Pretty Tony

Pretty Tony
Real Name:
Anthony Ray Butler
Profile:
Tony Butler AKA Pretty Tony was an engineer/producer credited with putting Miami on the map in the eighties before Luther Campbell took over. He is also known as being a member of the group “Freestyle”. Tony put the tracks together for Freestyle on every occasion but never was in the group. Tony loved the studio and was very creative, he knew the club scene well and knew what got people moving. His early fame came with a song called “Summer Delight” written by the Mills brothers Calvin & Carlton, and then a song called “Freestyle Express”. Everything after that was Tony working with other studio vocalists, musicians, etc. that just loved being in the studio.
Sites:
Facebook, linkedin.com, MySpace, Twitter
Aliases:
Tony Butler (2)
Variations:
Viewing All | Pretty Tony

Artist

Marketplace 4,731 For Sale

Vinyl and CD
Data Quality
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Albums
HTCD 66147-2 Fix It In The Mix — Pretty Tony Pretty Tony Fix It In The Mix (Comp, Album) Jam Packed, Hot Productions HTCD 66147-2 US 1997 Sell This Version
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Singles & EPs
MSI-104 Fix It In The Mix — Pretty Tony Pretty Tony Fix It In The Mix (Maxi) Music Specialists MSI-104 US 1983 Sell This Version
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MSI 106 Computer Language — Pretty Tony Pretty Tony Computer Language Music Specialists MSI 106 US 1984 Sell This Version
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MSI-109 Jam The Box — Pretty Tony "Pretty" Tony* Jam The Box Music Specialists, Inc. MSI-109 US 1984 Sell This Version
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MSI-113 Get Some — Pretty Tony "Pretty" Tony* Get Some Music Specialists, Inc. MSI-113 US 1985 Sell This Version
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MSI-110 Will We Ever Learn? — Pretty Tony "Pretty" Tony* Will We Ever Learn? Music Specialists, Inc. MSI-110 US 1985 Sell This Version
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HAL 22100 Fix It In The Mix / Jam The Box — Pretty Tony Pretty Tony Fix It In The Mix / Jam The Box ‎(12") Hot Classics, Jam Packed HAL 22100 US 1997 Sell This Version

Reviews

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genet

genet

March 28, 2004
Tony Butler was awfully self-deprecating when he called the B-sides of "Jam The Box" and "Fix It In The Mix" <i>instrumentals</i>. In fact they are radically experimental, sparse, electrifying freefalls into the echo chamber, with drum sounds occasionally rising to the surface. His basslines were like Moebius strips, in which the beginning was also the end. At the time of release, these versions were considered not merely <i>not</i> commercial but <i>anti<i/> commercial.

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