WHEN I SAY BIG BAD U SAY BASS,BIG BAD....

Stevie Wonder?
Lionel Ritchie?
Kool & the Gang?
Alpha Omega?
Black Eyed Peas?
Neptunes?
Norman Cook?
Paul Oakenfold?
Masters at work?
Jazzy Jeff?
Dr.Dre?
Prince?
R.Kelly?
Matrix?

Just an example of guys who made music for monetary gain & still have retained their genius & incredible levels of creativity!

[Statto]

Stevie Wonder?
Lionel Ritchie?
Kool & the Gang?
Black Eyed Peas?
Neptunes?
Norman Cook?
Paul Oakenfold?
Masters at work?
Jazzy Jeff?
Prince?
R.Kelly?

Just an example of guys who made music for monetary gain & still have retained their genius & incredible levels of creativity!

they didn't sell themselves out — they made money doing what they do — lucky them

it's when you do it cynically that it's soul destroying

Dr.Dre?
Matrix?

no — compared with their early stuff their later music is banal

Alpha Omega

you've split yourself haven't you? half doing money making stuff, half doing creative stuff. be careful though!

I know what you mean about being careful.
Example:

I spend a couple months doing more 'artistic' material(stuff that's circulated on here) & it's a struggle for one 12" to get signed.Everybody in positions of power not really prepared to put out anything too risky.
(doesn't apply 2 folks like Blue/Code EHL,Platonic,etc..) so shit just gets left on a cd somewhere in the studio gathering dust.

On the other hand I rinse out a cd of 'club' tings in a couple weeks the very next day of labels/distributors receiving the cd I get calls saying they want 2 sign 4-5 tunes a.s.a.p & the advance is such & such,etc....with the tune in the shops withing 2-3months.

So to pursue option one is great therapy for the creative soul but means you can't feed your family att the end of the day.

Option 2 means everybody eats & the world's your oyster(well anywhere local) & your career doesn't feel stagnate at all & your just getting a buzz from having stuff out that's selling,1-2 gigs a week,etc.

I know which option I'm seriously leaning towards right now.

[Statto]

I spend a couple months doing more 'artistic' material(stuff that's circulated on here) & it's a struggle for one 12" to get signed.Everybody in positions of power not really prepared to put out anything too risky.

indeed

On the other hand I rinse out a cd of 'club' tings in a couple weeks the very next day of labels/distributors receiving the cd I get calls saying they want 2 sign 4-5 tunes a.s.a.p & the advance is such & such,etc....with the tune in the shops withing 2-3months.

indeed

Option 2 means everybody eats & the world's your oyster(well anywhere local) & your career doesn't feel stagnate at all & your just getting a buzz from having stuff out that's selling,1-2 gigs a week,etc.

indeed

I know which option I'm seriously leaning towards right now.

indeed but still... be careful — if it's just about money couldn't you make more working as an engineer?

AO what would you define your more club music mate?
the things that were put out on Outbreak and such?

man, i cant see why you would call that 'club music' a lot of it still has that AO feeling which has been giving me shivers down my spine ever since i first bought a plate of yours.

you make quality music, be it more leftfield (like for instance Catburglar or Discard the Truth) or more out on the open...its all good

I suppose I mean stuff like Klash,High Pass/Chubby Chasers Feedback/(JB Remix),etc...

Not necessarily done for the money but may not really fit in with the overall Alpha Omega sound.

(Although Clash V.I.P is one of my fave tracks)

Maybe I'm just looking too deep in to the whole thing & should just be concerned with making music that I know will be picked up/released?

Plus there's something to be said for producers who just stick to one sound & rinse it to death(Paradox,Digital,MIST,cALIBRE,Fresh,Twisted Individual,Roni Size,etc..)

When these guys put a record out you know exactly what your getting,there's no surprises just exactly what your expecting & as a result they build a solid core audience that buy on sight.

Anyway,I digress.......

uhm, well
i buy your stuff on sight as well, only thing ive passed last 2 years is the one with the jb remix cos i think that his take on that was so horrible that i couldnt get myself to buy it

but for the rest i could only say keep on rinsing like you've done.
i really liked klash as well..

and i think you have your own sound as well. i mean i always seem to recognize your combination of ruff beats, rave/hardcore stabs, fuckedup samples and ill b-lines..

you are one of the artists that ive got a load of plates from and got me interested thru your music into all of this. so respect for that

This Valve album is sooooo good i really like all the tracks and think the production and mastering on all of the tracks is some of the best i have heard. Certainly one of the best dancefloor albums that has been released for a long time.

hey what was that shop location again?

hey what was that shop location again?

sorry mate, i will post it in a few mins .........

here you go mate .......... http://www.imorecords.com/

£9.99 for the album and i got my copy on friday :d

neat
but might even pick the album up thursdays after Technicality when im shopping around Soho

[Statto]

This Valve album is sooooo good i really like all the tracks and think the production and mastering on all of the tracks is some of the best i have heard. Certainly one of the best dancefloor albums that has been released for a long time.

hmmm... entertainment vs art

elitist art crew say aye!! :P

(not "massive" — since that wouldn't be elitist)

hmmm... entertainment vs art

elitist art crew say aye!! :P

(not "massive" — since that wouldn't be elitist)

Its Neither, its music .........

couldn't've said it better myself AE!

[Statto]

Its Neither, its music .........

nicely dodged :P

hmmm... entertainment vs art

i was thinking the same thing at headz last night .. spirit started at nine when there was no one in there and the first half of his set was brilliant phantom audio style tunes .. dark and rolling .. loads of breaks ..

then once everyone was up dancing he seemed to play a lot more two steppy and some of the bass lines were almost bristol sounding ..

was still good but it seems like a lot of people want to tone their style down just to appeal to the majority rather than risk doing their own thing ..

that's why technicality is so cool cos people are expected to play mad stuff which reminds me of what headz used to be like ..

(ps - don't get me wrong - i still love headz!!)

Whats wrong with Bristol bass lines ?

What's wrong with Bristols?

i was thinking the same thing at headz last night .. spirit started at nine when there was no one in there and the first half of his set was brilliant phantom audio style tunes .. dark and rolling .. loads of breaks ..

then once everyone was up dancing he seemed to play a lot more two steppy and some of the bass lines were almost bristol sounding ..

was still good but it seems like a lot of people want to tone their style down just to appeal to the majority rather than risk doing their own thing ..

that's why technicality is so cool cos people are expected to play mad stuff which reminds me of what headz used to be like ..

(ps - don't get me wrong - i still love headz!!)

Spirit mostly plays 2 steppy / commerical stuff anyway ?!

i was thinking the same thing at headz last night .. spirit started at nine when there was no one in there and the first half of his set was brilliant phantom audio style tunes .. dark and rolling .. loads of breaks ..

then once everyone was up dancing he seemed to play a lot more two steppy and some of the bass lines were almost bristol sounding ..

was still good but it seems like a lot of people want to tone their style down just to appeal to the majority rather than risk doing their own thing ..

that's why technicality is so cool cos people are expected to play mad stuff which reminds me of what headz used to be like ..

(ps - don't get me wrong - i still love headz!!)

spirit's set last night was the dogs bollocks

didn't realise you were there mate, didn't see ya

(imho!!) bristol b lines can be cool but a lot of the time when ppl try and do that style it just ends up in two step monotony and a 1 bar loop that doesn't change for the whole 5 minutes .. which seems to be what a lot of big djs are playing ..

overall it was a wicked set tho .. good to hear phantom force again as well ..

ez matt .. no doubt i'll see you weds ...

the old tunes may be better in some ways (esp. for the nostalgia factor )
but even things like -ride it hard on cybotron ('94?) are kinda over the top and have that big bad growly voice
still good though (where good means -different-)

Dunno that track you're reffering to, but Dillinja lost me around '97 - I could no longer identify with or relate to the attutude, the sounds, tha arrangments - anything.

Sure, he did BIG tracks back then too e.g. 'Massive' as Capone on HL, and often to a formula, but the energy and the vibe were completely different. It's that simple for me - I think the AESTHETIC that he works according to now sucks the fat one - it's linear, noise-annoys, ugly-for-ugly's sake, with no attitude, and no seductive quality to it at all - no mystery. When I listen to his new shit, I feel like I'm being patronised, and anything that I call Jungle doesn't do that to me, ever!

BTW, AO, I still hqave no ideas what a 'hater' is. If Dillinja made new shit that I loved and wanted to play out tomorrow, then I'd be the first to Big him Up for doing so. But as it stands, he's just another former hero of mine who now makes music that I can't stand. Does that make me a 'hater'?

??????

I guess what I said was more at the crowd who just jump on the bandwagon & start slagging dillinja/lemon just coz it's the cool thing to do without listening to anything they've done past or present & then have the audacity to champion something like Twisted Individual or c4c?

A tune like afterlife will shut them all up!!!

ppl 4get lemon & dillinja can do melody in d&b better than most(when they choose to)

Dunno that track you're reffering to, but Dillinja lost me around '97

the track is Dillinja -From Beyond/Ride It Hard -Cybotron (DIL 3) 1994

and its got a growly voice (riiide it haarrrd) lots of runnin breaks and kinda comes in/bass drops 'over the top' or trys to be really slammin - yet not so much ?
maybe for 94 yeah, but not as heavy as some other 94 things

but you can get an idea that he was trying some other angle, which maybe hes acheived as of these last few years - not technical or mysterious -just hittin you as hard as possible

my point being that if he was trying these sorts of things in 1994 that may have paved the way for him into 95,96,97 - so hey, maybe 2004,2005,2006,2007 youll see some great music

have some faith and some trust
alot of these artists have brought you thus far - move on !