So today is Doc Adam’s day, the fifth in line to shine as “THE MOOMBAHTONISTA”!

Previously we have had:

Jorge Melo




You should know the score by now:

-An Intro
-Brief Q & A with our Moombahtonista
-The almighty EXCLUSIVE!


Not as consistent in putting out the Moombahton as he use to be or as much as others currently do in the scene but imho he did enough quality stuff in the early days and also continues to do so in his latter days, to warrant his inclusion in my list.

Lets not forget he did release an awesome free EP not so long ago in September of last year, “La Reconquista”, which left a lasting impression on many.

So it’s more a question of “quality” over “quantity” and as far as I am concerned & he is a deserved Moombahton Master!

Plus he was also on the original mutha’ of all Moombahton compilations, “The Summer of Moombahton” put together by Munchi back in July 2010.

So his presence in this scene is of some historical importance but besides that, I really dig his version of Moombahton. I feel it’s dance-floor friendly and more accessible to the commercial masses than some other stuff and it’s always funky & groovy.  That’s understandable given that he normally dj’s in Top 40 clubs to pay his bills and therefore has to find a good balance between something nu & underground and something that crosses over to mainstream crowds.

So he holds his own in the scene with his own take on the genre and in true Moombahtonista style!

This edit of “Calypso” was the first track that did it for me:

And this is the track that featured on Munchi’s and the first ever Moombahton Compilation, The Summer of Moombahton:

He was also one of the first to do 80’s MoombahPoP edits:

Not only 80’s pop edits but Cumbiaton too:

MoombaHop too with his first track above and also this:

Moombahluv too:

And here’s that fabulous La Reconquista EP again:

So all in all, his influence and contribution has been pretty immense!


What was the first Moombah track you heard and how did it make you feel?

I couldn’t say which track I listened to first, but it was unquestionably something off of the Dave Nada Moombah EP. I didn’t really know what to make of it at first. My initial thoughts were a mixture of, “Awesome, I have a huge gap between 105 and a 115 BPM in my DJ sets, this will fill that a bit,” and, “These are just slowed down records, right?,” and “Didn’t Toy Selectah already do this?” (I was obsessed with his remix of Nadie Como Tu ever since it came out, as I was a long time fan of Reggaeton). All of those thoughts dropped by the wayside when I decided to drop the edit of Riverside off of that EP the very next day at one of my bigger open format residences. I think I sandwiched it between Da Funk and Pass That Dutch – the crowd went nuts. And from then I was hooked. I have always been a fan of dance music in the 106 to 115 BPM range, I feel like it’s a very ‘natural’ pace for people to dance to and it has been largely ignored in EDM with the exception of certain varieties of Disco in the last few years. I have also always been a huge fan of Latin, Caribbean, and West African rhythms – so the fusion seemed perfect to me.

What was the first Moombah track you made & when did you make it?

That would be my edit of Drop The Lime’s Sex Sax on top of which I threw the acapella from Tried by 12 by East Flatbush Project. I wanted to find a way to start introducing the Moombahton tracks I was feeling into my sets more, but it was a constant struggle as they were too big, too hard-hitting for me to play early in the night, but too off the radar to get over during peak hour – as I’m primarily a hip-hop DJ playing at somewhat Top 40 inclined clubs for the most part. So I decided to make a track with some rap vocals on them to give people something to latch onto. It sort of worked. But I posted the track on my Soundcoud page and on the Hollerboard back in (I think) June of 2010 and kids went apeshit for it. I remember seeing a write up on Marcus Dowling’s TGRI about how Dave Nada had a saxophone player come in and play along with the track at one of the OG Moombahton Mondays in D.C., which totally blew my mind – considering I made that track in about 15 minutes on a total whim. Given the success, I started churning out more tracks for the rest of the summer, getting more and more intricate and trying to depart from doing straight up edits.

How do you see the future for the Moombahton scene.

I don’t know, honestly. I assure you that I’m not trying to be a hater when I say this, but I personally am not a fan of how loud, wonky, dissonant and chaotic the sound has gotten in large part. I feel like a lot of the elements of Dubstep that steered me away from much of that genre have infiltrated the production style of a pretty big portion of the Moombahton I’m hearing these days. I respect the hell out of the people making that stuff well and playing it well, it just isn’t really my sound. Under the right circumstances, I will totally rock that shit on the decks – but you’re unlikely to find me making it. That being said, there are still plenty of people that are inclined towards the more Latin, the more rhythmic, the more sexy side of the genre that always allured me. Everyone working within the soul side of things is in the line that I am still really feeling and that is largely inspiring all of my new work. I also love hearing tracks pulling more from the Latin, Caribbean, and West African rhythms and vibes that I see having undergirded the genre from its inception.

Moreoever, I have been hyped to hear people experimenting with the more complex and intricate rhythms and syncopated tonal patterns that are present in deep house and minimal techno. I don’t enjoy electronic music that makes me feel like I’m being hit with a blunt instrument, by and large. I know a lot of people do. To that end – and given everything that I have said – I think that Moombahton can demonstrate its validity by splitting up into different worlds where everyone finds the aspects of the genre that they enjoy – just as happened with House and Techno and Drum N Bass and Dubstep and everything else. Accordingly, my capacity to hate may actually be a mark of the growth of the genre and a benchmark of the fact that it is really coming into its own.


In the contemporary era of DJing in which many selectors neglect the fundamentals of the craft, Doc Adam strives to hold fast to basic elements of the art: technical skill, quality selection, and the ability to rock any party which confronts him.  Holding a Ph.D. in philosophy, Doc Adam is the thinking man’s DJ – but this doesn’t hamper his ability to throw himself full-swing into the center of a party.  The skill set which he possesses today is something developed over the course of a decade-plus behind the turntables during which he has refused to let his abilities or his musical knowledge stagnate.

Doc Adam cut his teeth in the turntablist and party scene in the late ’90s in Detroit and Ann Arbor, MI where he grew accustomed to rocking crowds and DJ battles alike, flipping back and forth between hip hop, downtempo, ghettotech, and minimal techno.  Having gained the utmost respect for the craft of DJing and the power of nearly all genres of dance music as a member of Ann Arbor’s Unfadeable Crew, Doc Adam persisted throughout his years spent living between Germany and Oregon, honing his skills in various capacities and growing accustomed to rocking to anyone who is thrown in front of him playing any conceivable genre of music – he prides himself on his encyclopedic knowledge of music and his ability to both read and push the dancefloor.

In the past few years Doc Adam has performed everywhere from Düsseldorf to Detroit, Tucson to Minneapolis, Philadelphia to Honolulu and beyond.  He can be found rocking parties multiple nights every week in Portland, usually with his fellow members of the Ante Up crew, Ronin Roc and DJ Nature.  Currently a member of the Wolfpack DJs with DJ Excel, DJ Evil One, DJ Impulse, Rick Rude, & DJ-R, he has played with DJs and performers ranging from The Pack to Parliament Funkadelic, Tony Touch to Sammy Bananas, Spoek Mathambo to Scottie B and more of the top-tier DJs in the world than can be listed here.  Doc Adam is also one of the premier producers of Moombahton – his work has been featured on blogs including Mad Decent, Generation Bass, Hat+Hoodie, Global Ghetto and Tropical Bass.  He is the in-house engineer for working with artists including Onra, Waajeed, Mayer Hawthorne, Invincible, Blu, and Buff One.  He is also member of the Crossfaded Bacon family of DJs and producers and has worked for corporate sponsors including Red Bull, Nike, Adidas, Scion, Macy’s, and VTech.

Doc Adam’s resume and history in the game speaks for itself, but he refuses to rest content.  Keep your eyes and ears open, as Doc Adam is only getting better with time.


Drop The Lime x East Flatbush Project – Tried By Sex Sax (Doc Adam Edit)

Drop The Lime – Sex Sax (Doc Adam Edit)

Kill The Noise x Aaliyah – A Million In My World (Doc Adam Edit)

Afrojack x Busy Signal – Born & Grow Real High (Doc Adam Edit)

Nu Shooz – Point of No Return (Doc Adam Remix)

Herve – Dibby DJ (Doc Adam Edit)

Baltimora – Tarzan Boy (Doc Adam Remix)

Round Table Knights – Calypso (Doc Adam Edit)

Magnetic Man – MAD (Doc Adam Edit)

Dillon Francis & Ammo x Tupac – Westside, Bitches! (Doc Adam Edit)

Guido – Mad Sax (Doc Adam Edit)

Culture Club – Tumble For Ya (Doc Adam Edit)

Matthew Wilder – Break My Stride (Doc Adam Edit)

Michele Wylen – Gimme Gime (Doc Adam Remix)

La Sonora Dinamita – Yo Soy La Cumbia (Doc Adam Edit)

Matias Aguayo – Minimal (Doc Adam Remix)

DJ Bigga – Boeke (Doc Adam Remix)

Steve Angello x Clipse – When’s The KNAS Time (Doc Adam Edit)

Steady B – Serious (Doc Adam Remix)

Doc Adam – West Coast Shit

Doc Adam – Bang With Me (You Don’t Wanna)

Doc Adam – Wu-Tang Slang

Doc Adam – Talk Too Much

Doc Adam  – Jet Black Stinger

Doc Adam – Moombah Original Mix for Bmore Originals

Crazy Couzinz – Bongo (Doc Adam Edit)

Steve Angello – Flonko (Doc Adam Edit)

Cajmere – Horny (Doc Adam Remix)

Human League – Things That Dreams Are Made Of (Doc Adam Remix) – La Reconquista EP

Hackney Colliery Band – Africaton (Doc Adam Remix) – La Reconquista EP

Strafe – Set It Off (Doc Adam Remix) – La Reconquista EP

Slum Village – Raise It Up (Doc Adam Remix) – La Reconquista EP

Ohio Players – Funky Worm (Doc Adam Remix) – La Reconquista EP

Grateful Dead – Fire On The Moombahton (Doc Adam Remix) – La Reconquista EP

Mark The 45 King – 900 Number (Doc Adam Remix)

Doc Adam – Es Gibt Kein

Doc Adam – Weigh Up

Doc Adam – Slow March Forward.

Symarip – Skinhead Moonstomp (Doc Adam Edit)

The Exclusive:

For his exclusive, Doc Adam has once again done something that few have covered already, he goes back to the 60’s with an edit of a track by an infamous UK ska/reggae band.  This was the skinheads movement before they were sadly tainted by the racism of the movement in the late 70’s in the UK!

This is a peak time crowd howler, you can just imagine everybody pogoing to this!!!



Symarip (also known at various stages of their career as The BeesThe PyramidsSeven Letters and Zubaba) were a ska and reggae band from the United Kingdom, originating in the late 1960s, when Frank Pitter and Michael Thomas founded the band as The Bees. The band’s name was originally spelled Simaryp, which is an approximate reversal of the word ‘pyramids’.[1] Consisting of members of West Indian descent, Symarip is widely marked as one of the first skinhead reggae bands, being one of the first to target skinheads as an audience. Their hits included “Skinhead Girl”, “Skinhead Jamboree” and “Skinhead Moonstomp”, the latter of which was based on the Derrick Morgan song, “Moon Hop”.

Symarip – Skinhead Moonstomp (Doc Adam Edit) 

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