Nearly a top 10 Billboard Hot 100 single (but still spending nearly a full calendar year on the Hot 100 charts) in 1994 as well as being a number one U.S. dance single and being a worldwide charting single, alongside a plethora of other U.S. Mid-Atlantic region hitmakers (like Baltimore's Ultra Nate and more), Washington, DC-based vocalist Crystal Waters' "100% Pure Love" is an iconic moment in the history of underground-to-mainstream dance. Following the iconic global success of "Gypsy Woman," Waters paired with Baltimore's Basement Boys-affiliated producer Teddy Douglas on the thumping, sexy four-on-the-floor house spectacle, and for 20 years it's stood the test of dance's evolution to still be a standard bearer.
20 years later, Waters now pairs with Latin American DJ/producer Armand Pena to bring heavy, seductive and sunset-kissed Miami-style vibes to the classic for a 2014 reboot of "100% Pure Love" that was just released on Robbie Rivera's Juicy Music label. The legendary Waters breathes new life into a re-recorded vocal for the track, as the sensual essence of the lyrics melds with Pena's style to almost effortlessly give the track life and meaning for a new generation. Discussing the creation and execution of both the original and the new version of "100% Pure Love" is an entertaining journey through the past, present and future of house, just as is the mix they've provided exclusive to Do Androids Dance, too.
1.
Crystal, we're currently in the 20th anniversary year of the release of "100% Pure Love." Your thoughts as to what are the elements of the song that you feel have allowed it to have such longevity?
I've been thinking about that, I think part of it is it's simplicity, it has all the basic nuts and bolts that doesn't allow it to become outdated. The sound is original and undeniable. Also the lyrics they are so sexy (laughs)... we love that.
I'm from Washington, DC, but I've spent more hours at Baltimore's Paradox than I care to remember (laughs). What energy in the city's scene went into the creative process behind that song? I know you had written with Ultra Nate, and the Basement Boys had opened up the world to the city. What was it like being in the dance scene back then?
Well contrary to popular belief, I don't live in Baltimore, never lived in Baltimore. I live in Washington, DC–the only time I spent in Baltimore was when I was in the studio, I would drive the 45 minutes up, then go right back [home]. Back then my dream was to become the next Sade, I was writing those kinds of songs when I met the Basement Boys at a music conference in DC. They loved my songwriting style and asked me if I would use it to write a song for Ultra Nate. That's when I was introduced to the dance music, I wrote "Gypsy [Woman]" and "Makin' Happy" for her; they loved it so much they put it on my demo to shop to labels. History [was] made, [and] it was then [that] I discovered the dance music scene and I loved it. I remember hitting every club in New York–there was so much love in the clubs, but it was also the air of what we were doing was not the norm, we were the bad kids they told us our music wasn't shit and the lifestyle even lower. But it made everyone come together we loved it and tried even harder. I remember loving being the underdog and wanting to make a statement. (side note: If you are from Washington DC you may remember the Gypsy Woman, she used to stand outside the Mayflower hotel on Connecticut Ave and K Street in Northwest DC, singing for money.)
Were you aware of Armand before you heard that he was working with the track? Or was it more a situation that once you heard what he had done with the re-working and you wanted to give it a vocal re-working, too?
For a couple years I had planned on doing a re-make of "100%," I knew the 20th anniversary was coming up and I also never re-sang the vocals for anyone, so I thought it'd be special. I met Armand as a promoter and he kept bugging me about doing a song with him. He finally sent me a track which is now called "Blow" [that] he wrote with Harry Romero which I loved, we released it last year on Subliminal. But during the entire time he kept saying he wanted to do "100%" and of course I said "me, too!" It took some time before we got something we both liked, but when he sent it I knew this was it!
Thoughts about the modern day EDM craze as it compares to the boom era that you spearheaded with this track, as well as "Gypsy Woman" and "Say If You Feel Alright?" There are clear comparisons, but in some ways it feels bigger. Thoughts?
Well, like I said when we were doing it, it was new, we were the seed, I would say most people were not into dance music back then. I was lucky to be one of the few that broke through radio. It was big back then, but not as big as it is now. But I feel the success of EDM now validates what we were doing back then. You have to remember that they told us dance music was shit and would never last; to see it thrive in big numbers makes me very proud to be part of it. I'm so happy about the whole thing.
2.
Armand, when did you hear "100% Pure Love" for the first time? Where were you, and what were you doing? As well, what do you feel is profound about the track that has allowed it to stay with you for the past two decades?
I heard it on radio growing up and when I would sneak into clubs in the early '90s. I was dancing, well trying like my cousins did in NY. I think the overall vibe and groove is money. How the percussion, chords, and bassline just felt good and the vocals come on so good within the mix [means] that this record was meant to live forever. [The song symbolizes a] "back to rhythm" [movement for me. Also] the writing and hook was brillant.
Also, Armand, how has the track grown with you (because I certainly feel that the track has grown with me)?
If we are talking about the original, it grows on you and has that soul feel good swag all over it 100%.
When attempting to re-create "100% Pure Love, what in your current production style and sound did you think lent best to the original version, or was it another version of the song that you heard that made you interested in working with the track?
When I started re-working the record all I was doing was just trying to create a groove. A beat that would make you jack and move. A lil' more uptempo and it was all percussion with some modulated synths. Then after hearing the groove I also heard "back to the rhythm, back to the rhythm" that's when I was reaching to my cell to call Crystal to let her know that I had something in the oven that would possible work for the re-work of this classic.
When asking around to find potential remixers, I'd presume this was actually difficult. This is a legendary track, so returning a version that meets the standard of not just the original, but the new track, too, is hard. What went into that process, and thoughts about Robbie Riveras's finished product?
At first I know a lot of amazing producers. We reached out to a few friends in the industry but they were too busy. Then I reached out to some amazing producers–no big names–and we got a few remixes back that are pretty dope, and I think they'll come out on a remix package later in fall. But when I submitted the record to Robbie and he got back to me [saying] that we would release it on Juicy, I was very happy and I called Crystal right away. I knew this was a good fit to release it on his label. What really got myself and Crystal fired up is that he also wanted to do a mix. Robbie, like a lot of successful producer/DJs have done recently, is go back to [go back to their roots in] tribal house. I knew Robbie would come hard on his signature sound which we all love the guy for and he did just that. Don't get me wrong I'm still gonna harass other producers I know. I promise the remix package will be dope!
What has the response been to to the track so far in live sets?
It's been exactly what I wanted it to be. Dropping the record at the right time to give my set a full vocal track and having so many people on the dancefloor dancing, singing along while there smiling and looking right at you.
Are you moreso playing the original or the remix?
I'm playing the original at the moment.
When and where has it worked best so far?
Well, you just reminded me when I first tested it out at a friends house party. I played it once, I got them moving in the house party and I knew it was gonna work. That being said, let's go back to WMC this past year: me and Crystal decided to test out the first version in Electric Beach Festival at Nikki Beach. Crystal got on the mic and she did her thing. Then after our mix comes on and she announces that this was our new record the new mix of "100% Pure Love" people started dancing and singing along with Crystal. I was watching, making sure what I wanted to do next on the record while enjoying Crystal's live performance on the new track. It was awesome!
