November 2, 2014
Beat Box :: Fall's Hottest Club Tracks
Kilian Melloy READ TIME: 3 MIN.
A chill may be in the air, but gay clubs show no sign of cooling down. DJs and remixers are working overtime to keep the dark confines and pulsing rhythms of their rooms hot and sweaty. Here are the top scorchers being played on dance floors this fall.
Frankie (featuring Ralphi Rosario)
(Dauman Music)
The third single from house stunner Frankie grabbed the #1 spot on the Billboard club play chart in its first week. The reason? Simple. "Forever" is a great dance song with quality vocals and music. Co-written by Ralphi Rosario and three-time nominated lyricist Pamela Phillips-Oland, the song incorporates elements of late '70s classic disco to build a feel-good track that forces clubbers off their ass and onto the dance floor. Remixes by Ralphi Rosario, Twisted Dee, Reid Stefan, Majik Boys and Jeff Barringer.
"Love Come Home" Kristine W
From the album "New & Number Ones" (Fly Again)
Kristine's label conducted a poll on Facebook this summer, asking fans to choose the third release from the queen of club's studio album. The overwhelming majority smartly chose "Love Come Home," Kristine's spiritual track about embracing change. Like most of the songs on "New & Number Ones," this latest can be interpreted in multiple ways. It can be about the end of a relationship or the return of military from service or about loving oneself, because only when love comes home to live in your heart are you able to give that love to someone else. OK, that's schmaltzy, but this latest from our favorite dance floor diva is not. Part 1 remixes by Todd Terry, Subgroover, Phill Wellz, Andy Sikorski and Hermanos Inglesos.
"I Look F-king Cool" Adore Delano (with Alaska)
From the album "Till Death Do Us Party"
Two of the fiercest queens on the planet come together in this rowdy, bold, hip-hop inspired proclamation track. In it, the wild child of drag (Delano) and the alien queen (Alaska) flip-the-bird at any and all who disrespect them for their unconventionality. They like the way they look, thank you very much. Listen to their track and you'll like the way they sound, too.
"Sweat" XELLE
The latest track from the girl group best known for throwing an illegal dance party on a moving NYC subway train is a little bit dirty, a tad naughty, and a whole lot of fun. Written by Zach Adam and Lisa Greene (who has penned hits for Britney Spears and Kylie Minogue), the megapop track has high-energy vocals, a danceable beat and powerful synth rhythms. It's sassy, frolicsome, colorful and slightly off-the-wall. Perfect for the treadmill. Now, work b-tches.
"Take It All The Way" Tony Moran
(Sugarhouse)
The two-time Grammy nominated DJ-producer serves it up New York style with his latest track, a sweeping blend of hard house and epic grooves, guaranteed to wake up even the most jaded club music fan. However, if you're expecting the thumping tribal beat sound that has been Moran's staple for years, it's not here. "Take It All The Way" is more an experimental offering with Moran seeming to stick one toe into the EDM pool. It's as phenomenal as his previous works and likely to be the first of many similar tracks. Spoiler alert: Tony Moran provides the lead vocals, and yes, he sings as fiercely as he spins!
"Dance Like You Got Good Credit" Cazwell
From the album "Hard 2 B Fresh" (Peace Bisquit)
Everyone's favorite gay hip-hopper presents another ridiculously fun club track that brilliantly showcases Cazwell's electrifying charisma. In "Dance," he tackles the world's debt crisis and how many of us go broke trying to make ourselves look rich. Sexy dance diva Cherie Lily (wife of rocker Andrew W.K. who really is legit preggers in the song's must-see music video) collaborates with Cazwell on this hilarious, catchy ode to stylin' poverty.
Kilian Melloy serves as EDGE Media Network's Associate Arts Editor and Staff Contributor. His professional memberships include the National Lesbian & Gay Journalists Association, the Boston Online Film Critics Association, The Gay and Lesbian Entertainment Critics Association, and the Boston Theater Critics Association's Elliot Norton Awards Committee.