Oscar Poche, known in music circles as Oscar P, is quite a character. Having been in what he clearly defines as the entertainment business (don’t call it music biz in front of him) for the past 17 years, people often scratch their heads in amazement and wonder, “What the hell does this guy do?” and, “How can he do so much of it?”

When asked how he runs his business, and why he is so successful at it. He smiles, points his finger at me, and returns with even more clarification into how—breaking down the walls of communication and confusion. “People never see me wear a suit, but I wear one everyday (in my mind) when I work at the office,” says Poche sitting down in Gap shorts, Echo Sneakers (with no socks), and a black Charge T-shirt. “I’m really an artist at heart, who learned how to function as a business man. I wanted to do what I loved to do, and that’s being involved somehow, someway with music.”

Quite an insight for a guy who in his teens interned, and then later worked briefly at Marvel Comics—the company that in the past 5 years exploded into films with mega-blockbusters like Spider Man, X-Men, The Hulk, and Blade. “Well it’s funny how things turn out. I really wanted to be a comic book writer, but growing up in Brooklyn around the DJs and parties gave me the bug. I wanted to learn how to beat match records, and produce tracks. I took advantage when the doors opened,” says Poche.

Poche found himself working at New York club impresario Vito Bruno’s AM PM Management in the early 90’s, where he started at the bottom literally working for office space to house his small recording studio—then on 270 Lafayette Street. After a year of getting coffee, and playing international roadie for the roster of dance stars, among them, Crystal Waters, Noel, 2 In A Room, Lidell Townsell, ILL and Al Scratch, and The Girls Club, he finally got his chance to helm his first project co-producing and co-writing Brother Makes 3’s debut album “Chillin at a Club” for Cardiac/Virgin Records.

“Looking back, I think it was insane thinking giving a young guy like me a $150,000 budget and saying, ‘Here kid, umm…go make an album, and bring back change.’ I was 21 or 22 at the time and I had never produced an album,” says Poche. So in 1992 he locked himself in for 3 weeks at the world famous DND Studios. He brought in collaborators like Eric Kupper, Satoshi Tomiie, Mike Rogers, 2 In A Room, Roman Ricardo & Etienne Roch (who co-produced), Shock, E-Smoove, Maurice Joshua, Anthony Sanfillipo, Louis Caceres, Omar Santana, Luis Mejia, legends Will Downing and Hamilton Bohannon, and delivered 15 songs on schedule.

Among the songs that made the album was the 2 In A Room penned “Do You Wanna Dance” which scored “Billboard’s Top 10 Dance Tracks Of The Year,” and “Most Played Radio Dance Track Of The Year.” The album took him on the road nationally though a series of singles, with the group being disbanded after just one album and three Top 10 Billboard dance singles.

One year later he took the A&R position at AM PM, when then A&R director Benji Candelario stepped down to pursue a taste of international DJing to work at Choice FM in the UK. “I hopped on this, and really took it seriously,” says Poche. He was pushing Bruno to take him to marketing meetings at Mercury, Virgin, and Sony where he got his first taste of record promotion and how records were broken on a national level to set up album sales.

“I worked on one project, Crystal Waters’ “Story Teller” on Mercury under Vito Bruno, Mercury’s A&R, Bruce Carbone, and Waters,” says Poche, ”I helped select songs, producers, and pushed to use Hip Hop and R & B producers alongside the dance producers. It was the first time my ideas were heard, respected, and used to a bigger capacity on a project that wasn’t mine. I think the challenge brought out Waters’ best writing. It was a great accomplishment. The album was certified gold.”

Later, after leaving AM PM, Poche found himself branching out in the entertainment business again. He was working with partners at the now defunct Allen Street Records, the notorious Ground Level Magazine where he acted as editor for 3 years. He continued to write, produce, and collaborate on dance and pop projects. He executive produced Extortion’s “How Do You See Me Now” (Junior Boys Own/Polygram), and co-wrote, and co-produced Swing 52’s massive hit “Colour Of Skin” feat Arnold Jarvis for Cutting Records later licensed by Pete Tong’s FFRR label. He explored his Latin music roots on albums by La Factoria Del Sabor. While at Allen Street he and his partners spearheaded a Spanish version of Back Street Boys “I’ll Never Break Your Heart” for Jive Records from the album “Millennium,” which sold 12 million copies worldwide.

In 1999, along with Carlos Ortiz, he founded Rumba Jams—a small Latin music imprint label inspired by the “Fania Records” sound and label of the 70’s and 80’s that Ortiz grew up on. Among the artist albums released were critically acclaimed discs by Los Soneros Del Barrio, Ricky Gonzalez, George Delgado, and Pequeno Johnny. Which gave opportunities to some of the world’s best musicians to record their very own albums, some for the first time ever. The label quickly established a reputation for quality recordings not seen since the hey-day of the salsa movement, and garnered rave reviews in Europe.

Fast-forward another few years, and the music keeps on coming. In the past few years, Oscar P has seen his productions and remixes released on EMI France (Gala), Manifesto-Ultra-Rise-SonyBMG (Black Fras), George Krantz (Virgin), The Beloved (Atlantic), Karen Finley (Pow Wow), Kym Syms (Radikal), as well as respected labels like Clubstar, Pino Music, Deep Bass, and Vale Music. “I can honestly say, it's been a very good year for me so far,” explains the Santo Domingo native and New York based DJ/producer. “I like to stay busy, which means maintaining a steady schedule of studio sessions, DJ gigs, and marketing projects,” says Poche.

Many of these releases are collaborations with producer Davidson Ospina. He maintains weekly syndicated radio shows on 80 Proof FM, LymeFM, Carwash, and Italy's In Da Klubb 105 FM which is part of the RTL network which averages over 4 million listeners a day. Poche has perfected his current DJ style, which mixes Ibiza style beats, Latin, funky, soulful house, and crowd pleasing anthems. Internationally, he has built a good following appearing at notable venues: Sugar (Seattle), KM8 Beach Club, Liquid Room (Singapore), SE1 (London), Kudeta, Water Club (Puerto Rico), Disco Seven (Cannes, France), Amika & Nikki Beach Club (Miami), Subliminal Sessions (NYC), Le Club (Long Branch), Sullivan Room, Sol (New York) and Club Nafoura (Bari, Italy). Currently he tours with OPEN BAR Music, Cafe Mambo Ibiza, and is booked by the “The Joint” DJ agency and Mean Dream Agency in Amsterdam.

Today, Poche’s passion for music when he’s not in the studio remains his specialized marketing and promo company. Which he runs with Ortiz in the USA and markets music, films, and events globally: Media Services NYC. “This is the company that makes all this possible on a daily basis. It’s the backbone of our operation, and it allows us to develop our ears with what the consumer wants, and needs,” says Poche.

The dance and electronic music brand OPEN BAR Music was launched in 2005, with over 30 releases thus far. After nearly 15 years in the music business Ortiz and Poche, have over 100 music releases licensed worldwide and 25 international club hits in their resume. They needed a brand to pull together all the dance music releases and international DJ touring. They now plan to release more commercial albums, while promoting artist development globally, and more importantly—digitally. The first album—Ivan Robles: The Real Sound Of San Juan, a double CD set is already in stores. And next up is the Davidson Ospina and Oscar P mixed Open Bar: NY 2 IBIZA, the first in a series of DJ Mix compilations. EsNtion Records will distribute in the USA.

Through their global networks, OPEN BAR will bring music to the world, to your cell phone, as well as to your nightclubs—showcasing some of the best DJ talent on the planet in the best venues in Ibiza, Miami, New York, Latin & South America, Singapore, Indonesia, China, Japan, Los Angeles, Australia, Puerto Rico, Santo Domingo, Russia, United Arab Emirates, as well as working and promoting brands like Cafe Mambo Ibiza, and Miss Moneypenny’s.

Through their global networks, OPEN BAR will bring music to the world, to your cell phone, as well as to your nightclubs—showcasing some of the best DJ talent on the planet in the best venues in Ibiza, Miami, New York, Latin & South America, Singapore, Indonesia, China, Japan, Los Angeles, Australia, Puerto Rico, Santo Domingo, Russia, United Arab Emirates, as well as working and promoting brands like Cafe Mambo Ibiza, and Miss Moneypenny’s.

We caught up with Oscar P during the Café Mambo Ibiza tour stop Long Branch, New Jersey over the July 4th holiday weekend, and had a heart to heart talk about the new label, projects, and more. Here’s what we found out.

ITHM – Many people don’t know this, but you were making records since 1991, and even recorded on labels like Cutting Records, and Strictly Rhythm in the early years. A few years ago, you came back and started making music again. Why the hiatus?

OP – Well to be honest, I was tired of the dance scene as a producer. Vinyl sales sucked, mp3s weren’t stable yet, and dance labels wanted to pay $500—and own your record forever. It wasn’t for me. So I stayed out of the studio, decided to focus on our marketing company, and build that within the markets around the world. We were promoting all kinds of music genres. We did traditional classic dance music like David Morales, ATB, early Tiesto stuff, and trance as Radikal Records was one of our clients. But at the same time, we did promo work for Latin music labels, promoted nightclubs, and events. Some of our biggest clients came from companies outside the music industry, like Nice Energy Drink, and Microsoft’s MSN search engine. We’ve had a good run, and I’m happy to be where I am.

ITHM – So what happened? Why get back into producing now?

OP – Well, I never stopped doing parties, DJing, or doing our radio shows, I only stopped producing music for while. I think when I hooked up with Davidson Ospina who I had known for ages, I got the bug again. We started working on tracks together with no pressure. I have to point to a track called “Talking Japanese”, a tribal/ Latin house cut that I originally released on Allen Street back in 1998. We re-released it on the Media Label, and the thing took off. Licenses and more DJ requests were coming in. I started doing weekly spots on In Da Klubb 105 FM in Italy through a friend in Switzerland (DJ Hot Hands). Andrea Belli, the program director, gave me a shot and we started to see some demand. All this from a track that was over 5 years old, that we didn’t even remix, and it tapped into a new generation.

ITHM – So I saw that you guys were putting out all of your dance records under the Media Services NYC Label. I’ve been told, through some mutual friends, that you feel this has confused people about what it is you do or how you work.

OP – Funny, I think people have this idea with all that we do. They think that we have 50 employees here, when in reality we have 3 people who are talented, and know what they are doing. Just to clarify—I run the marketing company and dance division. Carlos Ortiz runs the Latin label (Rumba Jams), and distribution of our physical product. Jessica Bendig, who joined us two years ago, runs the agency (The Joint), which coordinates our tours and events. As far as using Media Services NYC as a temp label, I don’t regret it. It put us back on the map internationally as a production company. We released tracks by Maurice Joshua, Henderson, Sueno Soul, Ivan Robles, Solitaire and Arnold Jarvis—all which were good strong club records that got attention to a degree. Then came the Black Fras record. It all came out through Media Services NYC. I did however feel it was time to roll out harder and re-structure a bit.

ITHM – Tell us about that.

OP – Ok, take “Moving Into Light” by Black Fras—a UK based artist we signed. We started working radio first, and things were quiet. Every label turned that record down. In fact it took about six months for the song to circulate and catch on before many of the UK DJs and American DJs started supporting it. After it did we had a mini bidding war with SonyBMG, Universal UK, Ultra, and labels in Australia, South Africa, the US, and the UK. Once Pete Tong started supporting the track it got attention, but then Judge Jules really broke it. He played the track seven weeks in a row with the Yerman Remix. After the Fras record we had success with Solitaire, Hot Hands, and Big World which is catching on right now. Is it ok to give a shout out in an interview? I’d like to give a shout out to Denny Marte for hipping me to the Fras track. He brought the project in, as he was managing Fras at the time. Also, Andy Thompson from Universal Music Publishing was instrumental in the success of the project and its development. Lewis Dean (Solitaire) also gave us tremendous support in getting the word out. Of course none of it would have been even possible had the artist not delivered such a strong song in the first place. It was a team effort.

ITHM – After this, you noticed people assumed Media Services was just a label?

OP – More so, we stopped being just a marketing company. People were shipping us records, making deals for us to distribute products, and that’s where Carlos and myself decided to start a new imprint so that we could start records digitally on radio, and then license them in Europe.

ITHM – So, that brings us to OPEN BAR?

OP - The entire concept started out as a CD series in December of 2004, and grew into a concept based on the dance music industry right now. Open Music, Open Mind, Open Thoughts, Open Soul, Open Life, Open Bar. As in lifestyle because that’s what the dance music industry is—a lifestyle. To update the indie business model we offer artists and producers 50/50 deals across the board where they co-own their masters along with the label.

ITHM – A big part of OPEN BAR is digital distribution. Tell us about that.

OP – While we will do traditional CD releases, this is the future growing right before our very eyes. This is what cassette tape, and then CD were to vinyl. It’s a new format for a new generation. A few years ago, labels were disappointed with sales. But now for independents, the time has arrived. The dance scene gets new life with digital distribution. With Beatport, ITunes, Traxsource, Xpressbeats, DJ Downloads, and Juno, we are now close to selling more copies than on vinyl. With proper marketing and promotions, you can sell between 1000 to 2000 downloads on an independent label. The more established brands sell more. Think about it—no manufacturing, and little promo shipping expenses. It’s really amazing watching this new medium develop. There’s only room for growth. We have yet to tap into the Internet fully as a concept of thinking as it applies to business. It’s almost unlimited.

ITHM – So, where do you think this will all end up at the end of the day?

OP – Eventually, and this will be considered controversial, but for quantity to increase, the price has to drop. With the broadband about to be regulated in America like telephone and cable, the market will open tremendously.

ITHM – Ok, what the hell are you talking about?

OP - Well, it’s no secret that America has some of the slowest bandwidth speeds of most Western civilized countries. Service providers are increasing bandwidth in slow spurts. We have seen improvement, but it will take government regulation for us to compete in speed with say, Japan, where you can download a song to your cell phone in seconds. Government will eventually step in and regulate competitive prices with speed, better service and better deals. Similar to what has been done with your home phone service. This will create more users and customers, buying more for less. Digital downloads will be packaged in our cell service, cable packages, and magazine subscriptions. It’s already started. I can see us buying tracks on our phones for 25 cents soon.

ITHM – How is this controversial on your part?

OP – Well, basically we will get to the point where all music will be “free.” No artist wants to be told this. Record labels will partner up with other products like energy drinks, video games, and even breakfast cereal—don’t laugh! We will purchase these products, and get free music included in these products. You see offers like this already with soft drinks and movie tickets. That is where I see this going, so I hope everyone is ready.

ITHM – So how do writers, producers, and DJs make money?

OP – Publishing will be a huge moneymaker because, writers, producers, and labels will be paid per unit just like a CD. These will be per unit deals, so we may make more money than we do working with a major label. Of course the problem is that the major labels will be the first place these new music outlets will go, then the independents. Open Bar Music is in the running, having embraced this technology.

ITHM – Ah, controversy. So, where does marketing fit in?

OP – All this digital music and distribution needs to be marketed for what it truly is, another way to consume and purchase your music. It’s an extension of technology this generation. These days, we want things quick, fast, and easy. Marketing is an ever-evolving service industry. As it becomes more Internet driven, it is crucial to get the word out. It’s great to have records out, but if no one knows about them, what’s the point? You could be the best thing since sliced bread, in your bedroom, or you can think big and promote globally. It’s one of the things that attracted me to this type of business. There is longevity in marketing.

ITHM – Lets talk Cafe Mambo Ibiza.

OP – It’s a great relationship. Media Services does the marketing and promotions of the brand, and our agency partner, The Joint, books the tour and production. It’s a great brand to be involved in. DJ James Fierce introduced us to the owners of Mambo. The concept of the tour is to take the Ibiza experience and music on the road in the US and beyond. Recent tours have included Manila, Singapore, San Francisco, New York, Seattle, Miami, and New Jersey. It’s rewarding to give direction to the venues on promotions in their market, as well as setting the vibe at the club.

ITHM – You guys work with bargrooves as well?

OP – With bargrooves, we have worked on the Jay Hannan Influences tour, and are currently working the Matthias Heilbronn Citrus tour. Citrus is out now in the UK, and releases on September 19th in the US. Both projects are double-disc sets, also featuring the owner/founder, Ben Sowton, as well. They’re really solid albums that I think people will enjoy. It’s a solid brand. We also have some dates in the fall for the Miss Moneypenny’s brand.

ITHM – So what’s in the Open pipeline?

OP – We are producing Digital albums and singles for Open Bar Music. Davidson Ospina, Cheyne Christian, Enrico Mantini, Tray Swiss, Sylvio Valerio, Phil Turnipseed, and Angel Manuel are among some of the first artists we’ve signed and released. We have others we work with as well. Such as Black Liquid, Darren Holland, DJ Meme, vocalist-writer D’Layna, Adam Auburn, Marcos Carnaval, Rodrigo Vieira, Mr. Sternstein, Seattle’s Re:Launch/ Hit Girl! crew, and DJ Fame. I am looking to work with these people long term. We also just signed the new single from Havana Funk, and we also recently started working with BassWalk’s Toby Holguin. Looking forward to it.

ITHM – What makes this fun?

OP – Collaborations and this makes for better music. We just entered a strategic partnership with Dontstayin.com. We just finished remixes for Gala “I Like The Way” on EMI France, and the new Hot Hands single on Deep Bass Spain, “Ogun.” We also work with the Ospina Digital label. I am enjoying myself more, and I especially enjoy collaborating with other DJs and producers—always did. It’s how I started, and it’s what makes the experience valuable.

ITHM – What’s next this summer?

OP - OPEN BAR tour in Europe. Enrico Mantini, Cheyne Christian, Ivan Robles, Phil T, and myself will make stops in UK, Ibiza, and Italy in August. UK based Charge Clothing is one of our sponsors. Other tours include FEVER, with Marcos Carnaval, and The Sullivan Room CD release tour with DJ Fame. We also are co-producing an event in Atlantic City at the DJ Expo August 21st – 23rd with DJ Times Magazine.

ITHM – Ibiza, what can we expect there?

OP – Pure madness. Open Bar Music and LymeFM @ LOVE – Saturday, August 12th

ITHM – Sounds awesome.

OP – That’s why we need to get you some tickets.

ITHM – Tickets?

OP – Yeah, plane tickets, and drink tickets—and don’t blink.

END of tape…..

Songs Composed, Written, Produced, Remixed,
Executive Produced, Mixed By

Date - Artist - Title - Album - Label
2006, NY 2 Ibiza, Open Bar Presents - EsNtion, DJ Mixer
2006, Yordan Rivera - Alegria - Ospina Digital UK, Remixer
2006, Gala - I Like The Way - EMI France, Remixer
2006, Real Sound of San Juan, Ivan Robles, Executive Producer
2005, 10 Years of Deep House, Various Artists, Producer
2005, Sandy & Papo MC, Sandy y Papo, Universal, Arranger, Producer
2004, Can U Feel It, DJ Keri, Toucan Cove, Executive Producer, A&R
2004, Mi Ritmo Llego, George Delgado, Executive Producer
2004, Oasis, Ricky Gonzalez, Executive Producer
2004, Virgen de la Caridad, Anthony Blea, Executive Producer
2003, Arjelis y Su Grupo NV, Arjelis y Su Grupo NV, Project Coordinator
2003, Siguiendo la Tradicion, Soneros del Barrio, Executive Producer
2002, Remembranzas, Soneros del Barrio, Executive Producer
2005, Black Fras - Moving Into Light - Sony BMG AU, Universal UK, Remixer
2005, Davidson Ospina-D'Layna - Just Release - Club Star Germany, Remixer
2006, Hot Hands - Ogun - Deep Bass Spain, Remixer
2005, Hot Hands feat Karyna - Cuando Me Miras Tu - Ospina Digital UK, Remixer
2006, Oscar P Presents Mafia Latina - Los Ninos - Open Bar Music, Producer
2003, Arnold Jarvis - Always Be Right There - (Oscar P Edit) - Media Services, Remixer
2003, Oscar P Presents - Talking Japanese - Media Services NYC, Producer
2000, Ratio, Adam Starr, Executive Producer
1999, DJ Mix 2000, Various Artists, Producer
1999, DJ Tropical Mix, Various Artists, A&R
1999, Latin Club Mix '99, Various Artists, Producer, Mixing
1999, Reggae Hot Jams, Various Artists, Executive Producer, Mixing
1999, Sexy Latin Beats, Various Artists, Producer, Executive Producer
1998 The Beloved - 1000 Years, Atlantic Records UK
1998, Como Te Gusta a Ti, Factoria del Sabor Arranger, Programming, Producer, Executive Producer
1998, Karen Finley, Tales Of Taboo, Pow Wow, Remixer
1998, Latino Dance Party [Simitar], Various Artists, Arranger, Producer, Executive Producer
1998, Reggae Dance Party [Simitar], Various Artists, Producer, Executive Producer
1996, Factoria del Sabor, Various Artists, Producer
1996, Freeze NYC Dance, Vol. 3, Various Artists, Producer
1996, Hora de Bailar, Sandy y Papo, Arranger, Producer
1996, Sabrina Johnston - Free Gay & Happy - Perfect Pair Records, Remixer
1995, Kym Syms - I Must Be Free, Popular Records, Remixer
1993, Cutting Records Dance Vault, Various Artists, Liner Notes
1993, Swing 52 - Colour Of Skin - Cutting/FFRR/London Records UK, Writer, Producer
1994, 636 Feat Arnold Jarvis - "Rain" - Strictly Rhythm US - React Records UK, Producer, Writer
1995, Simple Logic feat Carl Bishop - Moving On - 80 Proof Music
1999, George Krantz - Wah Wah - Popular Records
1996, George Krantz feat Doug Lazy - Din Da Da - Cardiac-Virgin
1995, KC Flight - Batuba - Popular Records, Remixer
1993, Brother Makes 3, Chillin At A Club - Cardiac-Virgin Records, Writer, Producer
1993, Extortion, How Do You See Me Now, Junior Boys Own, Polygram, A&R