Tony Moran

From Wikipedia, the free encyclopedia

This biography needs sources or references that appear in reliable, third-party publications. Primary sources and sources affiliated with the subject of the article are generally not sufficient for a Wikipedia article. Please include more appropriate citations from reliable sources, or discuss the issue on the talk page. This article has been tagged since December 2007.

This article is uncategorized. Please categorize this article to list it with similar articles. (June 2008)

Anthony "Tony" Moran is a remixer/producer and DJ known for remixing popular songs. In 2007, he hit number one on the U.S. Billboard Hot Dance Club Play chart with "Walk Away" featuring Kristine W. He is rumored as the original Michael Myers in the 1978 horror film "Halloween." Though the two share the same name, they are not the same person.

[edit] Career

Moran began his career back in 1981, when he and friend Albert Cabrera teamed to create a whole new step in the record making process. Together they were "The Latin Rascals", whose re-edited versions of hit songs spliced together enjoyed major air-play on New York dance radio WKTU's popular mix show. The radio exposure led to a deal from Shakedown Studios who hired the duo to restructure popular hit radio songs into viable dance club hits. Shortly thereafter, they were contracted by another studio, Fever Records, to write and produce a song for one of their new acts, The Cover Girls. The result was Show Me, a song that not only became Tony Moran's first Top 40 gold record but also helped to usher in the freestyle era of music. This opened the doors for new artists including TKA, Safire (Boy I've Been Told), and Lisette Melendez (Together Forever), all of whom benefited from the skillful hands of Moran and Cabrera.

Tony Moran credits his freestyle background for the pop sensibility he incorporates into his music today. "Playing music that generates a feel-good energy is what I love about being a DJ/mix master", explains Tony. He eschews the strict underground house mentality preferred by many of his contemporaries and instead prefers to impart his remixes and productions with a hook laden commercial appeal that is both radio friendly and dance floor ready. Tony measures a successful dance floor with the number of hands in the air, dancing and singing along.