Todd Edwards (born December 9, 1972 in Bloomfield, New Jersey) is a House music and UK Garage producer who began his career in 1992. Todd Edwards employs vocal reconstruction techniques to his songs, creating a unique vocal collage set to a four to the floor beat. Marc Kinchen (MK, Mark Kinchen), who is primarily responsible for pioneering this technique, is one of Edwards’ influences. He is also a committed Christian. This is evident by recurring ‘hidden’ messages found in his compositions, which often contain religious phrases. (Via Wiki)
The sound of Todd Edwards is characterised by an hypnotic collage of short cut-up samples over swung US garage beats and lively disco flavoured bass-lines. His way of work is to cut up between 50 to 75 samples (especially gospel, r&b, disco flavoured ones) and dispose them on various patterns with the actual vocals on top.
Todd Edwards, not only formed the foundations of a genre which would go on to birth so many others, but his production style was so individual that he became a genre unto himself. I look at my life in two parts, before and after Todd Edwards, and here’s the mathematics:
If Todd Edwards weren’t a producer, DJ EZ wouldn’t of done a dedication show on Freak FM, which Kwod Sonik wouldn’t of recorded it before passing a copy to my brother, who wouldn’t of played it relentlessly until I understood the calling… It’s weird how one cassette tape changed my life.
That one cassette tape changed my life because it inspired a spark within me, I wanted to make music. I wanted to make the intriguing sounds like Todd Edwards, I honestly thought that he had extra-terrestial instruments and vocalists who sang like that. It weren’t until much later down the line that I understood what his first release on Nervous Records, The Sample Choir EP, really meant.
These Todd Edwards songs, aren’t just songs to me, they’re capsules of memories because when I hear some of these songs I see all the places that I travelled to whilst I listened to them on the coach ride to France to canoe down the river Seine in France. These cuts were like Nirvana to me, could never understand the lyrics but they resonated on a much deeper level.
I don’t think you’ll ever understand the love and admiration I have for this producer because it’s one based on a nostalgia; this music never becomes old or stale to me. The chord progressions, drum patterns, the swung rhythm, and the vocals still make me stop and say ‘rah’ Todd is legendary. The way he manipulated the sampling machines and vocals is still unparalleled to this very day.
On a real, tell me who has come close to fucking with the Todd groove?… C’mon!!!
I remember when this song used to play on the DJ EZ tape, I instantly used to imagine a desert. I actually used to close my eyes, and there I was, Khally In Arabia, trekking through the desert on a camel. Fast forward fourteen years and I’m riding through the Kuwaiti desert in the back of a car replaying the Jump To My Beat remix as I stare out of the window. Real talk!!!
If there’s one song that oozes nostalgia, it has to be the Siona remix. This song was the first song on a Kwod Sonik, Todd Edward’s mixtape. I used to love this song, and still do. I used to play it and sing along to it whilst I was on a school trip to France in ’98, by the middle of the trip I had everyone on the coach singing not only the song, but every other cut from Todd Edwards.
I salute Todd Edwards because he is the producers favorite producer, there’s almost a cult like following of those who know, respect and collect his early stuff circa. ’94-99. I wish I had known how much I’d grow to cherish the nostalgia and mysticism his creations had conjured up because I would never of foolishly let my beloved vinyls slip out of my reach. It saddens me to think about it…
Up In My Ear Podcast #1
This session, recorded some time ago, features songs from the mid to late 1990s when Todd Edwards was unstoppable. Every remix Todd touched turnt to gold and had all collectors going barmy, he really had the midas touch. This was also the period that I happened to stumble upon him and began my journey into music. I wanted to make people feel the way I did when I listened to his productions, with my own music. To this very day the early to mid nineties set the benchmark in production and stylistic influence, it’s all about the bounce.