FRANKIE BONES

KING OF CRATE DIGGING: I know the whole concept of digging in the crates is reserved for the hip hop heads, but I got news for you. I moved 46,000 records from the East Coast to California. I owned Sonic Groove with Adam X & Heather Heart for 15 years and we were known world wide as being the best source for Electronic Dance Music of all genres. I still continue this tradition by selling rare and out-of-print DJ's for up to 80% less then Average Market Prices. My range of knowledge in the 12" history is second to none.
Some of my original parties and events which were amongst the first on both coasts of America and the largest (40,000) in the U.K. STORMrave which was my vision gave many the first true experience of Underground Warehouse Parties and featured world class DJ line-ups which included Richie Hawtin, Sven Vath, Moby, Doc Martin, Keoki, Lenny Dee, Josh Wink, Casper Pound and countless others.
When techno became popular in America, it was not the music which made it popular. I found myself transplanted into a scene the only existed across an ocean in The United Kingdom. It was first exclusive to Britain but spread throughout Europe in a matter of months. The Rave Scene in 1989 was something special to all who were there. It would take me three years to solidify what I experienced during 1989. The American Rave Scene may have started on the West Coast, but I also had found myself right at the start of the Los Angeles Underground. By watching it unfold in America, I was able work it right into New York terms, using the industrial wastelands of Brooklyn as a backdrop. It was not unlike filming a movie. When you came to one of my parties, you came to dance hard and dance long. In 1992 thousands of people would dance right up until 9 a.m. on Sunday Morning. And like Europe, The scene on the Eastern Seaboard formed in months. Interstate 95 from Portland, Maine to Richmond, Va. became a road well traveled for many. In those days traveling up to 8 hours was not uncommon. If DJ Culture owes me anything, it owes me for doing something to bring thousands together. Without me, this would have never been a reality.
In the aftermath of a four year residency at Motor in Detroit, this was the first night of Blue in Detroit, sometime in 2002. In a city that never really took onto the idea of outside talent, this city had a special place for me and I miss being part of Detroit's regular nightlife.
One of my earliest resident spots was The Palladium in New York City. This picture taken in 1990 shows how cutting edge a club could be. The club was demolished in 1996 and now some 12 years later, the picture is timeless. You could walk into that picture sometime in the near future and feel as if it was 2008. No question.
If the map on the left is what you are used to and what you expect, and I presented you the map on right, why would you not spot the difference? My sound is similar in theory. Yet the masses still like to stick to what they are used to. I don't get it.
PROFESSIONAL GRADE. I embraced this culture of DJ's like it meant something. You can find my name amongst many of the originators of Electronic Dance Music. House, Techno, Rave, Breaks. Sharpening the cutting edge regardless of who was considered the best at any given moment in the past 20 years. I learned my skill throughout the 80's, when programming was important to a DJ set. Knowing when and where to drop a specific tune. I always had an edge because I pay attention to detail. The way I manipulate vinyl on two Technics turntables is an exception to the rule that vinyl & DJ's who spin it are obsolete. Technology is good for those who use it, but sticking to the original formula is how I choose it.
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