Known in the dance-music community as a flag bearer for all that is soulful, feisty Terry Hunter makes no apologies for his artistic direction. As a DJ, remixer and producer, the Chicago-based Hunter spreads the garage gospel with the fervency of a Sunday preacher, always remaining true to the foundations of house music—trendiness be damned.

Catch a set from the longtime knob-twirler and you, too, will believe. Playing everything from current Kenny Bobien housers, his own UBQ productions and old-time Chicago jack tracks, Hunter can work a room like Reverend Ike when the rent is due. Of course, he finds many of his most willing audiences in Europe where soulful club music enjoys more popularity than it does in America—its original breeding ground—a fact not lost on Hunter.

Currently affiliated with Georgie Porgie’s Music Plant crew, Hunter also works trade shows for DJ supplier Numark Industries. It was at this past February’s NAMM show in Los Angeles where we caught up with Terry Hunter, one of America’s finest—and most strident—DJs.

DJ Times: What’s the best way to read a dancefloor?

Hunter: The best way to read your dancefloor is to know the type of crowd that you will be playing for that particular night. Whether it would be house, hip hop, whatever, know your music and be able to program your set accordingly. For example, if you are playing at a house club, you must know what’s hot or not for the scene. Don’t be scared to play something new in that genre of music. A secret for all DJs: Don’t let your crowd program you—you control and program them. There is room for compromise, but just stick to your guns! In the long run, it will pay off. Believe me!

DJ Times: Are there any tricks or techniques you use?

Hunter: I’m known for playing the best and working the record to making you feel its vital points—for example, as the record is breaking down before the hook of the record. I like to bring the volume down so I can make the crowd climax as I raise the volume back up with the hook of the song—basically, imbedding that record’s hook into the crowd’s mind, an experience they will not forget.

DJ Times: Do you have a general philosophy about remixing? How much do you try to re-create the song?

Hunter: My general philosophy about remixing is that if the song is the bomb and it has great lyrics, a good vocalist, I will keep the song intact. But if one of my criteria isn’t there, that is when I supplement other elements to make up for what the song is lacking. I basically try to cross the producer’s T’s and dot his I’s, but in a Terry Hunter way. I try to keep the integrity of the song and not stray too far from the artist’s creation, but bringing a soulful feel to the song.

DJ Times: As a DJ playing remixes, what mistake do you think remixers tend to make when they get a song to work on?

Hunter: For starters, some of the remixers are tone deaf. They should start by learning how to put the vocalist in key of the song. Also, just because you are a DJ and you bought some equipment, that doesn’t certify you as a remixer. Get someone who knows how to take your ideas and turn them into reality. Make this your first step in learning how to make and arrange a song. When you’ve completed that, remixing will come naturally.

DJ Times: You’ve become known as a vocal proponent of genuine songs, great vocals, and soulful feeling. Do you think that’s less popular in the States than it was before?

Hunter: Yes, it has become less popular in the States. But, I have stayed true to the soulful house sound because this is where I began and most of all, I can’t see myself playing wack-ass records that have no longevity at all—disposable music. If people would just stop and look at what is happening in society, they will see that radio stations across America have been forced into playing old classic cuts with real songs, which has brought the stations great success and plenty of paper just because the new generation of DJs don’t have the balls to program these new records of the same soul feeling. So instead of being introduced to new music, people are forced to listen to the older classics. What does that tell us? I believe it tells us that people still want real soulful vocal records in America. They are just not being serviced by anyone. And this is accounting for why dance music is suffering at radio, major labels and as a community.

– Jim Tremayne