Roger Sanchez
The legendary Master of House brings his unique musical vision to present another exciting chapter in the 3D series…
Whether it’s hosting and playing legendary 7/8 hour sets at his ‘Release Yourself’ parties in Pacha, Ibiza and around the world; compiling and mixing an annual compilation of the same name, or producing as himself or the S-Man, there’s no question Roger Sanchez is one of house music’s most revered ambassadors.
Aside from running his own label (Stealth), supporting house from the ground-roots up, Roger has also found time to remix some of the world’s best artists such as Madonna, Micheal Jackson, Jamiroquai, Alicia Keys, Daft Punk and many, many more… Put simply, the S-Man was tailor-made for 3D!
And he doesn’t disappoint… "This is the first compilation outside of my own Release Yourself series I've done in a long time, and I was excited by the opportunity to do something different, as presented by the Renaissance 3D mix. I feel this captures the essence of the many different vibes I have, be it on the dancefloor, in the studio or at home.†– Roger Sanchez
We first catch-up with Roger in the club for a current snapshot of his live club sets, drawing on friends and producers such as India, D.O.N.S., Outwork, Wally Lopez, Hatiras and Richard Grey. The result is archetypal Sanchez, a heady mix of soul, funk and electro.
As we follow him to the studio, Roger presents his seminal remix of the legend that was Barry White alongside key favourites such as Carl Kennedy, Artificial Funk and A Tribe Called Es. The rest of the disc accurately portrays his incredibly prolific studio output, fittingly spear-headed by his crossover smash ‘Another Chance’.
Finally, Roger takes us home for an eclectic musical travelogue that begins on the tranquil shores of Ibiza with Afterlife’s ‘Clear Blue Sky’; jumps across Europe to enjoy the cream of Britain’s electronic artists, Massive Attack and Finlay Quaye and, later, looks a little closer to his Manhatten home by way of Black Science Orchestra’s ‘New Jersey Deep’. He adopts some Gallic charm via Daft Punk before winding things-up in true festival mosh-pit style with the Klaxons seminal ‘Not Over’ cover.