ELSE July 2019 Chart

ELSE duo DJ Chart

  1. Lala &ce – Wet (Drippin’) – A4Ward
  2. Bicep – Opal (Four Tet remix) – Ninja Tune
  3. Else – Night Thoughts – L’ordre Music
  4. Ross From Friends – Family Portrait – Brainfeeder
  5. James Blake – I’ll Come Too – Polydor
  6. Oboy – Boy – Perspective Prod
  7. Moussa – Les Oiseaux – Moussa
  8. Lil Baby x Gunna – Drip Too Hard – UMG
  9. Jai Paul – He – XL Recordings
  10. Koffee – Toast (Mura Masa Remix) – Promised Land Recordings

DJs, submit your top 10 chart along with a photo and we’ll publish.

No paywalls, free to all. Help us remain 100% independent and unbiased. Please give to Big Shot by making a secure one-time donation to help us continue covering DJ culture and electronic music like we’ve done since 2003.

Gibson Returns Trademark to Synth Pioneer Tom Oberheim

Tom Oberheim Gets Name Back from Gibson

Gibson, a company known internationally for its lineup of signature electric guitars including the Les Paul and SG, announced today that it had returned the Oberheim trademark to company founder and synth pioneer Tom Oberheim.

According to a statement issued by Gibson, the move was instigated after a chance meeting between Gibson president and CEO James ‘JC’ Curleigh and Oberheim at Winter NAMM.

“Of the many stories I have heard and decisions I have made since joining Gibson, this situation seemed simple,” said Curleigh. “Let’s do the right thing by putting the Oberheim brand back in the hands of its namesake founder Tom Oberheim.”

“After over thirty years of being without it, I am thrilled to once again be able to use the Oberheim trademark for my products,” said Tom Oberheim. “I am very grateful to the new leadership team of Gibson for making this possible.”

The Oberheim company first produced the OB-X in 1979, the OBXA in 1980-81, and the OB8 in 1983, as well as the Matrix 12, Matrix 6 and Matrix 1000 from the mid-1980s.

The OB-X was used on classic albums, ranging from Rush‘s Moving Pictures and Signals to Madonna‘s debut album. Prince, Harold Faltermeyer, Van Halen and Jean-Michel Jarre were also Oberheim enthusiasts.

Gibson is coming out of a tumultuous time. After surfacing from bankruptcy in 2018 the instrument company had a reported $200 million in debt. This month Gibson announced new creative collaboration agreements with boutique guitar makers as well as the opening of its new headquarters in Downtown Nashville.

DVNO July 2019 Chart

DVNO top 10 DJ chart

  1. Cassius – Summer
  2. Boogie Vice / Too Cool For Tools S01E02 – Jack Tool The Sound Of The Underground
  3. Boston Bun – Don’t Wanna Dance
  4. E & D – Not Enough
  5. Mercer – Your Love
  6. DVNO – Chtah
  7. Krystal Klear – Euphoric Dreams (Kink Rmx)
  8. Sam Tiba -Ftt
  9. Jumpin Back Slash -Blunt Blades
  10. Sebastian – Beograd

DJs, submit your top 10 chart along with a photo and we’ll publish.

No paywalls, free to all. Help us remain 100% independent and unbiased. Please give to Big Shot by making a secure one-time donation to help us continue covering DJ culture and electronic music like we’ve done since 2003.

A Candid Q&A with Chicago House Music Legend Steve “Silk” Hurley


DJ/producer/remixer Steve “Silk” Hurley has been at the forefront of house music since the genre’s infancy in the ’80s in Chicago. Brandishing a style that holds true to the underground while embracing R&B, soul and pop, Hurley has worked with a who’s who of talent, remixed the biggest artists in musical history, and has topped the charts and received four Grammy nominations in the process.

In this revealing interview ahead of his DJ gig at House Vibrations at The Great Northern in San Francisco on July 21, Hurley retraces his beginnings, dating back to the breakout success of his 1987 classic “Jack Your Body” and his role as one-half of JM Silk, through the ups and a few downs of his storied career. He also reveals what inspires him to keep his indie S&S Records going in a changing musical landscape and his plans for the future.

Favorite memory of the early Chicago house scene

Steve “Silk” Hurley: My fondest memories of the early Chicago house scene were all the times that I played my bedroom demos from a Pioneer RT-909 reel-to-reel deck or Tascam four-track cassette recorder at parties all over the city. At times Lil’ Louis and I looked down at the crowd of thousands from the balcony DJ booth as we each played our unreleased tracks at the downtown Bismark Hotel. Other times, a thousand young teens connected with my tracks at Jam Master Jay’s events (at Glenwood Roller Rink in South Suburbs of Chicago). In either case, it was a sign to me that our new music was being embraced by the teen-aged crowds everywhere, and we needed to feed the demand in a hurry!

How he got his nickname, “Silk”

Ironically, it originated in my early teen years, before I even became a DJ. We had a neighborhood dance group that consisted of my muscular friend Reggie, called Herc, a lanky friend Rudy, whose long arms earned him the name Stretch, and me, a kid with wavy hair who they gave the name Silk. When I started learning to mix records as a DJ, I kept the Silk moniker as a reminder to me that my blends should always be as smooth as silk.

Most surprising success

Although I didn’t know the magnitude until several weeks after it exploded in the U.K., “Jack Your Body” had to be by far my most surprising success. It was created in fun and was my most experimental record ever, combining blues riffs, comedy, and a nonchalantly sung vocal sample over a house groove. I didn’t expect it to go number one on any charts. What was more surprising was JYB topping the U.K. pop charts for two weeks. It was purely an underground track to put out to be a filler track in DJ sets, which is why we came up with the label called Underground Records to release it. I even drew my own artwork just for the fun of it.

Most surprising failure

After the massive hit “Jack Your Body,” I felt like I had a few under my belt. But my most surprising failures came soon after that when many of the songs I wrote didn’t become hits. However, I realized then that it would be my failures that would actually give me long term success. In other words, the more failures I had, the more I would perfect my craft…and the closer I would come to writing another song that connected with the masses. I also found out that sometimes those failures weren’t failures at all. They were just songs that were ahead of their time. It may be years later that a song becomes marketable. From that point on, I have always embraced each failure as a learning experience that made room for the next success. Continue Reading