Starter For Five: Sally C

The best ways to open a DJ set...

Sally C is a force of nature.

A club figure who commands international respect, Sally C has built a unique identity, one focussed on system energy and cross-genre fixation.

Running her own Big Saldo’s Chunkers imprint, Sally C has deep connections with key clubs across Europe and beyond.

A new three-tracker is out now, and Sally will be donating a percentage of profits to two causes close to her heart.

She comments…

“I have played these tracks many times in one of my favourite clubs in the world, ∄ in Kyiv. This club holds a firm place in my heart. My friends here and the people of Ukraine are going through the unimaginable right now.”

“I will be donating a percentage of the proceeds from this record to the club’s community fund and to a Berlin – based cause Bridges Over Berlin who support LGBTQIA+, BiPOC and other marginalised individuals fleeing Ukraine. I kindly ask that if you buy this record or enjoyed playing a free promo to consider donating to these causes too.”

Out now, we asked Sally C to discuss the best ways to open a DJ set in Starter For Five.

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D-Shake – ‘Yaaah’ (Club Mix) [RCA Records, 1990]

What a great record from 96’, I love to play this at the beginning of a set. The vocals in this track are so good and positioned perfectly. Its rousing intro vox ‘make some noise’ ‘come on, come on’ pulls the crowd in initially, before rolling through to the main vocal throughout ‘yaaah, yaaah.’ It’s repetitive but catchy and the occasional ‘woo’ just works in this record.

The short break down at thirty seconds before the bassline drops is always a moment, then the rest of the track unfolds so seamlessly with rolling drums, light percussion and perfect fills. A timeless record that works every time.

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Mix Masters – ‘How Low Can U Touch Me’ (Fast Eddie’s Boomin’ Mix) [DJ International Records, 1990]

I am most in the groove and relaxed when I’m playing hip house. It brings the vibes like no other; it’s fun, happy, bouncy and all the tracks are straight up genius. I make a lot of hip house edits to mix with the old records I cherish so much, and this is one of my favourites.

Fast Eddie is without a doubt one of my biggest inspirations, his style, simplicity and flow is unparalleled. This track has the ultimate groove, I love it so much and so does the crowd.

Opening with the classic hip-house thunder kick, it rolls straight into the main vocal ‘how low, how low can you touch me’ which instantly locks people in. The track also features Sundance, one of the best rappers of this era. My favourite part is when the bassline drops over her rapping at 46 seconds in, that groove!

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GC – ‘Humeda’ (Alma Humeda T90 Mix) [Mantra Vibes, 2002]

Bouncing into the 2000’s here, a time period I don’t dabble in too much musically, but this track is insane. I play it 10 bpm faster than its original speed which works perfectly. It has sexy Italian vocals sprinkled throughout giving sass, but the main trigger is the hard stabs over the relentless bassline and kick which creates such a hard groove.

Half way through there’s a curveball break that softens the track a little, engaging the crowd with a switch up, before slamming right back in with the hard stabs. This is too good and always goes off! Forever grateful to Sparkling Water Dreams for this one.

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A Homeboy, A Hippie & A Funki Dredd – ‘Revelations’ (Original Mix) [Rising High Records, 1992]

So many good records from these guys, this one is mad. It’s a bit of a curveball in a set, but I love it.

It opens with a 40 second apocalyptic style vocal which works so well over most tracks, then slips in the recognisable Lolletta Holloway sample before slamming into the banging drums. A big breakdown in the middle again always brings the vibes.

Such a cool record.

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‘Fossil Funk Piano Mix’ (Video Edit) [Waltzer, 2018]

This producer is one of a kind, he makes super interesting music. So much love for this track, I’ve never heard piano work so well in a breaksy acid track.

It works perfectly at the end of a set or coming down after an acid burst. The last 30 – 40 minutes of a set is always such a special time, especially a longer set and this always resonates with the crowd; when the piano is playing over the acid and breaks, it’s so so good.

Emotional, banging and pure genius.

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Sally C’s – Big Saldo’s Chunkers 002 is out now:

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Photo Credit: Natalie Jurrjens

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