It’s tough not to objectify a DJ who looks like Joe Bermudez.

Angelic, innocent and distinct, his face is a jaw-dropper — but a pretty face isn’t his shtick.

In fact, this international DJ and accomplished producer could be playing with a bag over his head and he’d still get what really matters to him — the ears of thousands of fans in the U.S. and beyond.

Admittedly, it’s a tad difficult to reconcile his outward appearance with his energy behind the decks. A devil-may-care abandon of what is played by most conventional jocks is matched only by his talent in the studio, a skill that has attracted clients from Jessica Simpson to Kelly Clarkson to Jesse McCartney.

Throw into the mix his mantle as a Billboard reporter, his weekly show on XM Satellite Radio, and some upcoming high profile TV, radio and recording gigs, and what you’ve got is a true professional on par with or surpassing any on a small list of peers.

All that said, it’s spinning live that gives this 28-year old Bostonian, who grew up in Maine, the greatest rush and what has earned Bermudez a solid fan base that turns out en masse in every venue and in every city he plays.

Anyone who has had the opportunity to hear Joe spin knows that his style is anything but common, that his mixing and weaving of divergent genres and talents is flawless, and that his penchant for taking chances is legendary — that’s evidenced from the roster of clubs and parties for which he’s been tapped. Avalon in Hollywood, Blue Ball in Philadelphia, Unity II in Montreal, Cherry in Washington, D.C., Living Room in Mexico City and Blu in Atlanta.

Driving tribal is his signature sound, but like any good jock, Bermudez is just as comfortable spinning low key House in an intimate room as he is blowing the roof off a huge warehouse.

“Nowadays DJ's have to be versatile, because trends in music are not universal, and we're all looking for the best gigs around,” says Bermudez. “But, the truth is, it takes a really strong DJ to step into a booth in any club in any city in thee world, size up the crowd, and take some chances. Versatility goes both ways, but I find that looking for that hook and then latching on for the night is key.”

Joe knows something about pleasing a huge crowd. In just the past few years, he has gone from making a name for himself nationally on John Garabedian’s Open House Party to becoming a superstar in the small stable of highly visible circuit and club DJs. Even though he has no desire to give up the touring (he admits, sleep is a rarity), some of his greatest achievements have come in the past two years from his home production studio in Brighton, Mass.

Just turn on your radio, your XM Satellite console, or tune to Music Choice from your local cable company — what you’re likely to hear is one of the dozens of remixes tooled by Joe.

From the most recent, Kelly Clarkson’s “Behind These Hazel Eyes,” to standards like Pink’s “Get This Party Started,” Joe’s indelible mark has been made on music — and, anywhere you go, you’re likely to hear his musical concoctions in heavy rotation.

“It's never really something I could have pictured myself doing and in the past couple years, it has really come together for me,” says Joe of his production, a skill that has garnered him an unusual following: While most artists prefer to dole their vocals out to a number of different producers, they seem to return frequently to Joe. Hilary Duff has just tapped Joe for a sixth time while Kelly Clarkson and Pink have each come back for three songs. Jessica Simpson, Mis-teeq and Jesse McCartney can claim two cuts while Britney Spears, Janet Jackson and Justin Timberlake all appear on a very long list of Joe’s clients.

"They keep coming back for more," says Joe. “That’s really rewarding.”

Whether or not Joe’s in the house, if you go to clubs, you will undoubtedly hear the pounding tribal rhythms he’s known for. If radio is your party, at some point you will hear one of the many pop rhythmic treats he has helped create. Either way, the experience will be memorable —and you, too, will keep coming back for more.
 

www.joebermudez.com
 

DJ/re-mixer/satellite radio jock
Joe Bermudez is a triple threat.

At 28, Joe Bermudez has had more careers than DJs twice his age. The Brighton, Mass. resident has actually gone global with his XM Satellite radio show, which follows his lengthy tenure with the nationally syndicated "Open House Party" which is broadcast locally on KISS 108 FM. His re-mixes for Celine Dion, Pink and Kelly Clarkson are available everywhere. As a DJ, he's amassed a considerable circuit resume with appearances at such pivotal events as Blue Ball Philly and D.C.'s Cherry. Next week, he'll appear at Diesel on New Year's Day and Boston's Rise on Jan. 7.

EDGE caught up with him earlier this week.

Every couple of years it seems as though there's a noticeable shift in what we call dance music. Lately, many marquee DJs are making an effort to spin less dark. The tribal influences remain, but the soundtrack to gay nightlife is sounding less aggressive. Would you say that's a fair assessment?

"Dance music is constantly evolving so anytime you look back a few years, there is always a noticeable shift in its sound. Parties have been moving to smaller, more intimate venues and the current sound of dance music reflects that. People want to hear songs again. You can only get so creative with a drum beat so it's nice to see some musicality back in the music."

You've worked behind the scenes in radio for years, particularly with Open House Party, which can be credited for breaking dance records at radio on a national level. What kind of influence did you have a tastemaker around the studio?

"With any of my shows, my bosses take full advantage of the fact I am out in clubs all over the country every weekend. They are great testing grounds. You know instantly if something is or isn't working and I can relay that information to them. I also don't try and champion every record. I pick my battles so they take me more seriously when I finally bring a song to their attention."

You've developed some kind of bond with Kelly Clarkson. Does she have any specific ideas for re-mixes or does she just let you run with it?

"Basically, a trust has been built up. I have no idea where I am going to go with her records until I actually sit down and do them. With the four mixes I have done for her, none of them sound the same at all. The one thing they do have in common though is that they all work well with her vocals and I think she appreciates that. She is the star. I am simply there to try and accent that."

You've had face time with most of today's top artists, both from your work in radio and your work as a DJ and re-mixer. I remember how strange it was to sit in John Garabedian's home studio out in the suburbs with you, Richie LaDue and Pink, who was promoting "Get the Party Started" and then we took photos by a big rock in the backyard. It was a little surreal. You must have a few favorite stories. Like, did one of N*SYNC ever hit on you? Did Britney ever demand cocaine? You know, the fun stuff.

"No one from N*SYNC has hit on me. At least not yet. I have had a few celebrities make the moves on me. Both male and female. I am usually too oblivious to notice it and my roommate is always making fun of me after the fact. It's probably for the best though. I don't want to be known for sleeping with someone who has accomplished something, but rather for accomplishing something myself."

The first mix of yours that I remember hearing was this amazing mix of Mya's "A Case of the Ex." It was never released commercially. Was that because it was illegally leaked on the Internet?

"That was the first real mix I was involved with and there were a lot of factors involved. First off, Mya is not particularly fond of dance mixes so when it leaked on the Internet, that certainly did not help things. Unfortunately, it takes a lot more to get a mix accepted than just simply making a track. Luckily for me, the Mya situation was a good learning experience and I have since had several mixes released commercially."

What are you currently working on the studio?

"This past year was especially frustration dealing with labels. No one seems to have the courage to commit to anything anymore and budgets are shrinking faster than you can possibly imagine. Lately, I have just been working on things for myself. A few bootlegs to play in my sets and so on. I do have a new single with Debby Holiday called "Bring It On" being released on Jan 10. I also worked on the 10th anniversary mixes for Livin' Joy's "Dreamer" and did something for Lee & Cabrera's "I Watch You" that should be sent to the Billboard panel any minute now."

Is there any re-mix you've done that you wish you could go back and do it again?

"With every mix I do, I am getting better at my craft so when I listen back, I always hear things that I didn't catch when I originally did it. That doesn't necessarily mean I want to go back in and redo it though. Sometimes, I do wish I had more time, but you just do the best you can and move on."

Is there one artist out there that you would absolutely, hands-down mix, even if they gave you a really, really bad song?

"I just did one for the Eurythmics. I think Annie Lennox has such an amazing voice and didn't care what the song sounded like as long as I got a chance to work with it. It probably wasn't the best idea though as a bad song really doesn't inspire you much and although the track I worked on came out really cool, it just doesn't make up for a lackluster song."

Have you have been delivered master tapes for a mix and listened to them and just scratched your head thinking "I don't know what to do with this?" Even Abel told me he's turned down work with Britney Spears because he didn't know how to approach her so-called music.

"That happens all the time. Everything doesn't have to be re-mixed just for the sake of re-mixing it. There are a lot of bad mixes out there and it doesn't help anyone. It actually does the opposite and gives people a bad impression of the genre. Some songs are just better left alone."

As someone who has spun at his fair share of circuit events, what do you think the current state of the circuit is? Many are saying it's on the decline, some say it's just in a state of transition.

"It is on the decline and for good reason. It became overpriced and stale. You had the same rotation of DJs at every major event every year with a steadily increasing cover and people simply found other ways to spend their time. Some fresh blood might revive it, but I think it also might be a little too late. Nowadays, you don't need to leave the house for quality entertainment. With a high speed connection, I can hear the world's best DJ's with no cover charge. Then, I also don't have to worry about some cracked out queen spilling her drink on me."

Give me one signature characteristic of a Joe Bermudez set.

"Refreshing."

What is the craziest, funniest or strangest thing you've ever seen from the DJ booth?

"Since I have been doing it for a while now, everything seems to blur together and nothing really stands out. To the average person, seeing a couple engage in public sex might be pretty crazy. To me, it's just another day at the office."

Three favorite songs this week:

Steve Lawler - "That Sound" (Joia Records)
Lee & Cabrera - "I Watch You" (Data)
Bob Sinclair - "Love Generation" (Yellow/Tommy Boy)

Favorite producer/DJ/remixer?

It's too hard just to pick one as they change with each mix that comes in. A few of my current favorites are:

Freemasons, Deep Dish, Tony Moran & Warren Rigg, Ian Carey and Thin White Duke."

Favorite dance artist?

"Sadly, like most people out there I don't have one. Dance is a very faceless and singles driven market. There are very few artists that have staying power and that is a major factor in why dance has yet to really take off in America."

Newcomer to watch out for?

Artist, Lauren Hildebrandt; DJ, DJ Trypsin

Dream gig?

"Anywhere in Sydney. After seeing it every day during the 2000 Olympics, I have always wanted to go. It just looks like such a beautiful city that knows how to have fun at night."

Do you have a preference for spinning primetime or after-hours?

"It all depends on the people. I don't really care at what hour I play as long as they are receptive and ready to dance their asses off."

What's your New Year's Resolution in regard to your work, music, career?

"I don't really believe in them. I guess I don't need a holiday to motivate me. It just comes naturally. Most people will go out of their way to make one that usually only lasts for a few weeks after the new year and I just don't see the point in that."

What is next on your itinerary after your Diesel gig?

Jan 6 - Necto in Ann Arbor. Jan 7th - Rise in Boston. Jan 14 - Krave in Las Vegas. Jan 18 - 20 - NAMM in Anaheim. Jan 21 - Shooterz in San Diego.

For those who don't understand, what does it mean to be a "Billboard Reporter."

"Basically, a few hundred DJs from across the country submit their top records every week and they are then compiled to make up the Billboard dance chart that everyone reads in the magazine. There are a lot of behind the scenes deals and favors going on to secure good placement on the chart so while the intentions behind it are good, I don't believe the chart to be an accurate representation of what is really going on in the clubs."

Other than two turntables and a microphone, what is the one thing you absolutely must have in the booth in order to work? It can be anything from a strange piece of equipment to a certain kind of bottled water. Do you have to a have a spiritualist come in and smudge the booth with incense if Junior was in there before you?

"Actually, for me, turntables are pretty outdated and I don't even really care if they are in the booth. I do however love having the Pioneer CD-J 1000s in there. I feel like a little kid every time I get to play on them. They really allow a lot more creative possibilities than if I were still using vinyl."

Tell me about your XM Satellite Radio Show?

"It's actually in the midst of changing. We just got a new Program Director and starting the 1st of the year, I will be featured on Flight 81 which will air on Friday nights. It will air from 9 p.m. - 6 a.m. EST and the concept is take you on a journey from the East to West coast highlighting different DJ's across the country on the way."


or more on Joe Bermudez visit him online at www.joebermudez.com

Reprinted with permission from EDGE BOSTON © 2005 EDGE Publications