Photo Gallery

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PAPMUS PHOTO GALLERY
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"I'M IN THE BIG TIME"
I (Patrick) and Kenny Morris had the great pleasure of working with Rick James in the spring of 1980. I will always treasure our adventures, the longs nights in and out the studio. May he rest in peace.

EDDIE KENDRICKS
Sitting high up in the balcony of the Apollo Theater as a teenager; watching the Temptations, I never dare dream that some day I would be in a recording studio teaching Eddie Kendrick one of my songs. May he rest in peace.
-Thank You Clive, It was a pleasure.

In the motion picture Fear City, Ray Dawn Chong's stripper character dances to Patrick Adams' "ROTATION". This and "SEEMS LIKE IT'S GONNA BE GOOD THIS TIME" were written and performed by Patrick for the movie.
-Thank You, Abe

A NIGHTMARE ON ELMSTREET PART II
In a lighter moment, a teen sent up to clean his room pops a cassette in hisi boom-box and out comes the sound of Fonda Rae doing the original rendition of "TOUCH ME (ALL NIGHT LONG)". In 5 years CATHY DENNIS translated it into a worldwide #1 POP Megahit!

"Hold me baby,
Drive me crazy,
Touch me all night long
Make me love you,
Kiss and hug you
Touch me all night long." -Thank You, Cathy and Shepp

As Disco died Patrick took up residence at Tony Arfi's Power Play Studio in Long Island City, NY. College buddy Lamar Thomas became the first of a long list of clients who helped build the studio into a magical place. Between 1983 and 1992 the studio grew from one small 8 track room to three - 48 track rooms in 2 buildings turning out 26 Gold or Platinum albums.

With his wife, Judy Taylor, Lamar cut the international hit, "YOU CAN'T BLAME LOVE." Co-Produced, arranged and engineered by Patrick Adams this set a new way of co-opting talent. Patrick became the silent partner in hundreds of productions over the next decade. For young producers like Marli Marl, Teddy Rilley and Herby "Luv Bug" Azor, Power Play was truly a lab where experimentation was encouraged and many of the basic techniques of HIP-HOP were developed.
-Thank You Judy and Lamar

PAID IN FULL
In any discussion of "Top Ten Hip-Hop Records of All Time" one must give props to this cornerstone album.
Even Sir Paul McCartney gave it his thumbs up.
"For me the thing that makes this album special is that not only do Eric and Rakim shine but all the loops are in key and on time." - Patrick
-Thank You, Rakim and Eric

[Table of Contents] [-1-] [-2-] [-3-] [-4-]

	"I'M IN THE BIG TIME" I (Patrick) and Kenny Morris had the great pleasure of working with Rick James in the spring of 1980. I will always treasure our adventures, the longs nights in and out the studio. May he rest in peace.
	EDDIE KENDRICKS Sitting high up in the balcony of the Apollo Theater as a teenager; watching the Temptations, I never dare dream that some day I would be in a recording studio teaching Eddie Kendrick one of my songs. May he rest in peace. -Thank You Clive, It was a pleasure.
	In the motion picture Fear City, Ray Dawn Chong's stripper character dances to Patrick Adams' "ROTATION". This and "SEEMS LIKE IT'S GONNA BE GOOD THIS TIME" were written and performed by Patrick for the movie. -Thank You, Abe
	A NIGHTMARE ON ELMSTREET PART II In a lighter moment, a teen sent up to clean his room pops a cassette in hisi boom-box and out comes the sound of Fonda Rae doing the original rendition of "TOUCH ME (ALL NIGHT LONG)". In 5 years CATHY DENNIS translated it into a worldwide #1 POP Megahit!
	"Hold me baby, Drive me crazy, Touch me all night long Make me love you, Kiss and hug you Touch me all night long." -Thank You, Cathy and Shepp



	As Disco died Patrick took up residence at Tony Arfi's Power Play Studio in Long Island City, NY. College buddy Lamar Thomas became the first of a long list of clients who helped build the studio into a magical place. Between 1983 and 1992 the studio grew from one small 8 track room to three - 48 track rooms in 2 buildings turning out 26 Gold or Platinum albums.
	With his wife, Judy Taylor, Lamar cut the international hit, "YOU CAN'T BLAME LOVE." Co-Produced, arranged and engineered by Patrick Adams this set a new way of co-opting talent. Patrick became the silent partner in hundreds of productions over the next decade. For young producers like Marli Marl, Teddy Rilley and Herby "Luv Bug" Azor, Power Play was truly a lab where experimentation was encouraged and many of the basic techniques of HIP-HOP were developed. -Thank You Judy and Lamar
	PAID IN FULL In any discussion of "Top Ten Hip-Hop Records of All Time" one must give props to this cornerstone album. Even Sir Paul McCartney gave it his thumbs up. "For me the thing that makes this album special is that not only do Eric and Rakim shine but all the loops are in key and on time." - Patrick -Thank You, Rakim and Eric