Masters At Work — The Rhythm That Followed Me Home

Rafi Mercer
2026-03-10T13:47:23+00:00

Discover how Masters At Work shaped London’s record shop culture — a Rafi Mercer essay on Soho vinyl stores, New York house rhythms, and the grooves that defined a generation of listening.

More

How Soho record shops and New York house shaped a lifetime of listening

By Rafi Mercer

Some rhythms arrive in your life before you know their names.

You hear them through a shop system, half buried beneath the chatter of a Saturday afternoon. A record is pulled from a sleeve somewhere behind the counter. The first kick drum lands with a certain confidence. Congas flicker across the groove. A Fender Rhodes chord hangs just long enough to make you stop flicking through the next crate.

You don’t know the producer yet.

You just know the rhythm.

For many of us who spent our early years drifting through Soho’s record shops, that rhythm often belonged to Masters At Work.

Before the names Louie Vega and Kenny Dope carried the quiet authority they do today, their records were simply part of the flow of imports arriving weekly from New York. Twelve-inch singles wrapped in house labels that carried a little mystery — Nervous Records, MAW Records, white labels with barely any information at all. Records that moved across the Atlantic and landed directly in the listening booths and counter turntables of London.

The shops themselves were part of the music.

Soho in those years was a geography of rhythm. You might begin the afternoon at Soul Jazz Records, where the selections moved effortlessly between reggae, Latin jazz and deep soul. A few streets away another shop would be leaning heavier into house imports. Further along, somewhere like Quaff Records might have the odd dance twelve-inch tucked between unexpected discoveries.

You didn’t necessarily arrive with a plan.

You simply walked.

Each shop had its own sound system. Each counter had its own curators. Someone behind the decks would drop something new and you would pause mid-crate, your hand hovering over a sleeve while you listened more closely.

Those moments shaped taste more than any algorithm ever could.

My own ritual sometimes included a strange currency exchange. Sega Mega Drive cartridges traded across the counter for records. Games that had filled evenings at home quietly converted into vinyl that would live on the shelves for decades. It seemed like a perfectly logical deal at the time — trading pixels for rhythm.

And somewhere in those exchanges, the sound of Masters At Work began to thread itself through the afternoons.

What made their records distinctive was never simply the beat. Plenty of house producers could deliver a functional groove. What Louie Vega and Kenny Dope brought was something else entirely: musicianship.

Their records breathed.

Congas, Latin percussion, Rhodes chords, bass lines that rolled rather than punched. Even the drums felt human, moving with a looseness that suggested musicians rather than machines. You could hear the lineage stretching backwards — New York Latin music, disco orchestras, jazz-funk sessions, gospel harmonies — all folded into the architecture of house music.

When you heard a Masters At Work record in a shop, you often knew within seconds.

The groove carried weight.

But perhaps more importantly, the records carried generosity. They were built for space — the kind of arrangements that allowed DJs to let the track run for eight or ten minutes while a room slowly fell into rhythm.

In Soho’s record shops that mattered.

The listening stations were not simply there for quick previews. They were classrooms of sound. People stood quietly with headphones on, absorbing the details of a mix. The crackle of vinyl, the subtle shifts in percussion, the way a bass line emerged halfway through the track.

It was here that rhythm began to shape a life.

You learned that records were not just objects but conversations. A Masters At Work twelve-inch might sit next to a Brazilian jazz reissue, which in turn might lead you toward an Afrobeat record or a forgotten soul singer from Detroit. The crates themselves became maps, each discovery pointing toward the next.

Over time, you realised that the record shops had been doing something more profound.

They were training your ear.

Masters At Work were perfect teachers for that education. Their records contained enough depth to reward repeated listening, but enough warmth to remain accessible. They could live on a dancefloor, but they could also live on a turntable at home, filling a room with that unmistakable mixture of rhythm and soul.

Decades later, when their name appears again on a new project — perhaps alongside a figure like Brian Jackson — the connection feels natural rather than surprising. The same musical language continues to travel across generations.

The Rhodes chords still glow. The percussion still moves with that familiar swing. The groove still understands patience.

And somewhere in the memory of those sounds sits the geography of Soho.

The narrow staircases down into basement shops. The smell of cardboard sleeves and freshly opened vinyl. The quiet nod from the person behind the counter when a particularly good record landed on the turntable.

Those places did more than sell music.

They calibrated rhythm.

Even now, long after the Sega cartridges have vanished and the shops themselves have changed, the effect remains. A certain drum pattern appears and the body recognises it instantly. A conga pattern pushes gently at the edges of the beat and you feel the same instinctive pause that once happened halfway through a crate of records.

That is the quiet legacy of Masters At Work.

Not simply the records they released, but the rhythms they placed into circulation — grooves that travelled across oceans, slipped into record shops, and quietly rewired the way a generation learned to listen.

Once those rhythms enter your life, they rarely leave.

They simply keep playing.

Quick Questions

Who are Masters At Work?
The legendary New York house duo Louie Vega and Kenny Dope, known for blending house music with Latin percussion, jazz harmony and soulful vocals.

Why were their records important in London?
In the early 1990s Soho record shops imported New York house weekly, making MAW a defining sound for DJs and crate diggers.

Why do their records still resonate today?
Their productions emphasise musicianship, rhythm and warmth — qualities that reward both dancefloor play and deep listening.