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LIZ TORRES|The fierce Liz Torres has fascinated the club music underground ever since 1986 when her first|12” single, the darkly defiant and wildly percussive “Mind Games” thundered through quaking|sound systems the world over.|Born in Ponce, Puerto Rico, Liz was three when she, her father (a preacher), mother, and five|brothers and one sister moved to Chicago. Raised in a strictly religious home, allowed no radio|or television, she grew up listening to “Spanish church records” and singing every chance she|got—for her church (“I was so nervous I sang with my eyes closed”) as well as for her family. In|high school she hung out at Gramophone Records absorbing “everything” from Barbara|Streisand, Stevie Wonder, Aretha Franklin, and Luther Vandross to Grace Jones and Loleatta|Holloway. But it was her discovery of house music on a Chicago beach as it rocked from the|boom-box of then soon-to-be boyfriend and producer, Jesse Jones, which set her on fire.|She explains, “I began hanging out at Jesse’s house, because that’s where the music was. One|day one of his friend [Carl Bias] came over with this really hot track and I told Jesse I could sing|to it. Jesse said, ‘Yeah, right.’ So I asked if he had words to it. He said he didn’t, but was|thinking about singing on the track himself. I said, well, I just want to let you know I can sing a|little. He said all right, prove it. ” Boom, “Mind Games” was born.|The song was instant hit at the Paradise Garage. Liz gave up her day job at a bakery to put in|some serious diva time jetting between Chicago and New York City to perform. Torres performs|completely live, teasing reading, seducing and feeding off her often boisterous audiences as she|slips from English to Spanish and back again. On her acceptance by the fierce Paradise Garage|crowd, she says, “I was scared. When I went to perform for the first time in New York, people told|me that if the audience doesn’t like you they’ll throw chairs at you! So I just went out on the stage|at the Paradise Garage and I was myself. They loved me, and I was so happy that I cried!” Torrid|shows at the Garage, as well as the Palladium, The World and Sound Factory made Liz a|legend—the supreme “Queen Bitch” (as she calls herself) of the gay, Latin, black, urban|underground club scene.|“I felt like I’d been reborn,” she says, “I got into never wearing an outfit twice. The queens loved it!|I’d always be trying to top the last outfit and all these designers were throwing clothes at me, the|hotter, the wilder the better!” Custom outfits from Patricia Field (the House Of Field once threw a|Liz Torres ball), La Troya Fashion, and Alfredo Viloria were her trademark.|The passion, defiance — the fire that fuels this Liz Torres — is palpable. “I think there is a bitch|in everyone,” she says, laughing. Bullied by boys and older girls in school and later by industry|honchos during her strained relationship with Jive/RCA, Liz is used to putting those who, ah,|“mess” with her, in their place. Liz explains, “Being bitchy is giving a damn, letting them know,|expressing yourself.” “There is a lot of me,” she adds, “there is the bitch, the seductress, the little|girl…” Drop your laser on the exemplarily humid “What You Make Me Feel” and it’s easy to|feel—and appreciate—the heat, the sweat, the sex that drives the Master C&J/Liz Torres sound. •|QUOTES ON MASTER C&J / LIZ TORRES|Liz Torres was a ferocious talent to be reckoned with: on wax AND on stage. Her personality and|assuredness came through effortlessly. Liz had a star power, which was undeniable and helped|her shine amongst the many who were grasping for the ring during the late ‘80’s house|movement. Few females are recognized for their contribution to the history of the revered|Chicago scene of that day, but Liz should undoubtedly be at the top of the list. Her 12” releases|and live performances were highly anticipated and never failed to inspire. I, for one, would relish a|thorough compilation of her work remastered and re-released. Besides being long overdue and|warranted (kudos as well to her stellar production/songwriting partner in crime - Jessie Jones), it’s|important that Liz’ legacy not be overlooked or taken for granted. Like her male Chicago house|compatriots (who’ve been compiled and re-compiled ad nauseum), Liz’ contributions should be|acknowledged for their pioneering (bilingual house!) and somewhat feminist stance. Liz was a|special talent and performer with a distinctive voice and perspective that was very rare and|innovative for that era.”– BILL COLEMAN, Billboard Dance Music Editor ‘87-90|All these records were peak hour “anthems” for every club I played at in NY & NJ. The tracks &|vocals worked so well together and always cut thru everything else that was played each night.|All true “screamers” on the dancefloor…wish there were more of them at the time. They were|always unique and always GREAT. [If you put these out] I’d buy ‘em. In fact even though I got|these in my pool at the time…I’d always but extras mainly from wearin’ them out. I remember goin’|to Vinylmania, Manny putting them on in the store and watching them fly out the door. – Tony|Monte, VP Crossover Promotion, Capitol Records.|Liz Torres, the incomparable and undisputed original “Queen Of House,” is one of the unsung|heroes of the Chicago House music scene. Along with producers and chief collaborators Master|C&J, Torres has been sadly overlooked as one of the influential pioneers and contributors to the|nascent American House music underground that formed in the dual epicenters of Chicago and|New York. The undeniable sharp-tongued seductress was renowned for her fiery, infectious,|visceral and occasionally raunchy narratives. She was one of the few female voices of the|movement - an assured and defiant Latin diva whose essential anthems like “Mind Games,” “In|The City,” “I Can’t Get Enough,” “Mama’s Boy” and the timeless after hours masterpiece “Face It”|remain definitive classics of a seminal musical era. Generations of dance music lovers worldwide|would undoubtedly benefit from uncovering or rediscovering her tragically ignored oeuvre. It is|time for Liz Torres to stake her rightful claim in the House music history books and gain the|recognition that has long eluded her. – Craig Roseberry, music journalist for BPM, Billboard|and Stereophile / owner of Shifty Entertainment artist management and music marketing|company (representing Chris Brann, Richard Morel, Peter Daou and more).|Back in the late ‘80s when house music was still in kindergarten these two artists were at the|forefront of their game and helped break down boundaries, define a sound that was|quintessentially Chicago Hip-House and most importantly made people dance their asses off!|Let’s not forget our roots! – Lewis Dene, Solitaire / Westway Journalist: Update, DJ, Blues &|Soul, Record Collector magazines / BBCi reviewer|Liz Torrez in my humble opinion was one of the few if not the House Music Diva we had back in|the Garage Hay day. The compilation is a must to document her important place in dance music|history and our house music culture. Her tracks still move the dance floors for me today as they|did when they were released in the 80’s. I can’t wait for my re issues, mine are worn from|constant use. – Joey Llanos, Paradise Garage DJ, 718 Sessions DJ.|Master C&J are the great-unacknowledged geniuses of that scene. – Bill Brewster, co-author|“Last Night A DJ Saved My Life,” “How To DJ Properly,” “The Manual: The Who Where|Why of Clubland” (Ministry of Sound Books), and over a decade documenting dance|music in top UK press and owner of http://www.djhistory.com.|Liz Torres is the true queen of house. She is a musical pioneer - a Latina pop star before her time|who was at the forefront of the house music revolution. Credit is long over due for this amazing|singer and performer, whose music needs to be remembered and celebrated. – Luke Howard,|Star DJ, journalist, and half (with Princess Julia) of UK electro band and remix team, The|Most.|In a world where classic artists are being re-introduced to the next generation Liz Torres should|be an essential selection as many fans are discovering her classics through the web… – Oscar|Poche, DJ, owner Media Services, Rumba Jams, Manager Maurice Joshua, many others.|Liz Torres and producers Master C&J first turned me on to the deep dark and dramatic|experience you could have from a piece of house music. The high drama and brooding delivery of|these classics has paved the way for whole genres of music - The Progressive/Tribal/Sound|Factory sound started with this stuff. It’s important. It’s a bit of history - these tracks stood out a|mile when they emerged. They were sparse, heavy and more emotive than anything else at the|time… more importantly ‘In the City, Face It and Touch of love still sound amazing in 2005! They|surely deserve to be highlighted as the classics they are. — Leo Elstob www.faitfanzine.com|London June 05|There’s a generation of young dance music fans who are eager to explore this music’s history,|and a seminal artist like Liz Torres deserves to be heard - and deserves the chance to reap the|rewards of her outstanding contribution to dance music. – Russell Deeks Editor, iDJ|Those Liz Torres/ Master C&J records from the late ‘80s aren’t just really cool-sounding tracks;|they’re also among the most influential of the whole electronic-dance-music era and helped to|expand the boundaries of what house music could be. The kids need to hear these seminal|records, and oldsters definitely need clean copies!” – Bruce Tantum, Clubs Editor, Time Out|New York.|What can I say? Besides being legendary, classic just doesn’t describe the impact Master C&J|and Liz Torres had on the underground in the late 80’s to early 90’s…With such masterpieces as|“Face it” and “Can’t get enough” these pieces were such of a delicious memory of the Chicago &|New York city underground. Liz herself went onto work and become produced by the likes of|Danny Tenaglia, and Junior Vasquez. The voice, the persona of Liz Torres will always stay|echoed in my Brain! Just like her haunting chorus’ and riffs that swirled us at one time, these|classics being re-issued are destined to be timeless…Just like the artists themselves. — Ralphi|Rosario|Hi Andy would make a great re release but even better get that woman remixed—people (me|included) would kill to remix that shit…please check out the faith site www.faithfanzine.com —|Terry Farley, legendary UK DJ, producer.|When this diva’s debut song hit the clubs back in the mid-eighties, it had everybody on the floor in|a trance. I was there. She deserves more credit in the House Music Divadom. I would be on it if|she made a new record! Do u hear me Liz??? I hope u read this, u diva u!!! . Peace! – Aldo|Hernandez, former owner of Throb Records store, beloved underground NYC DJ,|producer.|Very raw, very basement, very underground and a unique, brand new sound that hit me hard.|There were other records out at the time, but “Dub Love” (by Master C&J) was the record that|made me say, “Oh my God!” — David Depino, former opening DJ for Larry Levan, Paradise|Garage, DJ Trax NYC, star in “Paris is Burning.”|“Liz Torres was the original kitten with a whip, dance music’s first toxic brat. Many sweat-soaked|nights before your Britneys and Christinas were out of jammies, Ms. Torres perfected the ploy of|coming on all sweet and blissfully self-possessed so as to disarm one’s victims - namely, us. In|classic trax like “Can’t Get Enough” and “What You Make Me Feel,” her anaconda venom was|already burning its way through our bodies as she sent the dancefloor up higher. And the|inevitable drop down made for one mighty atomic ride. Rows and rows of disco chix have|subsequently adopted this stance. But Liz Torres got their first. And they need to be TOLD!” —|Kevin John (Village Voice, Dallas Morning-News)|DJ Doc Martin (interview excerpt)|What record never leaves your box?|It’s an old one: Liz Torres/ Master C & J - ‘Face it’ (State Street) from, I think, 1986. Deep moody|Chicago female vocal house and an all time classic for me. |
