Eli Escobar - Inside The 'Up All Night' Album
Night People NYC is super excited to announce the digital release of NYC’s Eli Escobar’s debut album Up All Night. In today’s 15 seconds of fame music cycles, it’s rare to find an artist who takes their time to craft a fully coherent dance album. But, that’s what Eli has done. Hit play and walk away. No need to skip around. In fact, you’ll probably just throw it on repeat and make it the soundtrack to your week.
His medium of choice here is House Music. You can hear the beats covered in the dust of years and days spent digging through crates for disco breaks. You can feel the the range of musical influences that have made Eli one of today’s most revered and loved dj/producers, in every beat. This is Escobar at his rawest. The chopped up samples are reminiscent of his earliest beat tapes, recorded off his Akai S950. Beats that would eventually find their way on to Bobbito’s legendary Fondle ‘Em imprint.
This is no retro thing. These tracks have traveled the globe with Eli Escobar the DJ, as he’s built his world-class reputation for beloved party sets, banging EPs released on some of NY’s finest imprints and catalog of remix work for mainstream artists and underground heroes. Rest assured, these beats know how to move the crowd.
With ‘Up All Night’ out now on Traxsource. We decided to get in touch with Eli and ask if he could give us a track-by-track account of the project. Here is ‘Inside The Album w/ Eli Escobar’.
1) The Formula
There’s this old song by the rapper K-Solo that’s also called “The Formula.” It has this effect on it that makes it sound like you’re entering a house party. The music gets clearer and clearer as he approaches the party. I did this track with the same idea in mind and then just figured I’d call it the same thing since I bit his idea anyway! It’s just a cool groove and dope intro to the album. For a while I was struggling with it, thinking to myself “it just needs one more thing…” Then I realized that’s exactly what it didn’t need haha! That happens to me a lot actually.
2) Visions Interlude
That starts with a sample of the Force MD’s live at park jam from back in the day. Again showing my 80’s and early 90’s Hip-Hop influence here. Just taking sh%it from wherever. Also doing interludes is something I’ve always figured I’d do on my album. On some DJ Premier sh#t basically. A lot of people really liked this so much from the vinyl version and said it should’ve been longer. I tried a couple of times to extend it but it lost its magic to me. Maybe it’s good to leave people wanting more!
3) N.Y. So Hi
This might turn off some of the analog purists out there, but honestly I don’t really give a sh%t. So I made this one on a plane actually. I was flying home from L.A. (which I like to visit, for like 2 days) and was so amped to get back to New York so I figured I’d try and make a feel good New York anthem. I always travel with a hard drive filled with wave files of my disco record collection in case I wanna make a beat on the road. So I just looped up that Sylvester song, added the vocal samples and couple of drum sounds and boom. I remember I was nodding my head and moving around in my seat so much and the woman trying to sleep next me was kind of annoyed! I never changed a thing about it after that day. Maybe just the intro or something. I was just using it as a DJ tool for my sets, but Jemz (my label partner) was very adamant that we use it as a real song. He was right!
4) Seein’ U
This is probably my favorite song on the album. Just has a nice happy feeling about it. It’s also one of those cool moments when two totally different samples gel together perfectly and it sounds like they were meant to be as one. One thing very different about my album from my E.P.‘s is the heavy sample use. I wanted this to be an album more for riding on the train than playing in the club. Headphone sh%t. This track is exactly what I was trying to do.
5) Love Away
Every time I hear this one, I get really surprised when the piano solo comes on. I have absolutely no recollection of playing it! Actually there are no samples on this one besides the vocal thing. This song was completely inspired by this book by Nan Goldin that I love called “The Ballad Of Sexual Dependency.” I was thinking about what kind of music would compliment the photos in the book. So it’s a bit sad, somber and lonely. But not really dark. If that makes sense? Dark is too easy.
6) Thank You Les
This song is a thank you to Les McCann because ever since I started making beats in the early 90’s, I’ve loved the sound of his records and using bits and pieces from them. The Rhodes sounds on here are from the album “Talk To The People.” After the first part of the song it turns into a more acidy thing. I don’t remember making this track at all but I know it’s been around since 2009 or so. And just always made the cut as I was revising the album. It’s definitely the oldest song on there. Its placing is also significant because it serves as a bit of a cooling off before the last two songs which I think are pretty emotional.
7) Your Sweet Love
This track even being on the album is all Blu Jemz. He fought for this one. I was sorta eh about it. In hindsight, I really love it. It’s simple and to the point but the emotional release once the vocal comes in is very strong. I remember when I first made it, I was trying to make a track like “Sweet Dreams” by the Eurythmics that just had a kick and an amazing synth line. You can sorta hear the influence I think but it ended up in a bit of a different place.
8) Up All Night
I had a day where I made like 5 songs all back to back and this was the last one I made. It was about 4 or 5 in the morning. I just went after exactly how I was feeling at that moment and I knew exactly what vocal sample to use. I’m very happy with some of the keyboard work I did on this. I think it’s a nice album closer.
1) Get Over
Another interlude that didn’t make the vinyl cut but it grew on me over the year and I love it now. I think it fits the mood of the album nicely.
2) Makes Me Feel
I’ve basically been working on this album in one form or another for about 4 years. This track was always the 2nd song on every variation of the album I came up with. It didn’t end up on the vinyl after all that! But it’s still one of my favorites. Every single thing on here is a sample. Down to the drums. It has that gritty sound.
This track took me forever to finish. Usually I take it as a sign and just let the song go but for some reason I was intent on seeing this through. After a year of fussing with it, I just replaced all the original drums with 808’s and it was perfect. When in doubt, use 808’s! This is probably the most clubby track on the album. I’m really happy with this one and the build is nice.