A soulful house remix of the tune by Mathias Helbronn and it’s inclusion on numerous compilations, including Body and Soul, has made the tune a bonafide dance floor classic and solidified Monique’s place in underground music history. She went on to write and perform “Pure” with Naked Music’s Blue Six in 2000. This was the first of her solo recordings and was an international success in serious set rotation by the likes of Louie Vega. The UK releases “Don’t You Love Me” on Sir Piers’ Curious label in 2002 and “Go-Getter” with Matty Heilbronn championed by Papa Records in April 2004, let anyone who did not already know that this chick seriously knew what she was doing when it came to writing a song. Both hit No. 2 and No. 6 on DJ Mag’s Hype Chart.
In early 2003 she got a call from the legendary Timmy Regisford’s ClubShelter for a live PA. “They asked me how much I would charge them for the gig and I was like keep your money. I just want to have dinner with Timmy.” The Maestro has since been instrumental in making sure that Monique’s vocal and songwriting talent do not stay underground for much longer. Timmy is personally seeking publishing deals for Monique and banging her records every Saturday night in the NYC at his after-hours institution, “I think what gets my records recognized in the club scene is the fact that they are real songs! They’re not these forgettable insipid house tracks. They hold up anywhere. Not just on the dancefloor.” Her most recent releases include “Flight” on the Japanese act Studio Apartment’s 2004 album, World Line. A remix by Frankie Feliciano was released November 2004 by Hisa Ishioka’s Kingstreet label. Japanese nu-jazz wonder producer, Okada Taxi aka Kanoe has included Monique’s “Come and Live with Me” on his 2004 album “Wise Retrogression.” Her recent collaboration with House Music Award nominee, Quentin Harris, is certain to be a club anthem. “Your Can’t Have New York” will be released by Freddy Sanson’s Shelter Records in early 2005. “I write songs because I want to turn myself on the same way Sly and the Family Stone turned me on the first time I heard it. I’m not interested in making music people can ignore. What is the point of that?”