Frankie Bones

Frankie Bones, thugs & harmony.
The Ravest American Hero.
A DJ who has the total exclusive eyewitness report on DJ culture and how it began in Europe and then the United States.

Long before Das Googlemaschine brought the world into our bedrooms, Frankie Bones set out to harness the international power of electronic music. He used guerilla street tactics, not blogs and email blasts, to do so. Things were very different back then. With so many DJ’s blogging away on the internet, it becomes real easy to lose track of the history. Yet before DJ culture went global, it has a deep rooted history to New York City.
Electronic Music became popular through the early Hip Hop scene as far back as 1982. The year the Roland 808 drum machine was released Arthur Baker & John Robie created “Planet Rock” which gave Kraftwerk street sensibility.
Hip Hop.
Hip being in the know. What was happening in the streets and hop. Hop being the movement, DJ’s, MC’s, break dancers & graffiti . The subculture of Hip Hop took the street element right below the surface. To define “Underground” in its true context, Frankie was spending many nights exploring subway tunnels and writing “Bones” on every train in the system.

In true warrior fashion, like the plot of the movie, Bones would explore every part of New York City. In the 80’s, the buzz was created through a network of record stores which sold vinyl. On any given Saturday, Bones would just go digging for beats. In 1984 Bones met Omar Santana & Carlos Berrios who were getting popular from doing edits on Reel-to-reel tape. Omar was getting lots of work from record labels and it took on a life of its own, steady work was pouring in. At 18 years old, Bones started a resident slot as a DJ in a Long Island club, and on December 1, 1984, NY state raised the drinking age to 21. This forced Bones into writing and producing. Omar, Carlos & Bones meeting was a blessing. Still teenagers, hungry & determined, names on records gave them street credit.

Aldo Marin from Cutting Records signed Sa-Fire & Corina which both were certified radio hits in NYC and Miami. Bones was ghost-writing lyrics for Omar & Carlos and once the first tracks were released, there was no looking back. L’mour & La’mour East were Brooklyn & Queens biggest venues, Carlos began playing in Queens and Bones got the Brooklyn residency in early 1987. Omar introduced Bones to Tommy Musto & Lenny Dee and this was right when Fourth Floor/Nugroove records were moving into new offices in Manhattan. Within the first two years, Bones had produced dozens of underground tracks, selling 227,000 units in New York City.

This is where the real story begins. Bones daily routine was not one of paying dues, it was more like playing a part. Apexton Records was a record pressing plant in Queens. Bones began working there as the guy who shrink-wrapped the records. Within two weeks Bones had an office after hearing a Todd Terry demo and wandering into a closed door meeting asking “What is that?” It was the first Masters At Work demo. They were about to pass on it when Bones curiosity suddenly sparked interest. 10,000 copies later, Bones would oversee the projects, sign demo’s, box records, sell records. Bones was in the abyss. 21 years old and not a moment wasted.

When 1988 rolled in, Bones and Lenny Dee were spinning in Long Island, Staten Island & The Jersey Shore every weekend on both Friday & Saturday nights. New records were released every week and suddenly everything is being licensed to U.K. labels. The Rave Scene in London had become the next big thing. Bones knew his music was becoming more popular in London then in New York. So a tour was planned, headlining a 5000 person event called “Energy” on August 26, 1989. But as Bones walked into his future that morning 25,000 people in unison were about to witness the strength of street knowledge.

The promoter Tin Tin Chambers wrote: “When Frankie saw it, it totally took his head off. He played the morning set til the sun came up, so he played the dawn, basically. For him to witness the impact of the people, who would chant & sing to the music he made and played, it really blew him away. Of course he would bring that back to America, but up to that point, there never was a scene in America. He went back and wrote “Energy Dawn” for XL and that turned into quite the classic”.

Bones met Paul Oakenfold & Carl Cox that night. They all made history @ Energy. Bones now thrust right into the minds of the U.K. youth. The rest of Europe paying close attention and Bones playing the first events in France, Italy, Germany, Denmark, Holland. The history left in the names of the 1990 & 1991 Love Parade’s in Germany. “My House Is Your House” & “The Future Is Ours”. Tracks produced by Bones making him an early rising star in Germany.

Bones never really wanted to rise to fame and fortune in Europe. In fact he was quite content with his former New York City status and many times homesick after living on and off in London. It was a hectic schedule which included many countries and lots of travel. It wasn’t a problem for the first year, but when Bones realized the potential in America after being booked as London’s most recognized rave DJ for a party in Los Angeles, the countdown had begun. June 1, 1990. The promoters were expecting a Brit and were virtually upset when they heard a New York accent. They had no idea. Now Bones realized the West Coast scene was also about to explode, he went back to Brooklyn and started throwing STORMrave.

Bones became popular on both coasts simultaneously. From 1990 on. It spread quickly towards the center and by 1993 you pretty much had a scene in every state in the nation. Frankie Bones is the only DJ able to be part of all three original scenes and the impact of his own history has him living in California these days. He claims his love for the music and scene always rotates around the early days of California. Whereas he couldn’t wait to get out of London, he never wanted to leave Los Angeles.

There is so so so much more to this story, for now the basis for the next 20 years remained the same. To play great music for the people wherever the scene took him. Frankie still spins every weekend and always stays current to the trends and styles which make up DJ culture.

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Bump Your Head (12″) Bellboy Records
Ghetto Technics 12 (12″) Ghetto Technics
Ghetto Technics 13 (12″) Ghetto Technics
Ghetto Technics 15 (12″) Ghetto Technics
Ghetto Technics 3 (12″) Ghetto Technics
Ghetto Technics 4 (12″) Ghetto Technics
Ghetto Technics 6 (12″) Ghetto Technics
The East Coast House EP (12″) Groove World
Trackwerk Blue (12″) D-Dance
Who Knows Dem Ho’s? (12″) Whack Trax
Bonesbreaks Volume 1 (LP) Underworld Records 1988
Bonesbreaks Volume 2 (LP) Underworld Records 1988
Bonesbreaks Volume 3 (LP) Underworld Records 1989
Call It Techno (12″) Breaking Bones Records 1989
New Grooves EP (12″) Nugroove Records 1989
Bonesbreaks Volume 4 (12″) Breaking Bones Records 1990
Bonesbreaks Volume 5 (12″) Underworld Records 1990
Call It Techno (12″) JEP Records 1990
Call It Techno (Remixes) (12″) X Records (US) 1990
Cross Bones E.P. (12″) Rave Age Records 1991
Crossbones E.P. (12″) Fabulous Music UK 1991
Bonesbreaks Volume 6 (12″) Groove World 1992
Trapezoid (12″) Fabulous Music UK 1992
Bonesbreaks 7 (Progressive Vibe EP) (12″) Groove World 1993
Bonesbreaks Volume 8 (Progressive Aggressive Freestyle EP) (12″) Groove World 1993
From Brooklyn With Love EP (12″) Groove World 1993
The Thunderground EP (12″) Groove World 1993
Thunderground E.P. (12″) Fabulous Music UK 1993
We Can Do This (12″) Groove World 1993
We Can Do This / Feel The Rush (Test Pressing) (12″) Groove World 1993
Bonesbreaks Volume 10 (12″) Brooklyn Gutter Culture 1994
The 2 Clues EP (12″) Empire State Records 1994
Bone Up! (LP) Trax Records 1995
Bonesbreaks – The Unreleased Project (12″) Music Station 1995
Bonesbreaks Volume 10 (12″) Hot Associated Label 1995
Einstein e=me+3² (12″) Drop Bass Network 1995
Inside The Silverbox EP (12″) Electric Music Foundation 1995
Bonesbreaks Volume 11 (LP) Underworld Records 1996
Climax Control (12″) Hyperspace 1996
Furthur (12″) Drop Bass Network, Communique Records 1996
My Peak (Promo) (12″) Logic Records (US), Logic Records (US) 1996
Rewind Tomorrow E.P. (12″) Futurist 1996
Technolo-G (12″) ESP-SUN Records 1996
Trackwerk Orange 1 (12″) D-Dance 1996
B2B (12″) ESP-SUN Records 1997
Ghetto Technics 1 (12″) Ghetto Technics 1997
Ghetto Technics 2 (12″) Ghetto Technics 1997
Inside Mr. Paul’s Greybox (12″) Futurist 1997
Proceed With Caution EP (12″) Electric Music Foundation 1997
Computer Controlled (CD) X-Sight Records 1998
Computer Controlled (CD) X-Sight Records 1998
Computer Controlled (Live In California) (CD) Livewire 1998
Dirty Job (12″) X-Sight Records 1998
Ghetto Technics 5 (12″) Ghetto Technics 1998
Ghetto Technics 7 (12″) Ghetto Technics 1998
Ghetto Technics 8 (12″) Ghetto Technics 1998
High I.Q. (2×10″) Hyperspace 1998
In The Socket (12″) ESP-SUN Records 1998
Rockaway Shuttle EP (12″) Sonic Groove 1998
Technolo-G (CD) ESP-SUN Records 1998
The Candle EP (12″) High Octane Recordings 1998
Computer Controlled 2 (CD) X-Sight Records 1999
Computer Controlled 2 (CD) Brooklyn Music Limited (BML) 1999
Ghetto Technics 10 (12″) Ghetto Technics 1999
Ghetto Technics 11 (12″) Ghetto Technics 1999
Ghetto Technics 9 (12″) Ghetto Technics 1999
The Mutha Fuckin Good Life (12″) Underground Construction 1999
The Way U Like It (12″) Bellboy Records 1999
We Call It Tekkno (12″) Bash Again! 1999
America In Black & White EP (12″) Bellboy Records 2000
Baseball Fury (12″) Sonic Groove 2000
Bonesbreaks 2000 (12″) Badmotherf#*ker 2000
House Special EP (12″) Urban Substance Records 2000
My House Is Your House (12″) Bash Again! 2000
My House Is Your House (12″) Bash Again! 2000
The Saga EP (12″) Pro-Jex 2000
5 Drum Machines, 4 Effect Processors, 3 Samplers, 2 Turntables, and 1 Mixer : Future Concepts in Underground Invention (Cassette) Sonic Groove 2001
Electrophonic (12″) E Series 2001
Filthy Dirty Animal Crackers (12″) Blueline Music 2001
Ghetto Technics 14 (12″) Ghetto Technics 2001
Ghetto Technics 16 (12″) Ghetto Technics 2001
Ring Your Alarm EP (12″) Pro-Jex 2001
The Metropolitan EP (12″) Missile Records 2001
The Strength To Communicate (12″) Remains 2001
The US Ghetto Selecta (12″) Pro-Jex 2001
Turntable Specialist #1 (12″) Hard To Swallow 2001
And Here’s Another Human Distraction (12″) Remains 2002
Army Of One (CD) System Recordings 2002
Pro.File 2: Frankie Bones, Turntable Specialist (CD) Brooklyn Music Limited (BML) 2002
The Day After The Music Stopped EP (12″) Hard To Swallow 2002
The Lot Of People (12″) Pro-Jex 2002
The Thin Line Between Fantasy & Reality (2xLP) Pro-Jex 2002
The Thin Line Between Fantasy & Reality (CD) Pro-Jex 2002
Underground Mash-Ups (12″) Hard To Swallow 2003
(Pro)File. (Pro)Duce. E.P. (12″) The Last Label 2004
Crash-Up On Interstate 95 (12″) The Last Label 2004
The Lot Of People (12″) Pro-Jex 2004
Unidentified (12″) Kiddaz.fm 2004
Act Like You Know (CD) System Recordings 2005
Speedometer EP (12″) Synchronicity Recordings 2006
The House of ODD (12″) The Groove Shop 2006

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