Trax Records' Screamin Rachel chats

From humble beginnings in Chicago's underground scene to becoming an icon of House music, Screamin' Rachael’s journey is nothing short of extraordinary. In this interview, we explore their experiences, starting from a time when House music was dismissed as "garbage" to now being celebrated worldwide. They reflect on how the scene has evolved, discuss their latest album "Disco 3000," and share the essence of House music that continues to thrive today.

You've been a at the heart of House music since its inception in Chicago. Can you share a bit about your journey in the House music scene and how you view the scene today compared to when you first started?

There's a Margaret Mead quotation that seems to apply to this question: "Never doubt that a small group of thoughtful, committed individuals can change the world. In fact, it's the only thing that ever has.” My journey has been incredible, starting with people saying our music was garbage and not even music, to being called a genius today! At the onset, there was just a small group of us, and somehow we managed to change the face of culture and create a genre. In the beginning, it wasn’t about fame or even money. We didn’t have a major label pumping cash into promotions. Chicago is not a music industry town. Back then, it was about spirit, youthful energy, and people helping one another. I’ve watched that change… Some people grew up, but not all of us.

"Disco 3000" pays homage to the evolution of House music. What does this album mean to you personally, and how do you feel it fits into the broader narrative of house music as a cultural movement?

Today, house music is bigger than it’s ever been. Even though the camaraderie isn’t the same as it once was, it’s still a beautiful thing today because there are places around the world and people who are not jaded, who carry on the true heart of house.

The new album reflects some very intimate and personal experiences, especially inspired by the Disco 2000 parties. Could you take us back to one of those memorable nights and share how those experiences have influenced the sound of this album?

Here in the U.S., Nashville has a burgeoning house scene with DJ producers including Zewmob and DJ Thad X, and its very first house music club, “Night We Met,” which recently opened.

COVID was such a downer for the world; however, even though I could not meet people face to face, I made connections with like-minded individuals around the world. Collaborations began, and as for evolution, a new door opened that created a more international vibe. None of us could go out to party, so we held our own TRAX virtual DJ parties. In the face of it all, the music kept us going. My friend Jason Chaos, one of New York’s hottest promoters and also a TRAX artist, came up with the idea, and I believe TRAX Records was the first label to do it. Many people around the world had heard about the legendary Disco 2000 parties, so this album is about moving forward. I made lifelong friends and fans virtually, some of whom I will meet for the first time in person at ADE.

The Disco 2000 parties were unbelievable. It wasn’t only that the music was amazing and there were many interesting rooms to play in; it felt like a live circus or theatrical event, and everyone played a part. The Limelight building had once been a church with a large stained glass Jesus looking over the enormous main dance floor. There were many memorable nights, and, of course, there were the Club Kids—all broke and young but highly creative, making extremely memorable outfits and makeup looks. I used to bring a suitcase filled with TRAX vinyl for DJ Keoki, who was truly one of my favorite DJs. Keoki was extremely experimental and funny, mixing odd musical concoctions together, and he basically broke Acid House in NYC. My favorite night was probably “GARSH.” A booklet was printed of many different parties all taking place that same night. Mine was: Screamin' Rachael of Manhattan Lifestyles presents “Klub Kid TV.” Join New York’s “Most Fabulous Outlaws” & be on TV! Live taping tonight—be ready to commit outrageous criminal sex acts & confess your darkest clubbing sins. They built a gigantic TV set for me to interview people in. The album was made to capture the fun, the funny, the creative craziness, and to show those who idolized us that the party did not have to end; we could go on and go even further.

Collaboration has been a big part of "Disco 3000," with contributions from artists like Marcus Mixx, Joe Smooth, and Pedro Canas. Can you tell us about the creative process behind these collaborations and what each artist brought to the project?

Every collaboration is different, and each of the three people you mentioned here has a distinct way of working. That's the thing about creativity—it’s not really work; it’s like being a kid and going back to make-believe, or maybe just expanding your mind. Marcus Mixx is without a doubt a house legend. Though he is not as well-known as many of us pioneers, he’s a genius. He lived homeless for many years but always continued making music, even producing his weekly cable access show at the library. When it came to “Come On Kitty,” he came up with the trippy acid line. We thought of George Clinton’s “Atomic Dog” and decided to make one for cats. After all, I am a Leo and have a particular affinity for them. I’ve worked with George Clinton, and I love his unique sense of humor, so I tried to capture it cat-style. I love the acid line on “Acid Trip,” so I just got trippy and wrote the lyrics and melody.

Working with Joe Smooth is just like a pair of shoes coming together. We have known each other for years and have done a lot of cuts together. So he called me and said he had a track he’d like to do with me. I got to his studio, and he played the track and told me to write about the house music lifestyle. I wrote it in about 15 minutes, then went into the booth and cut the vocals. That was the birth of “I AM House.” It’s about living the dream, which I am!

Working with Joe Smooth is just a smooth, easy flow—just like his name. Things come together quickly when we create.

Pedro Canas was someone I had heard about from Jim Leavitt, who has been kind of a mentor to me and is well known for licensing tracks to movies, etc. He said he knew a talented young guy who was into house and that we should meet. Well, about four years passed, and it was Jorge who finally made it happen. Pedro, who is from NYC, created a nasty groove and wanted to cover an old existing song—something I had never heard of and really didn’t care to hear again. But the music he made was great! I said, “Let’s write another song,” and he agreed. So, I wrote a completely different set of lyrics and melody. I was in Nashville, and Zewmob and I worked on it together there. Jorge had me sing the parts to him and came up with a couple of additional lines. That is the story of the “Addicted” collaboration.

The lead single "Addicted" is already climbing the charts. What was the inspiration behind this track, and how did it come together?

I actually answered the question about how “Addicted,” the lead single, came together in the collaboration question. The inspiration behind the cut is a different matter! As a sexual being, there are those nights when you just have that longing. It’s about that need for a connection. There have been times when I'm thinking about someone and wishing to have them right then and there. So I pick up the phone and make that sexual innuendo: “Come on over.”

"I'll Take You There" features Jaques & Gregory alongside you. How did this collaboration come about, and what made this track the perfect opening for the album?

I’ve never met Jacques & Gregory in person, but we will finally meet in Amsterdam. They were introduced to me by Paul Bragiel, who is currently producing vinyl for TRAX Records. Paul is a very interesting entrepreneur from the Chicago area who has always loved TRAX Records. He traveled the world to find the best producers to work with and found them in France. Thankfully, the team was aware of my vocal talent and writing skills. They were very happy to have the chance to work with me and the label. I met Paul virtually during COVID, and he would listen to my DJ sets where I would also add live vocals and freestyle sing the way some rappers do—just sing and rhyme whatever I feel. There would also be live guitar by Matt Donavan, who unfortunately passed away. Anyway, I love the cinematic style that Jacques and Gregory have. The song “I’ll Take You There” is about traveling on a journey in your mind, literally taking you into the house and traveling through time and space. I’ll leave all of that exciting news for the next interview. The first time Jorge heard “I’ll Take You There,” he knew it was the perfect opener, and I agreed 100%.

You've been called the "Queen of House" by Billboard, and you were also dubbed "Windy City Barbie" by Frankie Knuckles. Do you like these titles, and how do you view your identity within the House music scene?

I’m honored to be called the Queen of House by Billboard. I’ve been called that by many publications, including when I made my first album for the major label Teldec. Most of all, I want to remember being called the Queen of House by Pervis Spann. I didn’t realize the importance of that at the time he said it. My first manager, Jay B. Ross, introduced me to Pervis, who was a radio legend on WVON in Chicago. At the time, I had recorded my first house record, “Fantasy.” It was Spann who first declared me to be the Queen of House on his radio show. Pervis Spann was the first to declare Aretha Franklin as the Queen of Soul, and many people know about that happening, though few know that it was the gentleman at the Regal Theater who declared that—Pervis Spann. He sadly passed away in 2022, and I will forever appreciate the honor he bestowed on me. I also feel I earned the title because I have dedicated my life to house music and keeping its historical relevance in Chicago.

You've worked with legendary figures like Frankie Knuckles, Jesse Saunders, and Marshall Jefferson. As you now release "Disco 3000," what lessons from those collaborations still resonate with you today?

Now, when it comes to Frankie Knuckles, I will always remember his smile calling me Windy City Barbie. It’s funny, but I guess just like all little girls around the world, I grew up thinking Barbie could do anything. I do remember the first night he called me that when I went to see him spin. I was all dressed up in a white ‘50s-style dress with gold trim. I’ve always loved being stylish. I’ve got panache. I remember thrifting and crying one day when an important person made fun of me for wearing dollar dresses. The music critic at the Chicago Tribune told me that I should be proud of the way I made those dresses look. Style is not about money. And I know Frankie appreciated my style and bubbly image, just as I appreciated his talent and kindness.

I view my identity in house music as that of a strong, independent woman who will not be stopped by anyone. I'm a woman whom many have tried to buy out, but my answer is always the same: “I have no price.” Powerful people hate to hear that. I’m not afraid to take charge while still embracing my femininity. There are many people who love and appreciate me, but at the same time, I have haters. That used to make me sad, but I came to realize that being different and being in the public eye means you will always have those who wish to tear you down because you dared to do things that most would not have the courage to try.

Working with legendary figures including Frankie Knuckles, Jesse Saunders, and Marshall Jefferson will always resonate with me. It was Frankie Knuckles who actually made me fall in love with house music. I was into punk rock at a warehouse around the corner from Frankie’s place called “The Space Place.” One night, when our party was raided, a kid came up to me and said, “Frankie Knuckles is mixing your record, right around the corner.” I had never even heard the term "mixing," so I was curious. Once I visited and felt the power of the music, my course in life was changed forever. Frankie also worked on producing one of my classic records, “La Vie,” and that studio experience is something I’ll always cherish.

As for Jesse Saunders, I made my first house record, “Fantasy,” with him. Spin Magazine said it “sounded like Blondie on a beatbox budget.” Rolling Stone Magazine declared it to be the first recorded vocal house record. Marshall Jefferson recorded a number of great tunes with me. I am featured on Defected Presents House Masters: Marshall Jefferson with our tune “Rock Me.” I got my start with them, and it’s been an honor to be able to say that. Today, I’ve released Disco 3000, and just like a planted tree, I continue to grow.

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The album's mixed version was curated by DJ Chip Chop of the House of Ninja. What was it like working with him, and how did his vision shape the final sound of "Disco 3000"?

DJ Chip Chop is an amazing DJ from the House of Ninja, whom I’ve known for a great deal of time. Willie Ninja, the godfather of house, was a dear friend of mine. May he rest in peace. He also created the “Matrix NYC Deep Soul Remix” of my classic, “My Main Man.” Chip Chop has many accolades, but I want the world to know what a great legendary DJ he is. Without a doubt, he deserves superstar status, and I believe his vision for the album's remix will prove that. For those who do not know about the House of Ninja, Willie created voguing. He taught Madonna to vogue, and Chip Chop did mixes for her.

House music has always been about community, authenticity, and evolution. In your view, how has the House community changed over the years, and where do you see it heading in the future?

House music has changed quite a bit and evolved into many styles: Hip House, which was first created by Afrika Bambaataa and myself; Juke; Acid House; Deep House; Disco House; and more. In fact, I consider it the rock and roll of our generation. I feel that many in the younger generation are bringing back the sense of community. Some pioneers believed it was taken over by European DJs and EDM, yet I know house is the mother of EDM—house is the mother of them all. I think the future is bigger and brighter, and that we will see more live instruments integrated into the genre. We have a great group on TRAX called Molly and Taco that exemplifies that.

Italy is also having a tremendous influence on house these days, much like the French once did. This is where I must thank our Italian family, DBeat. This year, we are on the Grammy ballot for “Sensation”—Best Remix Recording by Lea Rognoni, which is featured on my album. We are also nominated for Best Dance/Electronic Recording for “Sensation” (Zewmob Remix). We hope that voting members of the Academy will consider us! It would be a miracle to win, but miracles happen!

The 40th anniversary of Trax Records is coming up next year. How does it feel to reach such a milestone, and what can we expect from Trax Records as you celebrate this significant moment?

The 40th anniversary of TRAX Records is coming up this year, and it’s going to be full of great things and many surprises. We are planning our TRAX Fest, which will feature a great collection by Mario Maldonado, along with a couture collection by Michael Wesley White, who has designed for Chaka Khan, Bob Marley, and many others. There will be TRAX vinyl and the most exciting compilation of music that we have ever produced! This is such an amazing milestone, and I can’t even begin to describe my feelings.

Looking back over the four decades of Trax Records, what are some defining moments that you believe have shaped not only the label but house music as a genre?

Looking back on four decades of house, there are many defining moments, but here are a few that I believe shaped the label and house music as a genre. The first was when the UK arranged to send journalists from all of the top magazines to come to Chicago and observe our scene and interview us. The second was when TRAX opened an office in Paris, where we spread the house sound and influenced French groups, including Daft Punk. I believe the third defining moment is today, due to how the entire world has embraced house music. Probably part of the reason is because Beyoncé and Drake have pulled attention to house from the pop genre. Most of all, it is a defining moment because of all the love TRAX is receiving and the fact that there is so much more international interaction.

You've described "Disco 3000" as a pure and authentic experience in House music. With so many genres and sounds emerging today, what makes a track 'authentic house' in your eyes?

The reason I refer to Disco 3000 as a pure and authentic experience in house music is that we do not try to be anything other than ourselves. Just like TRAX since the beginning, no two tracks sound alike. You can never compare “Acid Trax” to “Move Your Body.” None of the tracks on my album sound like anything else. We never follow trends or what’s popular; we are authentically ourselves.

Jorge has been instrumental in curating this album, and his role as a DJ and fine artist adds a unique perspective. What did Jorge bring to the table in this project that made "Disco 3000" stand out?

Jorge is truly a fairy godmother! Forget about house godfathers! We are very much alike, though some people look at us and think we are completely different. Jorge and I are like crazy rival sisters sometimes, but we have the deepest love and respect for each other. Besides that, we are both insane creative forces. I don’t mind that title either. I put all of my trust in him while putting the album together. He used all extended versions when the rest of the world uses two-minute, short-attention-span ditties. We both help each other get through difficult times, and Jorge is the only other person who has a self-deprecating sense of humor, even though we both know deep down we’re the best! We are on a mission to preserve authentic house music and always remind the world that it started in Chicago, and its roots will always remain there.

House music is known for its resilience and ability to adapt to different times and audiences. With "Disco 3000" and the upcoming Trax showcase at ADE, what message do you hope to send about the past, present, and future of House music? and what is next for you?

The message that I hope to convey about the past, present, and future of house music is that we are eternal. The music we made and continue to make, like the legend we created, will go on forever. Just like the trees in the redwood forest, we will keep growing new branches and evolving as we thrive. As for me, I look forward to more live performances. Performing is my first love. I want to travel everywhere and keep working with my treasured TRAX family. I’m also currently collaborating with a female director, Balbinka Korzeniowska, on a documentary about my life story and house music. I put my heart and soul into TRAX Records and house music, and I plan to continue.

Buy/listen to the album here

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