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MP3 CJ Burken - My Third I

Nine tracks or four thousand three hundred sixty two seconds or one hundred sixty seven megabytes - that''s what it took to tell one man''s emotional journey from darkness and dispair to salvation and freedom. CJ Burken''s "MY THIRD I" recounts this very tale of rebirth through a collection of beautifully crafted deep tech-house tracks that will grip you from the very first note and whisk you along for the ride.

CJ Burken - one of the most promising producers in the recent crop of talented tech-house elite - delivers a solid album that showcases his unique approach to deep house production while paying hommage to the pioneers of the genre that laid the ground work before him and inspired his creativity. "My Thid I" features a broad range of electronic interpretations, from the hard and hitting to the sunny and soothing, with numerous guest feature vocalists that will please fans and neophites of the genre. Even if you''ve never heard of tech-house music before, give this album a listen o

9 MP3 Songs in this album (72:41) !
Related styles: Electronic: Deep House, Electronic: Tech-House, Mood: Intellectual

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Singled out early on in his life as having a close instinctual connection with music in general and with afro-drums and broken rhythms in particular, CJ Burken took the first step in his producer and DJ career in early 96 when he landed his first-ever "live" gig at famed Miami-Beach nightspot of the era: Liquid Lounge. "I was so terrified that night that I did my entire set with the curtains to the DJ booth pulled closed, in complete darkness with nothing but a small pocket flashlight to read the vinyls and cue the records!" he laughs. "I had been a closet club kid for almost 4 years by then, spending on average 2+ nights a week in clubs listening and dancing all night to the sounds and sets of famous DJ''s and future legends in the business - Tenaglia, Knuckles, Wink, Murk, Vasquez, Padilla, Lee Brown Jr., Timewriter, Humphries, Lil Louie, Cox, Martin, Sanchez, just to name a few" in some of the top clubs of the time in Miami-Beach.
Soon, after a chance meeting with a label rep for Pagan Records, he was mailed the entire catalog of that label as well as vinyls from its sister labels or affiliates. CJ Burken had just pulled open the veil of this burgeoning yet still underground music style known at the time as tech-house. He immediately felt at ease and comfortable with this new, deeper and slower style of house music, leading him to basically strip all other styles of music from his DJ collection and focus exclusively on building his repertoire and DJ sets around this distinct yet unique form of house.

"I became known in all the local record stores as ''that DJ guy who plays those deep and watery records.'' Several of my good friends who worked at those stores, would simply order one vinyl copy of certain tech house records for their stores knowing that no one else would buy them even if they were on display, except me. Sometimes, they would simply hand me a batch of records in single availability at the store that they had ordered for me. They knew exactly what I liked." The reputation for his sets grew wildly in the late 90''s, specially for his memorable gigs on the roofs of local buildings in Miami-Beach at 4 in the morning or his outdoors sweat sex tech fest where patrons usually would slowly strip out of their clothes as the night went on till naked by early sunrise.

All the while honing his DJ skills and sets, CJ Burken began to pay closer attention to the mechanics of the records that he was playing and again, he felt at one with all the elements, shapes, forms, rhythms and grooves of tech house. Not long after, he tried his hands at music production, timidly asking his manager and friend at the time, M. Schooler, to land him a remix contract on specs for any label that would bite. After a few unsuccessful attempts that were by all regards great musical pieces but unpolished because of his evident lack of mastery of the instruments of the trade, CJ Burken released in 1998 his first ever 2-track productions on Lapdance Records - an American subsidiary of Germany''s famed Plastic City, under the guise of "Identity Crisis" with is DJ collaborator at the time, The Undah-Dub.

With more remix projects being entrusted in his hands - some of which became cult classics: Sweet Daddy Records'' "Love, Peace and Happiness", Serjay''s "Mahal Kita", Raker Project''s "Work The System (the moody breakthrough dub", The Undah-Dub featuring Alison Crockett''s "Did You Know It Was Him?", and a handful of acclaimed mixed sets recorded live at Club Red in Washington, DC and at pioneering digital radio station The Womb in Miami Beach, it wasn''t long before he released his first solo album, "Parachute Pants To The Rescue" on a young and upcoming indie label in Florida, Digital Vinyl Records, in 2007.

Having relocated to New York City by that time, CJ decided to completely stop performing on the US DJ circuit and focused all his musical talent and attention to slowly developing and establishing Harlem Station Recordings - https://www.tradebit.com - (of which he is the co-owner) and further expanding his clearly defined and unique production and remix chops, with regular remix work for various indie labels. With his underground classic remixes of Fergie''s "Fergilicious", Kylie Minogue''s "Slow", Snopp Dogg''s "Drop It...", as well as his more recent remix and production work on upcoming singer/songwriter Denvil Saine, CJ has remained one of the creative forces behind the success of Harlem Station Recordings and its sister label, Decibel NYC, through a business partnership with long-time collaborator and friend, The Undah-Dub.

The concept and idea for his latest full-length album, "My Third I", began to take shape in late 2009 and evolved laboriously over the next 12 months to be released on April 21st, 2011 on his label imprint, Harlem Station Recordings. With 9 original and polished authentic tech-house tracks and 3 bonus/alternate exclusive songs, "My Third I" definitely reveals that CJ has managed to extensively hone and develop his indelible signature sound on his cherished tech-house landscape.

"I love to deconstruct an original groove-based composition, bring in my own watery, velvet drum programming to anchor basically what i believe is an exercise on my part in daring to see how I can slap the whole piece into tech-house submission! I make no bones about it. My studio sessions are known to be about how far the artists and I can transform into complete opposites of our personas and be free to dive into new musical interpretations. It may not make sense to you now, but simply schedule time when I am creating in the studio and see who, what or which of your multiple creative sides I end up bringing out and showcasing on a record! My motto has and for ever will be: Do U..."


The idea for this album came just as a dark and extremely emotional period was starting to take a tight and debilitating grip on my life. I had just finished production work on a whole album for another singer/songwriter and was exhausted from the experience. My label''s A&R manager suggested once in passing that I tried my hand at a full-length album of my own, since he was quite impressed with the job I had just completed.

At first, and for several months after, I simply laughed at the idea - the words of a manager assuring that i was in top shape for another project he was going to throw at me. However, as the weeks and the months that followed would ultimately reveal, several incidents and natural disasters were slowly reshaping my view of the world, of my surrounding and my core foundation. It was as if a black veil of utter chaos was slowly shading my every perceptions and I simply could not find the words or the energy to scream for help.

Music and my home studio became the only places where I felt I could safely allow that veil of darkness to take hold of me and try to make sense of it all and ultimately embrace it. During the many months of production that followed, every creative session was a lonely, intense, twisted yet liberating experience.

As evidenced by the resulting 12 tracks, "My Third I" captures the many sides, personalities, tears, victories and defeats I had to uncover, face and understand over the last year and a half. There were moments when that dark force reigned supreme and defeated all my instinctive guards. Other tracks, specially the ones that make up the second half of the album, were more or less a recollection of my road to freedom; from my own self, from those events beyond my control and from my desperate need for acceptance.

A very personal experience, "My Third I" taught me that life is much more complex then what we make of it by the time we reach adulthood and in order to live life to its fullest, we must accept and - more importantly - understand the many facets that shape our individuality. The good, the bad, the taboo, the prestigious or intelligent, etc. - they''re all base ingredients of various qualities that in different dosage, ultimately create, grow, sustain and mature any human. Accepting this immutable fact is to begin a full, happy, productive and unfair life.

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