Essential Mix - - Billy Nasty. Essential Mix - - Jeremy Healey. Essential Mix - - Jeremy Healy. Essential Mix - - Dave Clarke. Essential Mix - - Danny D. Essential Mix - - Laurent Garnier.
Essential Mix - - Darren Emerson. Essential Mix - - Jon Pleased Wimmin. Essential Mix - - Moby. Essential Mix - - Patrick Smoove. Essential Mix - - Leftfield. Essential Mix - - Trannies With Attitude. Essential Mix - - Norman Jay. Essential Mix - - Carl Cox. Essential Mix - - Danny Tenaglia 0.
Essential Mix - - Danny Tenaglia. Essential Mix - - Chris and James. Essential Mix - - CJ Bolland. Essential Mix - - Dave Angel. Essential Mix - - Massive Attack. Essential Mix - - Tony De Vit.
Essential Mix - - DJ Ron. Essential Mix - - Joe T Vanelli. Essential Mix - - E-Smoove. Essential Mix - - Evil Eddie Richards. Essential Mix - - Tall Paul. Essential Mix - - Chemical Brothers. Essential Mix - - Lisa Loud. Essential Mix - - Dimitri from Paris. Essential Mix - - MK. Essential Mix - - Portishead. Essential Mix - - Gordon Kaye. Essential Mix - - Eric Powell. Essential Mix - - Nicky Holloway. Essential Mix - - Roger Sanchez.
Essential Mix - - Luvdup. Essential Mix - - Judge Jules. Essential Mix - - Nick Warren. Essential Mix - - BT. Essential Mix - - Carl Craig. Essential Mix - - DJ Camacho. Essential Mix - - David Morales. Essential Mix - - Sasha and Pete Tong. Essential Mix - - John Kelly. Essential Mix - - DJ Tinman. Essential Mix - - Dave Seaman incomplete. Essential Mix - - Armand Van Helden. Essential Mix - - Underworld.
Essential Mix - - Stacey Pullen. Essential Mix - - Gusto. Essential Mix - - Joey Negro. Essential Mix - - Pete Wardman. Essential Mix - - Angel Moraes. Essential Mix - - Daniel Davoli.
Essential Mix - - Goldie. Essential Mix - - Tim Lennox. Essential Mix - - Norman Cook. Essential Mix - - Erick Morillo. Essential Mix - - Johnny Vicious. Essential Mix - - Stretch N Vern. Essential Mix - - Lee Fisher and Jools. Essential Mix - - Derrick Carter. Essential Mix - - Paul Trouble Anderson. Essential Mix - - Howie B.
Essential Mix - - The Play Boys. Essential Mix - - Steve Bridger. Essential Mix - - Smith and Mighty. Essential Mix - - The Psychonauts. Essential Mix - - Jermey Healy. Essential Mix - - Rhythm Masters. Essential Mix - - Doc Martin. Essential Mix - - Grooverider.
Essential Mix - - Marshal Jefferson. Essential Mix - - Scott Hardkiss. Essential Mix - - Masters at Work. Essential Mix - - Daft Punk. Essential Mix - - Ashley Beedle. Essential Mix - - Dj Sneak. Essential Mix - - Murk. Essential Mix - - Matthew Roberts. Essential Mix - - Sven Vath. Essential Mix - - Mrs Wood. Essential Mix - - Paul Van Dyk. Essential Mix - - Jonny L.
Essential Mix - - Fathers of Sound. Essential Mix - - Force and Styles. Essential Mix - - Tasha Killer Pussies. Essential Mix - - Roni Size. Essential Mix - - Jose Padilla. Essential Mix - - Timmy S. Essential Mix - - Felix Da Housecat. Essential Mix - - Adam Freeland. Essential Mix - - Basement Jaxx. Essential Mix - - Blue Peter. Essential Mix - - Gilles Peterson. Essential Mix - - Dreem Teem. Essential Mix - - Photek. Essential Mix - - Phil Perry. Essential Mix - - Danny Howells. Essential Mix - - Seb Fontaine.
Essential Mix - - Freddie Fresh. Essential Mix - - Freestylers. Essential Mix - - Ian Pooley. Essential Mix - - DJ Paulette. Essential Mix - - Air. Essential Mix - - Terry Francis. Essential Mix - - Scott Bond. Essential Mix - - DJ Harvey. Essential Mix - - Jeff Mills. Essential Mix - - Deep Dish. Essential Mix - - Full Intention. Essential Mix - - DJ Dan. Essential Mix - - Lockdown. Essential Mix - - DJ Rap. Essential Mix - - Lottie. Essential Mix - - Bob Sinclair.
Essential Mix - - Dope Smugglaz. Essential Mix - - Steve Lawler. Essential Mix - - Daft Punk - Part 1. Essential Mix - - Sasha at Alexandria Palace. Essential Mix - - Cassius.
Essential Mix - - Ed Rush and Optical. Essential Mix - - Darren Emerson and Sasha. Essential Mix - - Mark Lewis. Essential Mix - - Todd Terry. Essential Mix - - Freddy Fresh. Essential Mix - - The Sharp Boys. Essential Mix - - Frankie Knuckles. Essential Mix - - Layo and Bushwacka. Essential Mix - - Jim Masters.
Essential Mix - - Mr C. Essential Mix - - Guy Ornadel. Essential Mix - - William Orbit. Essential Mix - - MJ Cole. Essential Mix - - Trevor Rockliffe. Essential Mix - - DJ Sneak. Essential Mix - - Parks and Wilson Tilt. Essential Mix - - Paul van Dyk.
Essential Mix - - Stewart Rowell. Essential Mix - - Paul van Dyk, at Homelands. Essential Mix - - Pete Tong, at Homelands. Essential Mix - - Sasha and Digweed, at Homelands. Essential Mix - - Rocky. Essential Mix - - Cut and Paste. Essential Mix - - Sasha and Seb Fontaine. Essential Mix - - Luke Neville. Essential Mix - - Tong, Fontaine and Oakenfold.
Essential Mix - - Josh Wink. Essential Mix - - Lisa Lashes. Essential Mix - - Christian Smith. Essential Mix - - John 00 Flemming. Essential Mix - - Mauro Picotto. Essential Mix - - Fergie. Essential Mix - - Paul Jackson. Essential Mix - - Jan Driver. Essential Mix - - Lucien Foort.
Essential Mix - - Dave Seaman. Essential Mix - - Anne Savage. Essential Mix - - Agnelli and Nelson. Essential Mix - - Tom Middleton. Essential Mix - - Sander Kleinenberg.
Essential Mix - - DJ Pippi. Essential Mix - - Carl Cox at Bunker. Essential Mix - - King Unique. Essential Mix - - Oliver Lieb. Essential Mix - - Silicone Soul.
Essential Mix - - Dj Tiesto. Essential Mix - - Tom Stephan. Essential Mix - - Fergie and Paul Oakenfold. Essential Mix - - Ricky Montanari. Essential Mix - - James Holroyd. Essential Mix - - Jason Bye. Essential Mix - - Richard Dorfmeister. Essential Mix - - Stanton Warriors. Essential Mix - - Jo Mills. Essential Mix - - Cass and Slide. Essential Mix - xx-xx - Pete Tong and Sasha. Essential Mix - - H Foundation. Essential Mix - - James Holden. Essential Mix - - Mistress Barbara. Essential Mix - - Jori Hulkonen.
Essential Mix - - Yousef. Essential Mix - - Matt Hardwick. Essential Mix - - Parks and Wilson. Essential Mix - - James Zabiela. Essential Mix - - Donald Glaude. Essential Mix - - Sasha and Digweed in Miami. Essential Mix - - FC Kahuna. Essential Mix - - Chris Cowie. Essential Mix - - Greg Vickers. Tracks glide seamlessly in and out of each other, overlapping in long extended cross fades, tweaked by filters and delays.
Vocals take a back seat for most of the mix. As with my other mix compilations unfinished tracks from my Outspoken project pop up as spoken word extracts, in particular the stuff voiced by Jennifer Valone. She was an architecture intern I met in London. She'd moved back to New York by the time I asked her to collaborate, so I had to send her detailed instructions on how to deliver it and sent her into a small studio in Manhattan with an engineer I knew and crossed my fingers.
I always loved what she did even though I ended up unable to fully finish the tracks with her. The artwork, incidentally, threw a few people. It was meant to look xeroxed or photo-copied, slightly blurry, oblique.
After five years peppering my early club tracks with soul and disco and latino influences that spoke to the crowds at Lazy Dog and the early years of Buzzin' Fly, 'Just A Blip' was an experiment, recorded for my Buzzin' Fly Vol. More skeletal and electronic it looked for its inspiration not in New York but in Detroit and Berlin.
Dancefloors were having their heads turned by darker more minimal sounds from Berlin, and I was looking for music that kept its soul while embracing the new. I also wanted to showcase as much news Buzzin' Fly talent as possible. Lyrics remained important. Crispy but quite sad in places. Figurines were the first band I signed to Buzzin' Fly's alt-pop sister imprint, Strange Feeling Records, launched in They were from Copenhagen and I stumbled across their album on Pitchfork.
It hadn't had a UK release yet and I loved it's joyous twitchy sound. House music was always about a feeling with a meaning. That is what I was searching for on this mix. A big heartfelt statement indeed. Certainly the lyrical flow, telling stories with words as well as with music, was important when I made this mix.
I'd been listening to early DJs like Larry Levan and was tired of compilations that seemed only to want to latest upfront instrumental cuts. I'd recently written 'Pop a Cap in Yo' Ass' and used it, and other fragments of spoken word from my unfinished Outspoken project across the mix. I also added a previously unreleased remix I had made for Unity.
This is one of my favourite recordings I've made. It was part of the unfinished Outspoken project that I began in I wrote it after watching my 4 year-old daughter on the lawn on a winter afternoon.
How long you been around, girl, longer than your years? Looking out through the eyes of an old soul, same shit, same fears Must be kinda hard for one so young and tender Walking out onto the lawn, a young pretender I'm thirty-plus years older, looking on you like a saint Some kind of gift that could be all the things I am and ain't I watch you cut your swathe, like a blade through harvest wheat With eyes that burn and melt with intensity and heat Who gave you what you are, these visions, these demands This intolerance and bluntness, this hunger in your arms?
I watch you running headlong into this autumn wind Till your face is flushed and you knees are skinned Scattering the magpies and the crows from the frost Your footprints like a path to something lost You turn and I wave back, and the sunlight from behind Is like a halo, mesmerising, undefined Bow to the saint amongst us on the frost-encrusted lawn Rain spattering in the gusts of a late storm And while I nod my head in a strange kind of respect I feel my driven heart pump and connect Even now, a muscle raw and unprepared For all this transparency, this old soul we've shared The wet leaves lift into the gathering trees Come in now girl or you'll freeze.
These two mixes I did for Faith Evans are notable for their unaccountable absence of bass. I got so carried away with the squelchy acidic mid-range 'bass-line' that I forgot to add anything low down to work the dancefloor.
We all have off-days. It signalled my return to an interest in words again. I started by writing several short stories in the form of a prose lyric and started creating backing tracks for them, while hunting for interesting voices to read them. Of the tracks that got completed, these are two I was happiest with. I wrote 'Pop a Cap in Yo' Ass' after reading a news story about a boy converting an air pistol into a lethal weapon on a housing estate in Camden where I once spent some time in the early eighties in a friend's flat.
It tells the story of a girl reminiscing about an old boyfriend, Mikey, and their days shoplifting. When it came to the recording, Estelle was just beginning to make her name as an MC and singer on the London scene, and I asked her to read it for me.
I wanted the music to have an old-school flavour, the kind of music the girl might have reminisced about too. Early house music. We never met. I sent the words to Philadelphia and he sent back the recordings. I love his performance. I edited it slightly and set it to music - a deep warm but urgent house track. Along with my remix of Me'Shell Ndegeocello's 'Earth' this ranks among my personal favourites.
The frantic euphoria of the Lazy Dog remixes was spent and I was searching for a deeper but still melodic sound. It has a very sybaritic feel. I remember playing it back one afternoon in Neighbourhood - the club I opened with a couple of partners in west London in - to an empty dancefloor on the newly installed Funktion 1 sound system. There were very few F1 systems in London at the time, and I stood right in the axis of the sound and was completely transported - hats off to my long-time mastering engineer, Miles Showell, for another great cut.
Not a peak-time mix, or a ground-breaking approach, but to me it just seems to work, and sometimes you have to be content with that. A mission statement at the end of the first year of Buzzin' Fly.
I was clearly moving away from the latin peaks and soulful throb of Lazy Dog, and looking for a deeper more mellow sound. Subtitled, somewhat grandiosely, 'Replenishing Music for the Modern Soul', it captured the house sound that typified our parties at the time.
Tracks 01 and 11 include spoken extracts written by Ben Watt. Read by Jennifer Valone. Copyright control. I have always loved the gentle but tense harmonies of Mimi and Alan in Duluth band, Low.
They are perhaps the least likely band you'd hear on a club mix, but after hearing 'Tonight' on their sixth album, 'Trust', I asked if I could remix it, and put Mimi's voice out there on the dancefloor in front of a new crowd. They were very open to the idea. On reflection I think I made the mix too smooth, and ironed out too much of the track's plaintive strength but her voice still gets me. I put together my first mix compilation on Buzzin' Fly in early , and recorded this track for it especially.
Sampling the acapella vocal track 'As Yet Untitled' from the first Terence Trent D'Arby album I constructed a new backing track for it, re-editing parts of the vocals to fit, and renamed it 'A Stronger Man' after one of the lines in the lyric. I have powerful memories of playing this track at the newly launched Neighbourhood club in west London on the big Funktion 1 sound system we had installed.
It sounded huge. Terence was happy to be involved but asked for me to use his new name - Sananda Maitreyer - on the credits. I have mixed feelings about this remix. I felt under pressure as Defected were after something as big as the Lazy Dog mixes, but I also felt I'd perhaps rinsed that sound out by the time I embarked on it. I invited Steve Pearce to play bass, and Dick Pearce adds one a classic melancholy trumpet solo, but somehow the track lacks a vital cutting edge, and I could never put my finger on why.
Sandy Rivera was also putting out some killer tracks at the time, first at KOT and then on his own, and perhaps I just tried too hard. It happens. Although I was not asked to add any more instrumentation, I was asked to take the finished studio tapes and mix all but one track for Beth Orton's 'Daybreaker' in William Orbit did the other one.
I worked on it with my mix collaborator and engineer at the time, Andy Bradfield. Much of it involved simply adding presence and weight to the recordings, re-amping some of the guitar parts to give them bite, giving dimension to the sound, bringing the drums forward, sweetening the voice. Always loved 'Concrete Sky' that she sang with Ryan Adams on backing vocals. My own track 'Lone Cat' in broke the mould of the latino Lazy Dog remixes and cast out on its own using a more raw stripped-back classic New York style.
This remix for Terri Walker from the same time seems to borrow a little from both approaches. The arrangement and drums are simplified but the bass-line has a lazy latin feel. Terri was managed by a regular at Lazy Dog and he wanted some of that flavour in the mix. I sometimes wonder if the result falls a little between two stools, although there is much in it that I still like. Twenty years after my previous single - an interim filled with nine albums and countless singles with Tracey Thorn in Everything But The Girl - I made this.
And how times had changed. After growing up influenced by folk and jazz, by the late nineties I had become immersed in electronic music and club culture. I had run out of ideas with words and had become fascinated by beat and ritual. We wanted to play deep house records on a Sunday from 4pm to 11pm. At the time this was quite a radical thing to do. We would spend the week scouring the London dance music shops for the hottest releases and play them on the Sunday. Jay worked at Blackmarket which gave him an edge, but one week, short of good tunes and keen to have something to play at the weekend, I went into my home studio and recorded 'Lone Cat' in a few hours.
I played it at Lazy Dog on the the Sunday and suddenly realised I had made a hot track. The vocal clips came from two hip-hop sources - 'Politix' by The Lone Catalysts hence the title , and 'Set it Off' by Organized Noize, which I later had to have re-sung because of copyright issues.
I played or programmed the rest. After the early reaction, I made fifty white labels to give to friends. A few weeks later I got a call from New York. Someone had seen a record with 'Watts' stamped on the label in the famous old downtown record shop, Dance Tracks. It was my track. My own white label had be bootlegged. Two thousand copies were in circulation. Paul Farris at Uptown Records in Soho said he had sold out of his order already.
I contacted the distributor, struck a deal, and regained control of the track. It ended up becoming the first single on Buzzin' Fly. Of all my Lazy Dog remixes, this remains my favourite. I always sense an elegance to the deep swing of the track that I largely take to be the result of Martin Ditcham's fantastic percussion playing.
I'd asked for congas but he brought along African drums that has a similar but unique tone. They really add character to the rhythm part. I also love the simple harmonica that creeps in in the second verse.
Makes me think of Stevie Wonder. As far as I know this track was never release commercially, and was only ever serviced on promo to DJs. The second mix compilation from Lazy Dog released by Virgin Records in I mixed CD1. Jay Hannan mixed CD2. I was always fond of that D'Julz mix of Lith de Lanka. My remix of Sade's 'By Your Side' established a template that I was make variations of for a couple of years.
As with the Sade remix, I spent a long time chopping up the fragments of vocal that worked best with the tempo and mood of the mix. Sometimes I think the bass-line is too separated from the rest of the mix and it needs a good sound system with punchy mid-range to really bring it to life but it never failed to get a reaction and was another track that seems so wrapped up with Lazy Dog and all that it meant.
The third Lazy Dog remix I made in , and perhaps the least well known. I used a Wah-Wah'd Clavinet and a mini Moog to play the main riffs and set the mood. Lovely singing from Maxwell on this. My main memory of playing this is at a wanton Virgin Records party me and Jay were invited to in Portugal. It was in the days when record companies pushed the boat out, and took place on the medieval ramparts of the Castle of the Moors in Sintra outside Lisbon, so high up that the low cloud at the top of the cliff was swirling around in the lights like natural dry ice.
Those were the days. It is hard to separate this remix from the scene that so inspired it. Lazy Dog, the club night I set up with Jay Hannan in west London in , was - once it hit its strides in - a phenomenon that has rarely been bettered in all my years of DJing; an intense, euphoric, visceral party that hit the floor running every other Sunday at the ridiculously early hour of 4pm and ran headlong until 11pm in a tiny sweat-drenched basement on Notting Hill Gate.
Jay had introduced a latin flavour to the party with the introduction of Grant Nelson's influential vocal mix of Negrocan's 'Cada Vez' in , and my remix of Sade's 'By Your Side' picked up the baton and ran with it. The original is a slow simple ballad and much of my preparation involved chopping up the vocal performance and slowing down and speeding up sections of it to fit the bpm groove. The triple breakdown arrangment is decadent in the extreme, but the whole thing has a joyous gallop to it that still makes me picture those jubilant nights in Notting Hill.
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