I never had any plans to become a producer when I was a kid. I wanted to be a DJ, like most other kids at the time. Then my mum bought me a Casio keyboard and I started to sample sounds that I liked.
I remember when I was coming up, the music stores where you could get guitar strings was where I got my records from. Now the place where you get your records from is where you can get your DJ mats and your mixers.
I make music that makes you dance, so I mean, it's appropriate, you know what I'm saying? I make the kind of music that DJs can grab a hold of and spin the record and people just love rocking out to the big Snoop D O double G.
I feel lucky that I didn't have to give up music in exchange for getting clean. I wouldn't recommend that anyone else continue to DJ while they're getting clean.
In terms of what has been happening recently, there have been, I think, some really interesting new instruments that have come out that sort of show me the direction of the future. Korg has introduced the - they've had a whole series now of these things called Kaoss Pads. They're wonderful because they do get your muscles working again. And what DJs do, of course, with their DJ turntables now, the CD turntables, which have pitch change and speed change and everything else. They're doing something that I think is interestingly physical.
I'm not denying that in the world there's been some tremendous musical happenings, like DJ Shadow or whatever, that kind of thing. But when it goes into the weird thing where you get a remix done by a certain person because they need a brand name, that's when it becomes really discouraging.
I don't see anyone avoiding the Stones because DJs make jokes about them being a part of the Geritol set. All it does is make the DJs look stupid.
I wanted to be on American TV so much. I didn't park DJ'ing; I just sort of ended up becoming more of a studio guy. I had a bit more money and I could buy every little piece of equipment and drum machine that had just come out - I've got quite a collection now - and I continued to collect music.
The idea of listening to a record that's in one generic style, it becomes quite boring after the third or fourth song, in my opinion. It just becomes a bit... when you've got the same arrangement on a song, your ears get tired. I come from a DJ background and it's about trying to put songs together that don't fit necessarily but you can get away with putting them next to each other. I think of myself as a punter and ask myself: what would I like to hear?
[DJ Ill Will] already knew I had the music talent prior to meeting him in person, I guess when he met me face to face he saw the potential on a marketing level and believed in the music I could create to back it up so we teamed up and the rest is history.
I have been DJing in clubs for years. I always dreamed to be a famous DJ in Holland. And now it's worldwide. You can't imagine. I mean, I still can't believe it myself that everything has gone so well.
We get better product when the focus is on the fans and the artists - all artists; musical artists; singers, the graphic designers, the painters, the DJs, I mean everybody, the writers. We can't allow ourselves to feel as if we're not important in the equation when we are everything!
My musical influence is really from my father. He was a DJ in college. My parents met at New York University. So he listened to, you know, Motown, and he listened to Bob Dylan. He listened to Grateful Dead and Rolling Stones, but he also listened to reggae music. And he collected vinyl.
I went to a radio station on Long Island in 1982, and thank goodness for me, it was so new that there was no receptionist. So the DJ opened up his booth, and took my tape and listened to it and thought it was a hit song.
You find this watered-down enlightenment sold in mass quantity at yoga studios, high-priced shamanism retreats, DJ-fueled Ecstatic Dance parties, ayahuasca ceremonies, and self-empowerment seminars. There's a hope for a quick fix - if only we have the money and right drugs for it.
My start came with experimental musicians and live bands. I never played with DJ's because it wasn't really the correct fit. It fit in more with someone using a laptop to create their own electronic music. When you're doing music like that, it's hard to get more than 20 people to come to your show.
I think some people form the traditional DJ worlds misunderstand where I'm coming form.
I've been approached about doing some live performance collaborations with DJ's. That is something I'd be interested in getting into down the line, but I've worked very hard to distinguish myself as a laptop artist.
I've watched and learnt from DJs and remixers and paid way more attention to how I want my voice to sound. Before, as long as it was loud and in tune it was fine. I've discovered the difference made by various microphones and effects, so each track has a different vocal sound, my voice is woven into everything and it's above everything.
I'm interested in anyone cutting up music and doing remixes. I just don't think it would work in a live setting right now to do shows with a traditional DJ, but it's something that might happen eventually.
I think collaborating with a DJ could be interesting musically and it's something that I'd like to get into down the road, but I think on the live show tip I'm sticking to my guns for right now.
I traveled the world as a DJ, as a singer, as a songwriter, as a producer.
I remember a discussion with a panel of experts, I asked a question to one of the moderators: "Why is it so difficult for a foreign DJ to play in a club in London?" And you know what the guy said? "Get better than the English."
The scary thing is when I did my set in Texas everyone was excited. The show was great. I was done and the next DJ put something on vinyl and the difference! The quality!!
It used to be that if you had a pretty good record, you could stop by a station in Little Rock or Atlanta and let the DJ listen to it. No way something like that can happen now.
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