of his new-found record collection like a kid with a new toy. The club told him that he was nuts, and gave him an ultimatum, change the music or leave, to which Tony said, 'I’m not changing the music, this is the way forward'. His comments ended a ten year residency that had become a Birmingham clubbing institution and de Vit had become a local Icon and a legend on the gay clubbing scene. In around 1990/91, de Vit focused on his residency at 'Heaven', and was a regular visitor to 'Trade', where he began to bombard the promoters of 'Trade' with tapes of his sets. Eventually, after six months of persistent harassment, they relented and allowed de Vit to stand in one night for Smoking Jo. Tony graced the decks, placed the needle on the record and in his own words 'the place went crazy!'. After that outstanding performance, de Vit landed his very own residency at 'Trade' and firmly established himself alongside the likes of other 'Trade' luminaries such as Malcolm Duffy and Daz Saund. By now Tony was perfectly content, he held one of the most prized and prestigious slots...a residency at 'Trade'. It was also around this time that House music had begun to evolve into the dance music culture it is and was to make a significant impact on British society with the advent of the phenomenon of Illegal Warehouse Parties and raves. The parties became the subject of national media interest and pressure came from the government for the local police forces to close down the raves and confiscate the sound systems. In around 1992, the illegal Raves moved into the clubs in a bid to legalise the scene. One of the pioneering figures of the burgeoning house music scene at this time was a Birmingham promoter called Simon Raine, who took a very keen interest in Tony’s career. It was Raine who put Tony on the bill alongside Fabio and Grooverider at 'The Institute' and encouraged him to make 'in roads' into other house parties. Up until this point Tony had predominately played in the gay club scene but Raine, who today is one of the most successful dance music promoters on the scene with his infamous 'Gatecrasher' club nights, had a few words of wisdom and support for de Vit when he told him 'You are going to go all the way and be a huge success'. It was not long before various other nights began to spring up, the most significant being the 'Chuff Chuff' events which were run by the Ryan brothers. One night Tony got a call, the Ryan Brothers had rung to see if he would play after Sasha. Tony was well aware that Sasha was a hard act to follow, but as usual, he pulled it off! In 1992, Tony de Vit met with an unknown music engineer called Simon Parkes. Simon brought a tape to Tony and, as he recalled at the time, '...the tracks were so so and quite commercial, but the sounds and quality were great. I knew that Simon had got something to offer and there was huge potential, I just had to find it, focusing on my perspective as a DJ with a feel for the music and Simon’s perspective as an engineer in producing the sounds and the quality'. It was at this time that Tony de Vit recorded (in Simon’s bedroom) and released his first record 'Feel the Love (Don't Go Away)' which was well received on the club scene. His second release was a track called 'Higher & Higher' (with disco diva Norma Lewis ), which became the future benchmark for de Vit & his V2 concept, but it was de Vit’s track 'Burning Up' that took everybody by surprise. This record was the catalyst in firmly establishing de Vit’s name and a new style of music. The track went straight in at No. 24 in the UK Top 40. It was at this point that everything changed, he went from being a DJ and a 'one man operation', to a huge company overnight. The DJ bookings began to flood in for both the UK and overseas, and in 1995 Radio 1 contacted him for his first 'Essential MIx'. At the same time record companies also recognised de Vit’s unique ability and talent and remixes were soon flooding in. The Tony de Vit treatment has been a significant factor in the hugely successful dance music compilations album market. Tony featured on no less than twelve of the top dance mix Albums, including, Fantazia 'House Collection Volume 2' and the 'Remixers' album, Sound Dimension’s 'Retrospective of House' Volumes 2 & 4, Boxed’s Global Underground series 'Live in Tel Aviv', 'Live in Tokyo' and the memorable 'Live in Handsworth Wood'(joke!), 'Kiss mix 97', the very sought after 'Trade' Volumes 1 & 3, and the international release, 'Trade Global Grooves'. With the launch of Jumpwax Records in 1996, Hard house music in the UK became more mainstream with tracks like 'Are You All Ready' and 'I Don’t Care' beginning to receive major radio play and very impressive sales figures upon release. Following the demise of Jumpwax Records in 1996, we saw the launch of TDV Records, which saw the release of the classics, 'Bring The Beat Back' and 'Get Loose'. Even today, as we step into the new millennium, all of these releases are still being played by DJ’s the world over. In 1996, Tony went on to play at all the major dance clubs/events in the UK, including, Legacy @ The Manor in Ringwood, Slinky @ the Opera House in Bournemouth, Cream, Gatecrasher, Godskitchen, and Creamfields, this together with his worldwide bookings, led to a punishing DJ schedule. With the help of his 'Kiss 100' show in 1997 his popularity grew and in 1997/98 he was ranked number 5 in DJ Magazine Top 100 DJ's in the World; In the early part of 1998, he recorded the anthem 'The Dawn' with Paul Janes and Andy Buckley, which was part of the six track 'Trade EP'. Tony went on to comment that '...he was very proud of it...' considering (for the first time) he was working with a new & different engineer. Paul Janes went on to remix 'The Dawn' as a personal tribute to Tony’s work and special understanding to his music genre, and again, after 5 years, the track is still played with many considering it to be his best work. In the last four years of his life Tony’s reputation was propelled to critical acclaim within 'clubland' and the record buying public. He had a string of awards and nominations to his name, including, Mixmag's '2nd Best DJ of the Year 1996', and M8 magazine's 'Best DJ of the Year 1996'. He was nominated for the 'Best New DJ' in the Musik Magazine's 'Saints and Sinners' awards, 'Dance DJ of the Year' (Molsen BEDA Awards) and 'Best DJ' International Music Awards. He was selected by Music Week as 'Top Remixer of 1996' and his remix of Louise’s 'Naked' earned Music Week’s vote as the 'Ground breaking Remix of 1996'. This, coupled with his two top 40 successes, 'Burning Up' and 'To The Limit', and more than 20 remixes entering the UK top 40, proves what a ground breaking star he was.' Between 1994 and 1998 his popularity with the clubbing public was rivalled only by scene stalwarts such as Paul Oakenfold and Carl Cox.

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The Freak & Mac Zimms (1)
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