Warren Rigg is an accomplished musician in every aspect of the term. Originally from Chicago, his journey started with classical piano. With 10 years of training behind him, Rigg pursued a sound engineering certificate from Columbia College in Chicago. In addition to his scholastic achievements, Rigg began building his resume by producing his original work in 1990 on a hometown-based independent label named Strictly Hype. His music graced the Chicago airwaves with welcome praise, and soon followed his first remix for Ralphi Rosario’s classic house anthem “You Used To Hold Me.” After this taste of success, Rigg set his sights on New York.

In 1995, his new home brought him the creative outlet he longed for. His remix for Madonna’s “I Want You” became an underground smash and a much sought-after unofficial bootleg release on acetate. This work catapulted him into a frenzy of work with many established artists, not only remixing for them but writing and producing for them as well. Among the artists: Nile Rodgers, Taylor Dayne, Sandy B, Judy Torres, Lisa Lisa, Lady Bunny, Myndy K, Samantha Cole and They Might Be Giants.

His first Billboard magazine success came with the remix of Tori Amos’ “Jackie’s Strength,” which went to number one on the dance charts. Next came Donna Summer’s “I Will Go With You,” which also hit number one. More work with Summer followed, as well as production credits with Lonnie Gordon, the Flawless soundtrack, Elton John, Kristine W, Destiny’s Child, Bruce Roberts, Joi Cardwell, Marty Thomas (West End Records) and Donna Delory, a backup singer for Madonna.

What soon followed were collaborative efforts that would bring Rigg’s expertise to a new level. Teaming up with industry talent Tony Moran, Rigg turned out many successful projects, including the soundtrack for Circuit, and did work for: Kevin Aviance (another number-one Billboard release), Becky Baeling, Britney Spears, Cyndi Lauper, Cher, Rosabel, Beyoncé, Lara Fabian and, most recently, Disney’s Aida with Deborah Cox.

Today, Rigg continues to make impressive strides with Tony Moran, as well as N.Y.C. DJ/producer Reed McGowan (a.k.a. Raw Deal) and many other music aficionados. In the past year, Rigg’s career has kicked into overdrive with such high-profile chart-toppers as Maria Carey’s “We Belong Together” and “Don’t Forget About Us,” Deborah Cox’s “This House Is Not A Home,” Kristine W’s “I’ll Be Your Light,” Raw Deal’s “He Gives More” and “Funhouse,” and Sarah Atereth’s “You Wouldn’t Know How” and “Out Of My Mind,” just to name a few!

I had the pleasure of speaking to Rigg about his work as a writer and producer, as well as about Brokeback Mountain and his upcoming projects.

Rocket: What has been your most gratifying moment as a writer and producer?

Warren Rigg: There’ve been lots of moments, but probably when I had just finished “House Is Not A Home.” Deborah [Cox] pretty much learned the track the night before to perform it live … here in N.Y.C. When she sang the song, the crowd went crazy – and no one had ever heard it yet. I knew I did something right.

Rocket: What was the most memorable place at which you’ve heard a production of yours?

WR: The most memorable was when I was at the Winter Party a couple of years ago with Tony Moran. It was a beautiful day and the dance was on the beach. The DJ started playing Deborah Cox’s “Easy As Life.” Tony and I had never been on a dance floor together hearing our work. We went crazy, and it was pretty magical, with everyone dancing and singing the lyrics around us.

Rocket: How do you get remix projects? Do the artists and labels come to you?

WR: Labels will usually approach Tony Moran, or if it’s something we really want to do, we call the label.

Rocket: Your latest remix, “The Wings,” [the theme from Brokeback Mountain] that you did with Tony Moran and Manny Lehman is gorgeous, and perfectly captures the sentiment of the movie. It even captures the sweeping, epic Western feel of the movie genre. How did you go about coming up with your interpretation of the original?

WR: We did the production based on what the original melody was saying and expanded on it. Obviously, it was a waltz tempo, so I had to envision it in a four-on-the-floor beat. I’m very happy with the way it came out. Who would have thought that the country song could be turned into a dance anthem? A little reminiscent of my first number-one hit, “Jackie’s Strength” by Tori Amos.

Rocket: What has been your favorite remix project?

WR: Cyndi Lauper’s “Walk On By.” It was a down-tempo remix. I am a classically trained musician, and on the remix I got to put a beautiful string arrangement together.

Rocket: What is your work style with Reed McGowan and Tony Moran? How do you come up with productions and remixes as a remix and production duo?

WR: Well, both of them have different musical energies. When you listen to the productions done with each of them, the style comes through the productions. It’s always an organic thing for me. There is no formula, just a vibe.

Rocket: For remixers and producers getting started, what advice do you have for dealing with labels and artists?

WR: Be patient and confident, and show them what you can do by giving them a reel of your work.

Rocket: Gabriel & Dresden’s piece of advice for budding remixers is, “Never do a remix for free.” Do you agree with that?

WR: I think every project is unique, and should be addressed according to the situation.

Rocket: For remixers getting started, what’s the first thing they should do before jumping in?

WR: You’ll need equipment. Know what market you want to get into. Do what moves you, and be open to constructive criticism.

Rocket: What projects are in the works for you?

WR: Lisa Lisa, Deborah Cox, Natalie Cole, Francesca Gramm and hopefully everyone else that I’ve previously worked with.

Rocket: Which artists should we look out for in ’06?

WR: All of the artists I’ve talked about. They really are a talented bunch, and are very passionate about their art. We are always working on new projects. I would like to thank you all for your support, and I’m sure my artists feel the same kind of gratitude to all of the fans and music lovers out there.