Community hub
0 subscribers7 pages, 0 posts
Recent from talks
All channels
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Be the first to start a discussion here.
Contribute something
Welcome to the community hub built to collect knowledge and have discussions related to Mr. C.
Nothing was collected or created yet.
Mr. C
View on Wikipediafrom Wikipedia
Key Information
Richard West (born 2 January 1965), known as Mr. C, is an English house music DJ, producer and rapper.[1][2][3] He was the resident DJ at the early acid house "RIP" nights at Clink Street, London,[4] and later was the co-owner/co-founder of London's The End nightclub.
West was the frontman for The Shamen during their most commercially successful era. He is a proponent of tech house, a fusion of house and techno music.
Career
[edit]West was born in London in 1965. He started MCing in the London clubs aged 16 and earned a reputation as a fast-talking, vivacious rapper working with LWR radio's Ron Tom, Jasper the Vinyl Junkie and Jazzy M. He joined with Colin Faver and Evil Eddie Richards to become resident rapper at Camden Palace. West recorded his first deep house track with Eddie Richards as Myster-E, "Page 67",[5] which was released in August 1987.
This inspired West to become a DJ in late 1987. He has since organised, promoted and been resident DJ at: Fantasy (1988), Base (Dungeons 1989), Release (1991), Harmony (1992), Drop (1993), Cyclone (1994), Vapourspace (1994 and 1995), Flavour (The End, 1995 and 1996), Subterrain (The End, 1995–2002), Superfreq (worldwide 2002–present) and Super Disco Freq (LA, 2010–present).
In December 1995 West opened the night club The End in London with Partner Layo Paskin[6] (of Layo & Bushwacka!) and AKA bar three years later, which had its 23rd anniversary in December 2018. West is founder and owner of Plink Plonk records, co-founder of End Recordings and co-founder and owner of the Superfreq label.
He has recorded under the names Myster-E, Unity 2, Nu Jacks, Bass Bureau, Mantrac, Somnambulist, Animus Amour, Killer Loop, Mr. C and Tom Parris, Mr. C and 16B and the Sycophant Slags. West is best known as frontman of The Shamen with whom he achieved a string of top 10 hits including "Move Any Mountain" and the UK number 1 hit "Ebeneezer Goode".[7][8] In 1995 he created the mix album Fantazia DJ Collection 3 – Back to the Old Skool.
He has also released mix albums Psycotrance vol 1, X-Mix 6 on Studio K7, Sunterrain 100% Unreleased on his End recordings imprint and most recently Superfreq Express on his Superfreq label. West now records solo as Mr. C and collaborates as the Sycophant Slags with Francis Harris aka Adultnapper, as the Indigo Kidz with Affie Yusuf, with [a]pendics.shuffle and with Omid 16b.
He has released on Poker Flat, Wagon Repair Records, Get Physical Music and Adjunct Audio. He has released a solo EP titled "I'm gonna Give You Some" and the albums Smell The Coffee and Incidents. He has collaborated with Affie Yusuf, Omid 16b and [a]pendics.shuffle.[9] He has remixed for Mikael Stavöstrand and David Scuba, Francis Harris, Xo Chic, Joint Custody & Affie Yusuf. His "Soulfuric" track was released on Alola and his "Liquid Acid" track was released on DJ Pierre's Acid 88 album on Afro Acid.
Superfreq record label
[edit]Superfreq released eight EPs from various artists and one mix-set by Mr. C, but had then been a dormant record label since 2006. Superfreq relaunched in February 2013[10] and has since released prolifically[11] with forty digital EPs and two albums.
Personal life
[edit]References
[edit]- ^ "The Shamen's Mr C Talks Disco Biscuits With His Old Mate Ebeneezer Goode". Vice.com. 10 September 2014. Retrieved 16 May 2020.
- ^ "Mr C, creator of the notorious Ebeneezer Goode, sees it as his duty". The Independent. 4 February 1996. Retrieved 16 May 2020.
- ^ "MR C: THE ACID EVANGELIST". DJMag.com. 21 February 2017. Retrieved 16 May 2020.
- ^ Reynolds 1998, p. 52.
- ^ "Mr.C -IDJ Magazine". Internationaldjmag.com.
- ^ Gordon, Kim Hunter (8 October 2005). "How it all turned out right in The End". The Observer. ISSN 0029-7712. Retrieved 13 May 2020.
- ^ Simpson, Dave (5 March 2012). "How we made ... Ebeneezer Goode by the Shamen". The Guardian. ISSN 0261-3077. Retrieved 13 May 2020.
- ^ "Mr C: "I was on ecstasy and acid on Top Of The Pops"". Mixmag.net. Retrieved 13 May 2020.
- ^ Yoder, Sean-Michael apendics.shuffle and Mr. C "Something Strange" review, Ibiza-Voice.com, Retrieved 12 May 2014.
- ^ "MR C CELEBRATES 25 YEARS". DJMag.com. 25 January 2013. Retrieved 13 May 2020.
- ^ Nightingale, Luke. "Quarantine Q&A: Mr. C". Festicket, 1 May 2020. Retrieved 10 Jan 2021
- ^ "DJ Mr C". DJGuide.nl. Retrieved 9 June 2017.
- ^ Reeves, Mosi (20 March 2003). "Circles of Love". Miami New Times. Retrieved 14 May 2020.|title=The Shamen - Mr C Interview on 'Melinda Messengers Big Night In' HD |date=2021-02-20 |last=themosttogain |access-date=2025-03-12 |via=YouTube}}
General references
[edit]- Bainbridge, Luke (2014). The True Story of Acid House: Britain's Last Youth Culture Revolution. London: Omnibus Press. ISBN 978-1-7803-8734-5.
- Collin, Matthew (2009). Altered State: The Story of Ecstasy Culture and Acid House. London: Serpent's Tails. ISBN 978-0-7535-0645-5.
- Reynolds, Simon (1998). Energy Flash: A Journey Through Rave Music and Dance Culture. London: Faber and Faber. ISBN 978-0-5712-8913-4.
- Shulman, Alon (2019). The Second Summer of Love: How Dance Music Took Over the World. London: John Blake. ISBN 978-1-7894-6075-9.
External links
[edit]
Mr. C
View on Grokipediafrom Grokipedia
Richard West, known professionally as Mr. C, is a British DJ, producer, rapper, and vocalist born 2 January 1965 in London.[1] He began his career as an MC in London clubs at the age of 16, quickly gaining recognition for his energetic rapping style before transitioning to DJing in 1987.[2] A key figure in the UK's acid house and rave scenes, Mr. C co-founded the influential nightclub The End in London, which operated from 1995 to 2009 and became a hub for electronic music.[1] He also served as the frontman and co-writer for the band The Shamen, contributing to their 1991 hit "Move Any Mountain" and the UK number-one single "Ebeneezer Goode" from their 1992 double-platinum album Boss Drum, earning an Ivor Novello Award in 1993.[2] Throughout his career, Mr. C has released music on labels like End Recordings (which he co-founded), Plink Plonk Records, and Superfreq (established in 2002), while collaborating with artists such as Eddie Richards under aliases like Myster-E and producing tracks that bridged house, techno, and experimental electronic genres.[1] His work extends to radio broadcasting on stations like Kiss 100FM from 1993 to 2002 and international performances, solidifying his status as a pioneer in global dance music culture.[2]
These selections highlight pivotal releases that established Mr. C's reputation in underground electronic music, with Superfreq serving as a primary platform for his acid house-focused productions since the 2010s.[18][38]
Early life
Upbringing in London
Richard West, known professionally as Mr. C, was born in North London in the late 1960s.[3][1] Growing up in a musical household, he developed an early passion for music, recalling dancing around the house at age five with his twin sister and brother to records played by his mother.[4] This familial exposure to music laid the foundation for his lifelong engagement with sound, immersing him in the vibrant cultural scene of London's working-class neighborhoods during the 1970s. As a young child, West was influenced by rock 'n' roll icons like Elvis Presley, which sparked his initial interest in performance and rhythm.[5] By age 11, following Elvis's death in 1977, his tastes shifted toward disco, briefly touching on pop acts like ABBA before diving deeper into the genre. In his teenage years, West embraced the UK's second-wave ska revival, enjoying bands such as The Specials and Madness, which led him to explore earlier Jamaican ska and reggae roots including artists like Prince Buster and The Skatalites.[5] These sounds, combined with the soul, funk, and black music prevalent in London's multicultural clubs, shaped his developing sense of rhythm and dance, as he experimented with street styles like body popping and robot dancing inspired by electro and disco culture.[4] West's first encounter with the nightclub world came at age 13, when he attended a discotheque, an experience that intensified his fascination with dance music environments.[4] By his mid-teens, he was frequenting London's club scene, absorbing the evolving mix of disco, rap, funk, and early electro that defined the early 1980s underground.[5] This period of youthful exploration in North London's energetic music milieu, amid the city's post-punk and immigrant-influenced sounds, positioned him on the cusp of active participation in the local scene, fostering the vivacious energy that would later define his career.[1]Beginnings in music
Richard West, known professionally as Mr. C, began his involvement in music during his teenage years in London. Born in the late 1960s, he started MCing in local clubs at the age of 16, quickly gaining recognition for his energetic and fast-talking style as a rapper.[1] He collaborated early on with prominent figures from London's pirate radio scene, including LWR's Ron Tom, Jasper the Vinyl Junkie, and Jazzy M, which helped establish his presence in the emerging hip-hop and club culture.[1][2] West's role expanded when he became a resident rapper at the Camden Palace nightclub, partnering with DJs Colin Faver and Eddie Richards. He also provided vocals for Faver's shows on the Kiss FM pirate radio station, further honing his performance skills amid the vibrant, underground nightlife of mid-1980s London.[1] This period marked his immersion in the city's evolving club scene, where he transitioned from rapping over imported American hip-hop to engaging with the nascent house music movement.[6] A pivotal moment came in 1987 when West entered the studio for his first production. Collaborating with Eddie Richards under the alias Myster-E, they recorded the deep house track "Page 67," which West vocalized over Richards' instrumental. Released in August 1987 on Baad Records, the single captured the raw energy of early UK house and inspired West to pursue DJing seriously.[1] By September 1987, he had begun spinning records himself, motivated to deepen his understanding of house and techno sounds, setting the stage for his rapid rise in the acid house era.[1]Career
Early DJing and acid house scene
In the mid-1980s, Richard West, known as Mr. C, began his involvement in London's electronic music scene as an MC at age 16, performing in clubs and collaborating with pirate radio figures such as Ron Tom, Jasper the Vinyl Junkie, and Jazzy M.[7] By 1984, he had become a resident rapper at the Camden Palace alongside DJs Colin Faver and Eddie Richards, where he rapped over emerging house tracks, marking his early exposure to the genre.[8] In mid-1986, West shifted his performances exclusively to house music, rapping on records like "This Brutal House" by Nitro Deluxe during sets at Camden Palace, and he also MCed for Faver on the illegal Kiss FM station broadcast from Faver's home.[8] West's transition to DJing occurred in autumn 1987, prompted by the release of his first house track, "Page 67", under the alias Myster-E on Eddie Richards' Baad imprint in August 1987, which ignited his desire to deepen his understanding of house and techno production.[7][5] That same autumn, he organized his initial acid house parties in a friend's flat, featuring basic setups with banners, a sound system, smoke machine, and lights to create an immersive atmosphere.[5] By September 1987, West had begun DJing regularly, drawing from early influences that spanned Elvis Presley, ABBA, ska acts like The Specials and Madness, reggae, soul, disco, rap, funk, and old-school electro, before fully embracing house music as the dominant "dance music" force of the mid-1980s.[7][5] In early 1988, West expanded his role by promoting underground house music events, including the launch of the "Fantasy" club nights in February at HQ in Camden Lock, London, where he curated bi-weekly Monday sessions for approximately three months with an entry fee of £2.[9][5] These nights featured resident DJs such as Eddie Richards, Colin Faver, and Kid Batchelor, fostering a tight-knit community amid the burgeoning acid house movement.[5] Later that year, West became a resident DJ at the influential RIP parties held at Clink Street in London, events credited with playing a pivotal role in the genesis of UK rave culture through their raw, warehouse-style acid house gatherings.[7][8] His contributions during 1988–1990 helped shape London's underground scene, bridging MCing roots with DJing and party promotion in an era defined by illegal raves and the rapid spread of acid house from Chicago imports to local innovation.[7][10]Time with The Shamen
Richard West, known as Mr. C, joined The Shamen in 1991 as a rapper, MC, and co-producer, marking the band's transition toward a more dance-oriented sound infused with rave culture elements.[11][4] He had first encountered the band in 1988 at a Clink Street party, where he met members Colin Angus and Will Sinnott, and was later invited to contribute as a guest vocalist before becoming a full member.[12] Prior to joining, Mr. C was already established in London's acid house scene as a DJ and MC, with residencies at clubs like The Dungeons, which aligned with The Shamen's evolving interest in electronic music.[4] As the band's frontman, Mr. C co-wrote lyrics and rhythms, often building on themes provided by Angus, while incorporating his street rap style and influences from collaborators like DJs Evil Eddie Richards and Colin Faver.[11][13] His contributions helped shape the 1992 album Boss Drum, which debuted at No. 3 on the UK charts and featured hits like "LSI (Love Sex Intelligence)", "Phorever People", and "Re:Evolution".[13][12] The album's success was bolstered by Mr. C's energetic performances, including a notable half-time show at Arsenal's Highbury Stadium on 28 September 1992 to launch Sky Sports' Premier League coverage, though the event drew boos from the crowd.[14] The pinnacle of his time with the band was the single "Ebeneezer Goode", co-written by Mr. C and Angus in a mockney slang style inspired by cheeky Cockney characters and real-life rave scenesters.[11][13] Released in 1992, it topped the UK Singles Chart for four weeks starting 19 September, earning the band the Ivor Novello Award for Songwriters of the Year, but sparked controversy over its perceived endorsement of ecstasy use through playful drug euphemisms like "E's are good" and "Got any salmon?".[13][11] Media outlets such as The Sun and Sunday Telegraph criticized it as promoting drugs, leading to calls for a ban, though Angus clarified it as a "celebratory and cautionary" mirror to rave culture.[11] To perform on Top of the Pops, Mr. C altered lyrics—changing "salmon" to "underlay"—which only fueled further confusion and accusations of hidden references.[11][13] Following the death of Will Sinnott in 1991, fan support propelled the band forward, but internal tensions arose from Angus's reluctance toward promotional duties and a shift toward ambient sounds.[4][12] Mr. C remained with the band until its disbandment in late 1998 following the release of their final album UV, amid ongoing financial mismanagement, including £100,000 in VAT debts and £150,000 owed to the Inland Revenue, which he later cleared by 2007; he reinvested his earnings from the band's success into launching Plink Plonk Records and the nightclub The End.[15] The period solidified Mr. C's reputation in dance music while highlighting The Shamen's brief but impactful commercial peak.[4]Nightclub ventures
In 1995, Richard West, known professionally as Mr. C, co-founded The End nightclub in London alongside Layo Paskin, marking a significant pivot from his earlier DJing and production career into venue ownership.[16][2] The venue opened on 2 December 1995 at 18 West Central Street in London's West End, transforming a former 1930s cinema basement into a dedicated space for house and techno music.[16] West provided initial funding drawn from royalties of The Shamen's 1992 hit "Ebeneezer Goode," enabling the club's innovative design by architect Douglas Paskin, which featured a hydraulic dancefloor, a central water fountain, and the custom Thunder Ridge sound system.[16] This setup created two main areas: a primary room with a distinctive cobalt blue horseshoe-shaped DJ booth and a secondary lounge designed to minimize sound bleed, fostering an immersive yet intimate atmosphere.[16][17] The End quickly established itself as a cornerstone of London's underground electronic music scene, operating for over 13 years and pioneering elements that influenced modern clubbing. West and Paskin secured one of the city's first all-night dancing licenses, allowing operations until 8 AM on weekends and emphasizing a non-commercial, music-centric ethos over the era's emerging superclubs.[16][17] As co-owner and resident DJ, West curated and hosted key nights, including Subterrain (1995–2002), a tech house event he ran with Paskin and Justin Robertson's protege Bushwacka!, which became a defining fixture for the genre.[2][17] Other notable residencies under West's influence included Erol Alkan's Trash party, Andy C's drum and bass-focused RAM, and diverse events like the Sunday gay night DTPM and speed garage session Twice as Nice.[16] The club hosted international acts such as Daft Punk, Laurent Garnier, and Fatboy Slim, attracting a global crowd while maintaining an underground vibe that prioritized community and experimentation.[16] Layo Paskin later reflected, "Without Mr C, it never would've happened," underscoring West's pivotal role in its vision and sustainability.[17] The End's impact extended beyond its doors, serving as a blueprint for contemporary nightclubs by blending architectural innovation with a focus on sound quality and dancer experience.[2] It hosted West's Superfreq events monthly from inception until closure, further integrating his promotional activities with the venue.[2] Hailed as one of the world's premier nightclubs, it transformed London's clubbing landscape by championing electronic subgenres and fostering a sense of belonging amid the 1990s rave culture's evolution.[2][17] The venue celebrated its 13th anniversary in December 2008, but closed permanently on 25 January 2009 due to the landlord's redevelopment plans for the site.[16][2] The final event, featuring Garnier, Layo & Bushwacka!, and others, drew massive crowds with tickets priced at £40 initially, dropping to £20 at 6 AM; West described it as "the single best nightclub party ever to exist."[16] No subsequent nightclub ownership ventures by West have been documented, with The End remaining his primary foray into venue management.[16]Solo career
Following his departure from The Shamen in 1998, Richard West, known as Mr. C, transitioned to a solo career emphasizing DJing, production, and label ownership in the electronic music scene. He co-founded End Recordings in 1995, focusing on tech-house and minimal sounds, which became a platform for his initial solo output. His work during this period blended acid house roots with deeper, groove-oriented tracks, establishing him as an innovative producer in London's underground club culture.[1][18] Mr. C's debut solo album, Change, released in 2002 on End Recordings, marked a pivotal milestone, featuring collaborations with vocalists like Robert Owens on tracks such as "A Thing Called Love" and "The Club," and Victoria Wilson James on "Circles of Love." The album showcased his evolution toward introspective, atmospheric house, with singles like "Terricola" (2003) and "You're a Freak" (2004) highlighting his production style that prioritized subtle builds and hypnotic rhythms. Earlier EPs, including The Birds & The Bees (1999) and Subterrain 100% Unreleased (1999), laid the groundwork by experimenting with unreleased material from his club residencies. These releases underscored his commitment to fostering emerging talent through End Recordings while honing a signature sound that bridged 1990s rave energy with early 2000s minimalism.[18] In 2004, Mr. C launched Superfreq Records as an extension of his Superfreq club nights, initially co-run with Luke Vibert, shifting focus to wonky, acid-infused tech-house. The label quickly became central to his solo endeavors, with early EPs like Disco 2 Disco (2004) and Superfreq Express EP1/EP2 (2008) capturing his playful yet precise approach to electronic grooves. Subsequent albums on Superfreq, such as Smell the Coffee (2013), explored mature themes through tracks like "Hechizo," while Incidents (2017) and the retrospective 30 Years of Mischief (2017) celebrated his three-decade career with remixes and new material. Collaborations under aliases like Indigo Kidz (with Affie Yusuf) and East LA Tek (with Noel Jackson) further diversified his output, including releases like Liquid Acid on Jack Trax (2016). By the 2010s, Superfreq had grown into a global brand, supporting Mr. C's ongoing international DJ residencies and events.[1][19][20]Superfreq record label
Superfreq is a record label founded in 2004 by British DJ and producer Mr. C (Richard West) and Luke vB as an extension of Mr. C's Superfreq club nights, which originated as a monthly event at The End nightclub in London.[21] The label initially focused on releasing vinyl EPs and 12-inch singles in the realms of house, acid house, and techno, reflecting the energetic and innovative spirit of the associated club scene.[21] Early catalog highlights include Mr. C's Disco 2 Disco EP (SFQ001) in 2004, Sycophant Slags' Cklanger (SFQ002) in 2005, and Levon Vincent's The Thrill of Love (SFQ003) in 2006, showcasing a blend of groovy, acid-infused tracks and deeper electronic explorations.[20] Following a series of releases, including Mr. C's Superfreq Express (London - Ibiza Return) mix compilation in 2007, the label entered a hiatus from 2007 to 2013, during which no new music was issued.[21] It was relaunched in 2013 with David Scuba joining as a label partner, shifting operations to a base in Los Angeles and transitioning primarily to digital formats such as MP3 and FLAC EPs.[21] The relaunched era emphasized cutting-edge club music, with notable outputs like the Various Artists compilation (SFD-001) in 2013, Brett Johnson vs. Motor City Soul's Ile De Sables (SFD002) in 2013, and Saytek's Re Entry (SFD043) in 2017, featuring contributions from artists including Adultnapper, Barbq, and Affie Yusuf.[20] As the recording arm of the Superfreq events brand—a global promoter of house, acid, and techno parties— the label has maintained a catalog of approximately 25 releases through 2018, prioritizing innovative yet accessible electronic sounds that align with Mr. C's longstanding influence in the genre. As of 2025, the label continues to release music, with over 80 catalog entries including recent EPs such as Sam Monie's Hold Me (2023) and Machine Girl's SUPER FREQ EP (2024), maintaining its focus on house, acid, and techno.[22] Mr. C himself remains a central figure, with post-relaunch EPs such as Open Up Remix EP (SFD003, 2013), Illusion EP (SFD028, 2015), and Show Me (SFD050, 2018) underscoring his ongoing creative involvement.[20][23][24]Musical style and influences
Genres
Mr. C, whose real name is Richard West, is primarily associated with electronic dance music, encompassing a range of subgenres that reflect his deep roots in the UK's underground scene. His work prominently features house music, particularly acid house, which he helped popularize during the late 1980s and early 1990s as a DJ and MC in London's clubs.[10] This genre's squelching basslines and hypnotic rhythms became a hallmark of his early contributions, often infused with energetic MCing that bridged rave culture and dancefloors.[25] Throughout his solo career, Mr. C has expanded into tech house, a fusion of house and techno elements characterized by stripped-back grooves, subtle percussion, and atmospheric builds, as evident in releases like his 2002 album Change, which blends tech house with breaks and jungle influences.[26] He also incorporates techno, emphasizing minimal and experimental structures in later works, such as the 2017 album Incidents, where pulsating acid lines meet futuristic psychedelia.[25] Dub and ska influences occasionally surface, adding reggae-tinged bass and rhythmic depth to his productions, drawing from his eclectic tastes in underground sounds.[25] His time with The Shamen in the early 1990s introduced techno-pop elements, merging electronic beats with rap vocals and psychedelic themes, as heard in tracks like "Move Any Mountain," which reached number 4 on the UK Singles Chart while retaining acid house energy.[27][28] Post-Shamen, his output on labels like End Recordings and Superfreq has leaned toward deep house and electro, with representative examples including the 2013 album Smell the Coffee, featuring acid house, deep house, and breaks.[29] Overall, Mr. C's genre palette prioritizes innovation within electronic music, evolving from raw acid house to more layered, genre-blending forms that maintain a commitment to dancefloor functionality and cultural commentary.[27]Key influences
Mr. C's musical influences trace back to his childhood and teenage years in London, where he developed a passion for a diverse range of genres that shaped his evolution as a DJ, MC, and producer. As a young listener, he was initially drawn to rock and pop through Elvis Presley, followed by ABBA after Presley's death when Mr. C was 11, which soon transitioned into an enthusiasm for disco.[5] This early exposure laid the foundation for his lifelong affinity for dance-oriented music, as he began clubbing at age 15 and immersed himself in the vibrant Black music scenes of the late 1970s and early 1980s.[4] In his teenage years, second-wave ska became a pivotal influence, introducing him to reggae and soul while fueling his interest in funk, rap, and old-school electro—genres that profoundly impacted his development as an MC and rapper starting around 1982. Key artists in this phase included ska pioneers like The Specials, Madness, Prince Buster, and The Skatalites, alongside disco acts such as Russ Brown, D-Train, and Klein & MBO.[5] Electro and hip-hop figures like Grandmaster Flash and the Furious Five, Afrika Bambaataa & the Soul Sonic Force, Newcleus, Egyptian Lover, and Mantronix were particularly formative, inspiring Mr. C's rhythmic delivery and electronic sensibilities; he has credited old-school electro as his "heaviest influence in becoming a rapper."[5][30] By the mid-1980s, Mr. C's influences shifted toward emerging electronic dance genres, aligning with his transition from hip-hop rapping to house music around 1986. He was captivated by early house and what was then termed "dance music," drawing from Chicago trailblazers like Chip E, DJ Pierre, Phuture, Adonis, and Tyree Cooper, whose acid house innovations resonated deeply during his entry into the London scene.[5] Detroit techno's pioneers, known as the Belleville Three—Juan Atkins, Derrick May, and Kevin Saunderson—along with Carl Craig, became significant inspirations for their futuristic sound, which Mr. C has described as part of his "golden era" in the late 1980s.[30] Earlier synth-pop and new wave acts like Kraftwerk, Visage, and Frankie Goes to Hollywood also informed his production style, blending melodic structures with electronic experimentation.[30] Later in his career, Mr. C's influences expanded to include Japanese electronic artists such as Yellow Magic Orchestra, Ryuichi Sakamoto, and Ken Ishii, whose innovative approaches to synth and rhythm influenced his global techno and minimal explorations.[4] Overall, these diverse roots—from disco and electro to acid house and techno—have consistently informed his work, emphasizing groove, psychedelia, and cultural fusion, as evident in his collaborations and solo productions. Ska, reggae, soul, funk, and disco remain "obvious influences" in his sound, bridging his early club experiences with his enduring commitment to dance music evolution.[30]Discography
Studio albums
Mr. C has released three studio albums over the course of his solo career, each showcasing his evolution as a producer within electronic music genres such as tech house, acid, and electro. These works reflect his transition from the acid house roots of the late 1980s to more experimental and club-oriented sounds, often released on labels he founded or co-owned.[18] His debut solo studio album, Change, was released in 2002 on End Recordings, the label he co-founded with Darren Emerson. Spanning eight tracks, it blends tech house and house elements, with notable contributions from vocalists Robert Owens and Victoria Wilson James. Tracks like "Ascention" evoke uplifting, Shamen-era influences, while the title track "Change" features soulful house vocals. The album was recorded at The Watershed studio in London and received mixed user feedback for its genre experimentation, which some felt disrupted flow, though it was praised for production quality and value. Average rating: 3.77/5 based on 74 ratings.[31][26] In 2013, Mr. C issued Smell the Coffee on his Superfreq Records imprint, marking a return to full-length production after over a decade. This 10-track effort incorporates deep house grooves and futuristic themes, featuring collaborations with Victoria Wilson-James on "Open Up." Key tracks include "The Future" and "War Games," emphasizing rhythmic interplay and synth-driven melodies. Limited to 500 CD copies with digital formats, it highlights Mr. C's renewed studio focus following a period of label management and DJing. User ratings averaged 4.4/5 from 10 reviews, appreciating its cohesive club energy.[32][33][34] Incidents, released in 2017 on Superfreq Records, represents Mr. C's most recent studio album to date, comprising 11 tracks that delve into acid house and tech house with electro influences. Recorded amid his ongoing DJ residencies, it captures "incidents" inspired by altered states, as described by the artist. Standouts include the gloopy acid of "Entry Search," propulsive breakbeats in "A Civil Dose," and caustic closer "Ripple Effect," though the rap on "Stand Up" drew criticism for feeling dated. Issued in double LP, CD, and digital formats, it earned acclaim as a forward-thinking club record reflective of his 30-year career. Mixmag rated it 7/10, noting its unnerving and guttural edges; user average: 4.25/5 from 12 ratings.[35][36][25]EPs and singles
Mr. C's solo output as a producer emphasizes EPs and singles that blend deep house, techno, and acid elements, often released on his Superfreq label following earlier work on imprints like End Recordings. His releases from the late 1990s onward reflect a shift from vocal-driven house tracks to more instrumental, groove-oriented electronic music, with consistent exploration of acid house motifs drawn from his early career. Many of these works feature collaborations with vocalists or producers, contributing to Superfreq's catalog of over 50 releases since 2004.[18][37][38] The table below enumerates selected notable EPs and singles from his solo discography, organized chronologically and focusing on original productions where Mr. C is the primary artist.| Year | Title | Label | Format | Notes |
|---|---|---|---|---|
| 1998 | Because | End Recordings | Single | Debut solo single, featuring "Amazone" on B-side. |
| 1998 | A Thing Called Love (feat. Robert Owens) | End Recordings | Single | Vocal house track with Owens on lead vocals. |
| 1999 | The Birds & The Bees | End Recordings | Single | Includes "Motion" remix elements. |
| 2000 | Fondue Free / Warmth | Tide NS | Single | Double A-side release. |
| 2002 | Click | Alola | Single | Includes "Dizzy Spell." |
| 2004 | Disco 2 Disco | Superfreq Records | Single | Early Superfreq output, with "Underground 2 The End." |
| 2006 | Angel | Superfreq Records | Single | Minimal techno influence.[37] |
| 2010 | Lunar EP | Wagon Repair | EP | Experimental tracks including "Lunar." |
| 2013 | I'm Gonna Give You Some | Superfreq Records | Single | Acid house revival style.[39] |
| 2013 | Open Up | Superfreq Records | Single | Follow-up to prior single.[37] |
| 2015 | Illusion EP | Superfreq Records | EP | Features "Illusion" and remixes. |
| 2016 | E-Motion EP | Superfreq Records | EP | Includes "E-Motion" and "Soulfuric" variants. |
| 2017 | Ripple Effect | Superfreq Records | Single | Atmospheric techno.[37] |
| 2017 | Shape Your Dreams | Superfreq Records | Single | Uplifting house track.[37] |
| 2018 | Show Me | Superfreq Records | EP | Includes remixes by Ruede Hagelstein and Radio Rental.[40] |
| 2024 | Monsters & Demons (with Robotek Reagan) | Superfreq Records | EP | Features "The Beckoning"; collaborative acid project.[41] |