Yup. That's right. Me. That guy with the big mouth. No, seriously. I'm back. Heard it before? OK, I'll give you that one. Almost 18 months since my last post/mix tape? Fine, you can have that one too.
Things got very difficult for longer than was necessary. I'm glad to say that whilst we ain't out of the woods yet, we on the way.
On (rather hurriedly) then, to the music. And hasn't there been lots of it. The last nine months has been the busiest period of my DJ career. Ever. With the exception of Christmas and a week or two in the New Year (always a quiet time for DJs), I have played out every single weekend since late August.
(The set up at Bar N.M.P., Lower East Side, New York City. Holla.)
It's a good feeling. I've learned alot. I've done some absolutely beautiful gigs recently. Gigs that involved singalongs and dance-offs and grooving til' the early hours. I've also done gigs where I've played 'Come On EIleen'.
Before I go on, I must thank my friend 'Agent' Edward Adoo. The guy has helped me take it to the next level. I met him whilst he was spinning at a bar where a mate was having his birthday, we got chatting, the rest is history. He's a talented broadcaster as well, please follow the link and check his game here.
DJing on a weekly basis has changed the way I look at many aspects of the DJ game. Needless to say, I've been doing it for a minute now, but this is probably the first time I've been forced to treat it more like a job (with varying degrees of success!). It has certainly made me a much better DJ, sharpening my skills and giving me a better idea of what works and what doesn't. However, it has also made me play records that if I had a choice, I wouldn't play. Therein lies the crux.
I love DJing. I love getting paid for DJing. I hope that doesn't sound crass or arrogant, but compared to what the venues I play in make, a ill' cash for the DJs is the least of their worries.
In order to get paid, I sometimes have to play 'popular' music. Alot more than I used to. It's not ideal, that's the way it is. I'm not sure what it is about some of these venues, but people feel they can come up to you and ask for bullshit songs and then abuse you when you a) don't have them or b) don't have them and wouldn't play them, even if I did.
I get that we are employed to entertain, as well provide music but come on. Asking for Drake in the middle of a House set?
(showing folks what the bi'ness is down at The Clarence, by far my favourite of my current residencies)
We can't all do the cool gigs. Obviously, if you've heard any of my mixes, know the DJs/producers I'm in to, you'll know that I can get fairly leftfield. And steadfastly so. But unless you are a DJ with an established rep, an up-and-coming DJ/producer backed by the right people or you promote and run your own nights, it can be difficult to get the nice gigs. You know the ones; good venue, open-minded crowd, great set-up and sound system, to spin what you like and a large bar tab!
Obviously, I've been lucky enough to play at some great clubs (Ministry, Pacha, Le Batofar) and some great festivals (North Sea Jazz, Sunsplash Antalya) but that's always been word of mouth/got the gig through a mate rather than a consistent stream of nice gigs. I'm not complaining; more would be lovely but in between these gigs, what is there?
The Late-Night Bar Experience.
(one of the better bar DJ set-ups I have encountered recently).
More than a pub. Less than a club. Generally, nicer than a pub. Almost always less hassle than a club, and almost always free to get in. Late-Night bars have really taken over the night-time scene in London. I've tended to steer clear of 90% of them, they've always seemed to be much of a muchness. You always tend to find yourself at them for work-do's/leaving do's/birthday parties/nondescript lash etc. Alot of them have DJs. Now, previously, I was sceptical about alot of 'Bar DJs'. Mainly because some of them are great and can really make the night (I was in The Albert & Pearl Upper Street, late 2010, this Canadian dude absolutely smashed it) and some of these DJs can either get too caught up in their own self-importance or just completely misread the vibe of the crowd (2011, I was in a place called The Abbot, in the shadow of The Gherkin, up in the City. The DJ was awful. Hard House at 6:30 in the evening. In a City Bar). Both outcomes tend to lead to a shit night on the dance-floor.
Now, as one of these DJs, I am far more sympathetic. And I can be. This never happens to me, of course. I'm Qualified, just like I keep telling you. ;)
Aha, but why am I banging on about bars? Well, it's because that's where the work is. By proxy, this is where I do my best work. This what on the DJ scale lies between doing weddings, bar mitzvahs,hotel based Christmas parties (I haven't gone that low...yet. I hear the money's great!) etc and all the cool gigs/clubs/festivals/hot-spots. A DJ can make perfectly good money from playing exclusively in bars, but surely it's like a porn star who only ever gets to give blow-jobs. I'm sure it's nice enough, but it's not really the main course, it is? These places are where I'm doing alot of my work. Yeah, they may not be 3am at Fabric, but hey, people enjoy themselves, I get to do something I love doing on a regular basis and they pay the bills. Which need paying.
Occasionally the folks in the place don't wanna get that deep. Cool, out come the wedding CDs. It's very much about striking a balance between what the people want and what I choose to give them.
So over the coming weeks, I shall be giving a glimpse into the life of a DJ, through the medium of blog. We, The Night People. Soon come.
So, my latest mix, then? To be honest, it ain't even that new. Like most DJs, I'm constantly recording and re-recording stuff, only to leave it sitting on a computer somewhere. This block of tunes has been sitting around for a couple of months, I think this was the third time I recorded it.
It features a pretty varied mix of tunes, from Sam Carter's doleful assessment of the financial times. Beautifully bitter, the type of song that could have only been written by an Englishman. Through to Andrew Ashong's storming 'Flowers' (Theo Parrish Mix), Gilles Peterson's tune of the year, via Sure Thing (DJ Die & Joker, Bristol Massive!), before landing on the first single from Jamie Liddell's latest LP. Benga, Omar, Recloose, Audiojack...I could go on, but as one of my old teachers used to say, 'all good fings...all good fings'.
It's important to keep the old ways alive. This one, as with all the others was recorded in one take, no editing, no post-production Some tracks were played for a minute, some for 10. Focus. I gotta be honest, there's a couple of risky moments but that's part of the come-back process.
And so finally, and after a very, very long time away, I humbly present for your listening pleasure, HD Music Volume 8.
1) Dreams Are Made Of Money: Sam Carter
2) Sonet: Dan Mandrila
3) Private Life of a Puppet: Bev Lee Harling
4) Take The Space Trane: Marc de Clive-Lowe & The Rotterdam Jazz Orchestra
5) It's All Over Your Body (DJ Spinna Mix): Jose James
6) Flowers (Theo Parrish Mix): Andrew Ashong
7) Music Is My Way of Life: Patti Labelle
8) Sweet Jazz Music (Re-Edit): Panache
9) A Tribute To Muhammad Ali (Kon 1200 Edit): Le Stim
10) Geek Emotions: Hot Coins
11) Holding You Tight: Sure Thing
12) Paean: Nathan Fake
13) Paean (Lukid Mix): Nathan Fake
14) What A Shame: Jamie Liddell
15) Open Your Eyes: Benga
16) The Perfect Blues (Jacques Greene Mix): Jesse Boykins III
17) Mating Dance: fLako
18) Mutha Sucka: Hot Toddy
19) Feeling You (Henrik Schwarz Mix): Omar
20) Don't Get Me Wrong: Recloose
21) Don't Stop: Kraak & Smaak
22) In My System (The Revenge Mix): The Gathering
23) The Science: Nick Harris
24) Soundwave (Quarion's Drunken Wave Mix): ?
25): No Equal Sides: Audiojack
26)Run The Track: Ashley Beedle
27)Thee: Flossin'
ATB Folks,
LEGION.
