John Morales is one of the pioneers of re-edit and remixing.
Starting in 1977 he was one of the first who was also responsible for the history of the re-edits and remixing.
In the following pages you can see the complete work of him , his bio and his early acetate work.


Biography of John Morales

John Started to make Acetate remixes from 1977 to 1981 mainly on Sunshine Sound.

He was editing at home with his TEAC 71/2 and a box of razor blades and splicing tape for endless hours.
John says"I can still see the 100's of edits zoom by everytime I play the tape".
Thanks to the publicity of that work John got his first mixing Job.

His first two mixes makes him famous: "Universal band-Dance And Shake Your Tambourine" and the classic "Inner Life-I'm Caught Up"(featuring Jocelyn Brown).

Thanks to Greg Carmichael & Patrick Adams who gaves John a start he kept working for the next 10 years mixing and producing many classics and underground hits (see catolog also on this page).

Here is in John's own words the story about the history of his work:

From The Edit To The Remix
The Sunshine Acetates - Where They Started

Back in 1975, after being a DJ for a few years in local clubs in the Bronx, I realized that I wanted to make some of the records I liked to play - records in the 3-4 minute range - last longer in time. It was then that I got my first reel-to-reel tape recorder.

I learned to edit tape after many hours of trials, experiments and errors. In so doing, I became an expert on how and where to cut the tape.

After doing edits on some records and making them longer, I realized that I could achieve the same thing by mixing parts from different records. Thus was born the basis for my medleys.

After making Deadly Medley I, I realized that what had made it so unique also made it difficult to dance to. It was impractical for club use, something which became quite obvious from the looks I would get from the crowd when I played it. While the mix sounded great and the multiple edits made it special, it didn't work in the club. Back to the drawing board for me.

I decided I wanted to do medleys that had a steady flow, just like blending records on turntables. So, next came Deadly Medley II. While it had a few multiple edits, I started to concentrate more on maintaining the flow of music while retaining the structure of a medley.

Finally, with the completion of the Village People and Love And Kisses medleys, I got it right. Not only was I able to create a 10 minute-plus medley, but I was also able to construct a seamless flow of music from one song to the other. It got to the point where, if you didn't know the music, you were almost unable to tell you were in another song. I Finally Got it.

The re-edits of single songs were soly intended to make the songs longer. Introducing breaks from other records also made them more appealing to clubs.

I'm grateful for those years when I spent countless hours in my living room, learning how to edit and how to pick and select the music I would use. I believe that all the time I spent doing my Sunshine mixes was my education and introduction to the world of real mixing and remixing. So, by the time I was doing my mixes and remixes, I was also able to do my own editing, something that almost no other mixer was doing at the time.

Many people are credited with medleys which, if you trace them back to their Disco roots, are loosley based upon my Deadly Medley I. I'd like to think that my medleys and re-edits were the inspiration for the many that followed, as well as the many editors who followed.

John Morales....

Here is John editing in 1984.


John mixed over 500 records under the name M&M mix which was standing for John Morales and Sergio Munzibai.
The list is shown in the "List of all mixes from 1982 to 1988".


Here is a photo of the studio of John in 1984
Here is John's recent photo in his new Studio.

Next is an article which was issued in the Disco Dj newsletter.