While GETTING DOWN is a personal experience, GETTING SHIT DONE depends on who you know. That said, Eric Duncan, aka Dr. Dunks, has been expertly doing both for the better part of 20 years. Raised in a record-rich environment in Los Angeles, Duncan began as a transnational disciple of NYC hip-hop in the late 80s, until attaining disco enlightenment in San Francisco in the mid 90s. Since then, he’s been DJing relentlessly, first in L.A., then in New York, and now pretty much anywhere airfare can get you.
Teaming up with Thom Bullock (NYC via San Fran via Cambridge) around 2000, he helped organize the long, deep, and driving Rub N Tug “Campfire” loft parties, which have since attained contempo-legendary status for their outstanding achievements in sleaze in NYC nightlife. In 2004, he began producing, re-editing, and remixing on his own and in collaboration with other NYC disconauts, taking the Rub N Tug ethos into the studio with Bullock, and becoming half of the critically acclaimed Still Going with Olivier “Liv” Spencer. He’s since found reliable outlets on such labels as Rong, aNYthing, Whatever We Want, DFA, Hands Of Time, Eskimo, Mule, Warp, and C.O.M.B.i.
With the first Rub N Tug album looming just over the horizon, and a guest spot with the Broadzilla DJs (KT, James, & Thom) this Saturday, May 8th at Kung Fu Necktie, Dr. Dunks was kind enough to respond to several of our questions by email.
Phrequency: In an interview last year, you mentioned that you were pretty into the hip-hop club scene in L.A. in the late 80s and early 90s, even attending Africa Islam’s Tuesday night “United Nation” party religiously from 88-90. During those formative listening years what other sounds were entering your ears in a big way? And when and how did the disco 12” move in on your collection?
Eric Duncan: Well, actually I was into the New York hip-hop scene but living in Los Angeles. Along with hip-hop, I was collecting soul, Latin, jazz and rock records, until the mid 90's, when I first saw DJ Harvey play, and then I incorporated disco and house into it all.
P: You started DJing pretty seriously around 1994, right? And, the first 12” you helped produce—“Cruising” by How & Why?—didn’t come out on Rong until 2004. During that 10-year period, did your work as a DJ push you towards production? I know Rong was initially set up as a platform to release music among a close-knit group of friends (see: INTRVW: DJ Spun), so how exactly was that concept developed collectively?
E: Those 10 years I was DJing all the time, like 4 to 7 nights a week. Then, it was just a matter of time before I got into the studio. I had a sample, an idea, and some friends who could help execute it. I was good friends with both Danny Wang and Jason [Drummond, aka DJ Spun], who had just kicked off a label [Rong], so it all fell into place. Me and Spun worked in the home studio to get the basic music together, then Danny's boyfriend at the time was Steven Hall (of Loose Joints fame) who added guitar, and Danny was on keys, while the engineer, of all people, was Olivier Spencer, who I ended up doing Still Going with 3 years later. It just started with a beat, I guess...
P: Recently on Beats In Space, you spoke to Tim Sweeney about working on the first Rub N Tug album. What’s the creative process been like with that? Other than “jumping up and down” in the studio, what are you and Thom bringing to that project in terms of direction/intention/inspiration? And by the way, how’s that coming along at the moment?
E: Yea, me & T had ideas and direction. We got our friends together—"The Band"—and shared these ideas and inspirations with them. Then, they went in and jammed for 30 minutes, and we repeated that process 7 more times, and after 2 1/2 days we had 8 tracks to edit and arrange. That was in September of 2008, and we’re still working on it… It’s the closest it’s ever been, and we should have a 12" out in the near future. That’s all I can say at this point…
P: You’ve got so much else going on at the moment as half of Still Going, as Dr. Dunks, and with the C.O.M.B.i. re-edit series. Anything we should be on the lookout for?
E: There’s a new Still Going remix out soon on International Feel, a new Dr. Dunks remix out now for a group called Bubble Club, and a new edit label out in 3 weeks, as well, with that Dolly Parton edit [of “Get Your Hands Off My Potential Boyfriend,” which appeared on DJ Harvey’s recent BIS mix on it.
P: In that mix, Harvey called you “the best editor on the planet right now.” Could you give some insight into how you work an edit through to such results? When did you really start re-editing? And would you say you’ve developed your own approach, or are you working well within the tradition of the disco edit? And about all those, can you think of any exquisite edits from a particular editor that may have influenced you? Larry Levan, Danny Krivit, John Morales, François K, Ron Hardy, or Frankie Knuckles for example?
E: It was nice of Harv to say that… He might have been exaggerating a little ;)… I started re-editing around 2004, I guess. I think I’m just influenced by my vision of how it will be when I’m playing it out. I work in a pretty traditional way, I guess. Cut and move and repeat, and so on…. Probably influenced by all those guys you mentioned.
P: You’ve spun almost everywhere floors are used for dancing at this point. In your opinion, what makes a great party?
E: Every place is different. A good party comes in many shapes and sizes. It all starts with the people attending. Without them, there’s no party. So, I would say good people, good music, and a venue that is more on the lawless side of things... If you have all those working for you, then I think you're set up for a good night, or day, or both.
P: What are you feeling for this coming weekend? Anything specific we can expect?
E: Tough to say… I usually just work it when I get there.
Eric Duncan will be spinning with the Broadzilla DJs (KT, James, & Thom) at Kung Fu Necktie (1248 N. Front St.) this Saturday, May 8th from 10-2. Cover is $5. GET DOWN. More information here.
