Harry ‘Choo Choo’ Romero is, as ever, running at full steam. Romero, given his ‘Choo Choo’ tag because of the train conductor’s cap he wore religiously in childhood, just doesn’t know how to stop. There’s too many projects to tackle, new sounds to master, clubbers to dazzle….
It’s no surprise he’s still wearing a conductor’s cap today. Everything’s running on time, including this phone interview. Romero picks up bang on noon in New York and quickly fires through some of the things he’s working on – all making good progress, all where they need to on the big man’s schedule. “I say it to people more and more” he explains, “the business and logistical sides are important. Or, as a house artist today, you’re screwed.”
As such, Romero is working on “hot” new material for the relaunch of Subliminal’s feisty tribal label Sondos, a new batch of tracks with long-term partner-in-club-crime Jose Nunez, a new cut for Mark Knight’s Toolroom imprint (it’s called 80 Degrees,) and, rather intriguingly, material with Yank R&B singer Trey Lorenz. He’s not giving too much away on the latter but does excitedly reference single Is This Time Goodbye? as one of the first fruits.
“We knew mutual people and just hooked up” Romero comments. “The relationship has got me real energised, man, I think we’re going to do some good stuff. Is This Time… was actually due out a few months back but it’s coming on Bambossa soon [Romero’s own imprint] and, to be honest, is already getting a cool buzz with the key players. It’s gonna tear the roof off!”
Romero, one feels, is giving himself a little more head space than usual to perfect this particular project, but in all other respects he’s on full studio throttle. If anything, the pace of production output is continuing to increase. “It used to be about quality over quantity. I would have told you that even last year” he suggests. “But now, for me, it’s quality as much as quantity. Look, there are too many kids on laptops making beats now; there’s a lot of competition. If you sit still, you’re dead. You have to move your ass constantly.”
So what, then, is Romero’s approach in the studio? What kind of routine does he need to enable himself to produce so prolifically? “My routine is no routine, almost” he counters. “I mean I like to be organised and have my schedule; and I definitely have an ‘approach’ to making records that works for me, but routine means predictability.”
Fair enough, but what exactly is that approach? “I start with the beats, nearly always. They’re the building blocks; you’re basically pushing your musical idea under the power of the drums. Of course, I have an idea of a particular sound or mood too. After that it’s about building the sound up, using things differently but effectively, be they vocals or whatever. I’m constantly busy but, y’know, I will give myself some breathing space from the studio if I think it will mean I come back to something fresh and with an original angle.”
Fresh is a highly relevant word. It wasn’t that long ago that Romero’s concerns about creativity in clubland were being reported on by key music media. “I sat back for a time, I just wasn’t feeling inspired anymore” he admits. “But, now, for all those laptop kids making crap music there are some good ideas shining through. The internet can be good in that way. I think the European house scene is also coming on strong; the zip to the scene is back. I’m feeling energised to make music every day.”
Europe is inspiring Romero on the road as well. The ‘Choo Choo’ DJ calendar is much like the studio one – hectic. But there are plenty of clubs and parties to draw strength from. “I kinda regret not getting out to Eastern Europe more than I do” he offers. “The passion for house music out there is crazy, the people are party animals, just so infectious. I played an outdoor party for 5000 people in Belgrade last week and there was a massive rainstorm. But did the party wind down? Did it f*ck! Everyone was going for it. That was an amazing night.”
Rainstorms, however, long-haul flights and even grinding all-night sessions back in the studio must eventually take their toll. And as the dance music scene’s productivity continues to increase, there is surely an added strain for its major protagonists to stay afloat. “It can be hard, yeah, but I love what I do and that eases things” Romero concludes. “You have to be sensible. Will I be DJing when I’m in my later years, I doubt it. Some jocks say they will but you have to be sensible and realistic. They’re going to be dinosaurs. Me, I’m looking at the publishing angle long-term. There’s good money, and good creativity there. I know I can put my skills to good use.”
No one's doubting that...
