The Goddess Is Here

From DJ To Goddess: An Interview With Wanda Dee
click on link above to enjoy Wanda's latest interview with an international publication
How does one accurately describe an artist that simply does it all? Well, in today’s entertainment industry, made up of all too many perpetrators, imitators, & manipulators, the appropriate answer would be; sensational! Sexual, seething, sizzling, searing, scintillating, & savvy are just but a few of the adjectives used to describe international sex symbol and Pop/Dance singing/dancing sensation that is... WANDA DEE. Having made her professional recording debut with The U.K.'s most $uccessful production team of Stock, Aitken & Waterman on PWL Records back in the early 80's with her self written hit, "BLUE EYES" & her U.S. deal on Aaron Fuch's Tuff City Records later with "TO THE BONE" b/w "THE GODDESS", she became the FIRST solo platinum selling female Rap artist in music history, and this was after she had already made Herstory as Hip Hop's FIRST female DJ. Her undeniable mastery of the wheels of steel led to her initial forays as Hip Hop's FIRST female DJ (forever historialized in Harry Belafonte's urban cult classic; "BEAT STREET") and also becoming the FIRST female DJ to tour overseas when she sold out nightclubs & concert halls for 2 consecutive weeks (including The Lyceum Theater) in England.

WANDA DEE back in the day... Hip Hop's first female DJ - Circa 1981
Click here to listen to the Goddess DJing
DJ WANDA DEE @ The Roxy NYC / "BEAT STREET" - Circa 1984

Hip Hop Pioneer mural @ Monroe H.S. in the Bronx
Kool Herc,Grandmaster Flash, Afrika Bambaataa, Sha-Rock & Wanda Dee
Having firmly cemented her trademark stiletto high heels in 80's Hip Hop with sales of over 3 million records, Wanda then went on to sell over 22 million records on Arista/BMG as the lead vocalist & hit co-songwriter of the British Techno/Rock super-group; THE KLF in the 90's... WANDA DEE, is a name that Europeans, Hip Hop purists, The Gays, Dance music fans, ravers & rockers are all quite familiar with and hers is a voice, image, persona & enigma that the global masses have embraced for over 3 decades as quite simply... THE GODDESS!
International Chanteuse, WANDA DEE w/JEAN CLAUDE BAKER as she performs in NYC @ his Chez Josephine

Bursting into the world on April 12th, the same day her legendary inspiration, Josephine Baker died in her sleep; this fiery Aries personifies & embodies the terms 'variety entertainer', 'showstopper' & 'drop dead gorgeous'! This Nubian & Cherokee Native American hybrid, who was born in Harlem & raised in The Bronx, was FIRST mentored as a DJ by fellow Bronx natives & Hip Hop's Father, DJ Kool Herc, who later introduced her to it's God Father, Afrika Bambaata, legendary founder & leader of The Universal Zulu Nation (, who also made her Hip Hop's FIRST female inductee of it's most oldest and prestigious organization, brandishing her with the lifelong moniker of The Zulu Nations First Lady. Having been recently given their Lifetime Achievement Award for her vast achievements in music, Hip Hop origins & the four corners of the globe that she has sold out concerts in, representing the birth place of this global phenomenon that is Rap.
Eric & Wanda welcome the living legendary Godfather of Hip Hop, AFRIKA BAMBAATAA into their Vegas home.
Wanda's teenage soul mate, best friend & Manager, ERIC FLOYD, with a vast show business background in entertainment, encompassing everything from Broadway to nightclubs, television, film & opening up for and/or touring with iconic legends like Eartha Kitt, Lena Horne, Dame Shirley Bassey, Cab Calloway & Sammy Davis, Jr., has strategically and wisely orchestrated her career (almost) from the very beginning, helping her to transition from DJ to Hip Hop's FIRST glamorous female Rapper ('The Goddess of Rap') & then organically morphing her into a singer ('The Empress Of Techno Music') as a multi-lingual recording artist & worldwide concert attraction; by both personally producing her versatile recorded vocal performances and & an irresistable provocative image that had Word Up! Magazine declaring her one of Urban Pop Music's ' ARTIST OF THE DECADE'.
One of her groundbreaking performances at The World Famous Apollo Theater was so mind blowing that it landed her the cover of USA TODAY labeled as "...the highlight of the RAPMANIA pay per view telecast"' in 1990 when she single handedly stopped the show that featured the 40 biggest rap artists on the planet! With her electrifying performance; ( fully choreographed, produced & staged by Eric), Wanda Dee had firmly staked her claim & name as a world class entertainer with no true equal or counter part in her genre. Soon after, the British Techno/Pop group, THE KLF inspired by her commanding catch phrase of "I WANNA SEE YOU SWEAT" that opened up her rap hit ("To The Bone"), found their first major international success by enlisting Wanda's vocals & command to the dance floor on "WHAT TIME IS LOVE?". Thus, in the early 90's, THE KLF / WANDA DEE collaboration began, and the results were (4) four multi-platinum international #1 singles in 77 countries ("WHAT TIME IS LOVE?", "LAST TRAIN TO TRANCENTRAL", "3AM ETERNAL" & "ALL BOUND FOR MU MU LAND" w/the late legendary 'First Lady Of Country Music', Miss Tammy Wynette).
featuring The Goddess

THE KLF (also known as The Justified Ancients of Mu Mu, The Timelords and other names) were one of the seminal bands of the British Acid House movement during the late 1980s and early 1990s. WANDA's self written triple platinum Rap hits; "THE GODDESS" & "TO THE BONE" (the latter, being the track that KLF producers initially derived their driving KLF hooks from on both their FIRST two hits, WHAT TIME IS LOVE? & LAST TRAIN TO TRANCENTRAL, all before joining the group officially to collaborate on the now famous STADIUM HOUSE TRILOGY / WHITE ROOM album project & music videos.

A Little KLF History:

Beginning in 1987, KLF Producers Bill Drummond (alias King Boy D) and Jimmy Cauty (alias Rockman Rock) released hip hop-inspired and sample-heavy records as The Justified Ancients of Mu Mu, and on one occasion (the British number one hit single "Doctorin' The Tardis') as The Timelords. The abbreviation of the band has long been a mystery; with Drummond once jokingly revealing that it stands for "Kentucky Liberation Front", meant as a deliberate satire of the United States... then Cauty said it stood for Kopyright Liberation Front (spelling copyright with a "K", because they felt it was O"K" to illegally sample other people's copy written works into their own)... but it was quite evident to the world once the exotic, erotic & hypnotically seductive Wanda Dee was brought in as lead singer, she personally re-christened KLF to stand for Kinky Love Force (in homage to her hot bodied dancers that tour the world with her). The KLF, Drummond and Cauty pioneered the genres "stadium house" (rave music with a pop-rock production and sampled crowd noise) and "ambient house". The KLF released a series of international top-ten hits on their own KLF Communications record label and after years of floundering minor success, the undeniable combination of Rapping gave them street appeal, Wanda's image, voice & hot lyrical hooks gave them sex appeal, and combined together (finally) gave them massive commercial appeal around the world!

Starting with the singles release of "WHAT TIME IS LOVE?", which was driven by an original powerfully sung (initially illegally sampled) hook of "I WANNA SEE YOU SWEAT!" both written & sang by Dee back in 1989, by the time the 90's rolled around, the group had been personally signed to ARISTA/BMG by legendary music mogul, Clive Davis himself, who proclaimed them "the next Beatles"! Recognizing that KLF had been releasing product since 1986 with only moderate success, garnering them a regional cult following amongst their diehard fan base; Clive rejected the first music video submission of "WHAT TIME IS LOVE?" that did NOT include Wanda. So that's when KLF producers (Bill & Jimmy) cut a contractual deal to officially make Wanda 'The Voice Of The KLF' & the erotic centerpiece of their music videos in 'The Stadium House Trilogy' ( The global positive effects were immediate, resulting in #1 singles around the world, at that time, it should be noted that THE KLF easily became the biggest-selling singles act in the world for 1991.
From DJ To Goddess: An Interview With Wanda Dee
click on link above to enjoy Wanda's latest interview with an international publication
From the outset, the KLF producers adopted the philosophy espoused by their self written esoteric novel series The Illuminatus! Trilogy, gaining notoriety for various anarchic situationist manifestations, including the defacement of billboard adverts, the posting of prominent cryptic advertisements in NME Magazine and the mainstream press, and highly distinctive and unusual performances on Top Of The Pops. Their most notorious performance was a collaboration with Extreme Noise Terror at the February 1992 BRIT Awards, where they fired machine gun blanks into the audience and dumped a dead sheep at the after show party. This performance announced The KLF's departure from the music business, and in May 1992 the duo deleted their entire back catalogue & then publicly one million pounds to further denounce their anti-establishment stance.
The Are..

The Kings Of Club!

The Demons Of Dance!

The Renegades Of Rock!

The Technicians Of Techno!

THE KLF featuring The Goddess WANDA DEE

Onstage in Miami (L) & at The Sahara Hotel in Vegas w/American Idol Season 2 finalist TRENYCE (rear left) & LaCHITA (rear right) backing her up

But there was one small problem... with this worldwide KLF phenomena building, there was public demand to see the group live! And KLF producers had made it clear via press release that they would "never tour until they could fill stadiums and world peace would ensue..."; however with growing demand and pressure from their U.S. record label (Arista), Wanda Dee (along with her Manager / Husband, Eric Floyd) rose to the occasion to organize (both) the worlds first and ONLY KLF TOURING COMPANY that has ever brought the music... magic... majesty... mystery... & mastery of the live 'KLF EXPERIENCE' to the masses on a global scale. Over the past two decades, she and she alone has headlined sold out shows in over 150 cities, 90 countries & 6 continents to wildly enthusiastic, ecstatic & grateful audiences who finally got to collectively celebrate their love of the power, passion & pride that is KLF with other fans in a LIVE CONCERT EXPERIENCE. Packed with her Vegas show girl / electro-pop dominatrix / Goddess personified sensuous energy, powerful lead vocals in 8 different languages, tight raps by MC Shadow, costume changes & her agile male & female dancers (her Kat Pak); her WANDA DEE & THE KLF shows became THE hottest international Club/Rave/Dance show on the circuit and guaranteed to sell out for any promoter who booked it; always leaving audiences razzled & dazzled after 90 minutes of pure audio & visual mayhem. Whether it was the 40,000 SRO capacity crowd @ San Francisco's Cow Palace New Years Eve 2005, The Apollo Theater in Harlem, NY, The Hippodrome in London, Juliana's Live in Tokyo and/or any of the largest & most prestigious rock halls & arena's throughout Europe, Africa, South America & The Middle East, WANDA DEE's KLF SHOW ROCKS! And as Wanda was a co-writer of the biggest hits, she had a vested interest to stimulate record sales by continually touring. And tour she did. Like a young hybrid of Tina Turner, Grace Jones & Janet Jackson combined, WANDA DEE IS A SHOW STOPPING INTERNATIONAL POP/DANCE DIVA & THE EMPRESS OF TECHNO MUSIC!!

Amidst some initial controversy about THE KLF name at first, the press, her peers & the public alike all soon collectively realized that part of the '90's Techno Group Syndrome' was that all too often, the name of the Producers & the name of Performers were usually two different things. Such as C&C MUSIC FACTORY were reflective of producers David Cole & Robert Clivilles, although the recognized C&C performers & voices were Martha Wash, Zelma Davis & Freedom Williams... SNAP was the name of the German production outfit consisting of Michael Münzing and Luca Anzilotti, but performers Turbo B & Thea Austin are who toured the songs... TECHNOTRONIC was the name of the producers but Ya Kid K was the universally recognized voice of this group... and BLACK BOX producers enlisted the powerhouse vocals of both Martha Wash & the late Loleatta Holloway to represent their brand, respectfully. Well, KLF was no different, for the Producers (Bill & Jimmy), although innovative music makers of their time, they knew that they were incapable to bring THE KLF live show to the stage night after night because they neither sing, dance or rap; and so that's where born showman & grand diva of the stage, WANDA DEE has kept THE KLF live show alive, surviving, thriving, roaring & touring around the world some 10 months of the year, every year.
In conclusion, KLF producers have remained resigned & retired from the music industry with little to no fanfare, while Wanda Dee still single handedly carries THE KLF torch having released new hit product including the current 2012 remix of "WHAT TIME IS LOVE?" by Israeli DJ superstar Offer Nissim (, on ZYX Records ("I WANNA SEE YOU SWEAT"), on her very own G.E.R.L. (Goddess Empire Record Label) with "THE GODDESS IS HERE!", Mushroom Records release of "I LIKE IT HARD!" ( & went down in history as the very last act produced by England's #1 80's / 90's hit makers at PWL Records, Stock, Aitken & Waterman.

Even today, all THE BLUE MAN GROUP companies around the world still all close their shows with 'LAST TRAIN TO TRANCENTRAL', paying Wanda a healthy publishing royalty each week, for the privilege over the past 2 decades due to her publishing interests in the song since Day 1.
When not jet setting around the world to Goddessize her global fan base or headlining in Las Vegas (Eric Floyd's Old School Party 1 & Eric Floyd's Old School Party 2), Wanda, along with her husband, is co-producing a hot new reality show about her amazing poly amorous showbiz family ( that was recently featured for a full hour episode of NBC / UNIVERSALs "THE TRISHA SHOW". Successfully raising a young Son, SIAMEZE, who is not only Vegas' youngest headliner (, but was also a recent Top 32 finalist on Simon Cowell's "THE X-FACTOR" ( & &

The Goddess has made a vow that whenever & wherever the call is made for another KLF SHOW TOUR, as always, she (and she alone) will answer it & bring the party to the people, as she has always done! KLF IS GONNA ROCK YA... Ugh huh a... ugh huh.. ugh huh....! But there is one other fact that is perfectly clear, WANDA DEE, The Goddess Is Here!
 - Part 1 - Part 2 - Part 3 - Part 4
Stadium House Trilogy

Album Review:
Finally! Long after the KLF's incarnations became vapor trails in the ether, lead vocalist Wanda Dee -- a fine DJ in her own right -- issues her full-length debut, multi-pop album project on her own major distributed label, G.E.R.L. (Goddess Empire Record Label). The advance single, "LOVE LIKE MINE," was merely a hint of things to come: steamy, overdriven, beat-conscious urban R&B, with Dee's vocals soaring into the groove all the way through the uber-bridge into dance-pop Valhalla. Dee and her husband and business partner, Eric Floyd, co-produced the entire album with Full Force, Giuseppe D, David Petovar, Jim Papoulis, Frank Oba Lords & James T; it's a solid Top 40 / Urban Pop/Dance set featuring 17 tracks with a one-track bonus CD. With three killer monster, sure-fire hits right out of the box, "IT'S MY TIME TO SHINE" (which was originally written for Janet Jackson and then wisely given to Dee) and the sultry "FEVA" (w/accompanying raps by the incomparable Hip Hop veteran, Melle Mel), by Full Force, Wanda Dee starts things off with a vengeance. "I'LL BE YOUR GIRL" written & produced for Dee by The Brandt Bros. is so gregariously groovy, Pop/Rock radio friendly, that it truly is this albums showstopper, for it makes you back up and re-play again before moving on to complete the journey. The big surprises are in Dee's collaborators on The Goddess Is Here!: Freda Payne, Doug E. Fresh, Ashford & Simpson, Loleatta Holloway, D'Atra Hicks, Carol Douglas, Linda Clifford, The Emotions, Taana Gardner, Fonda Rae, Sharon Brown, Carol Williams, Peggi Blu & Alyson Williams, among others. It kicks into high gear with the title track and "I CAN'T STOP (FEELIN' FINE)," complete with a KLF sample from her first #1 multi-platinum seller with the legendary British band she fronted in the 90's, "WHAT TIME IS LOVE?" Moving through, funk and house-drenched soul blazes "I FOUND MYSELF IN YOU" and the solid Giorgio Moroder-styled disco of "PASSION OVERLOAD," and even a killer, dubby, nearly gothically funky version of "SLAVE TO THE RHYTHM." The Afro-Cuban atmospherics of "CLAVE', CONGA, BONGO y TIMBAL" are a change-up that she handles with ease and you'd swear she was born in Puerto Rico. Oh yeah, did I mention that this diva sings in 8 languages (four of which are displayed on this outing... French, Italian, Spanish & English). Keep in mind however that this is deep, backbone-slipping Latin funk with all the highly stylized theatrical passion in excess. What becomes obvious by this track -- and is evidenced further with each successive cut -- is how ambitious Dee is. She believes in herself, to be sure; she thinks she can do it all (confidently attacking each cut aggressively), and she may be right!!! As she scores on each and every genre she steps into. The production is slicker than slick, with rhythm tracks that create just enough of an edge to keep it all radio-friendly, while not giving away any of it's street cred. The sultry "CLOSE YOUR EYES," with its lovely call-and-response chorus, is something Madonna would have killed to come up with on her own. The other Latin track, Lisa Mendez;s "NUESTRO ES MORE REAL," is nearly an anthem of passion and vulnerability -- something that appears here only twice, on this track and on the dance remake of the Edith Piaf classic "LA VIE EN ROSE." The vocal collaborations with Payne (Dee's legendary showbiz Mom) on "I AIN'T BEEN LICKED," D'Atra Hicks on "LOVE DIVINE," and Holloway on "DON'T LEAVE ME THIS WAY" are all kept until the end of the album -- and with good reason. Before these final three tracks, the listener has already been saturated and overwhelmed with Ms. Dee's elaborate, wide-ranging talent, taste, and incredible voice to the point that it is obvious that these outings with her collaborators were done as an addendum to her album, not to prop it up. As fine as all three of these tracks are, if they were left off, the set it wouldn't have suffered a bit. And talk about saving the best for last, Eric Floyd & Ted Perlman have joined forces to produce "I'LL BE YOUR GIRL", an infectious Pop/Rock smash that is (in this writers opinion) THE greatest recording of Wanda's career, and the vocal power, precision & passion displayed on her Euro-Disco rendition of "DON'T YOU WANT MY LOVE?" (w/shared backgrounds by the equally powerful Peggi Blu and Dominique is nothing short of righteous! This is a solid international Pop outing by a true diva and renaissance woman who, despite her reputation as a seasoned veteran, is really just beginning to show the world what she is capable of on her own.

~ Thom Jurek, All Music Guide



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