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obb_
garridge raver





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[*] размещено 5-10-2006 в 20:32

Интервьюз



интересно почитать вот это



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Steel Silent
garridge psycho





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[*] размещено 5-10-2006 в 21:43



читай! раз интиресно.



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obb_
garridge raver





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[*] размещено 5-10-2006 в 22:19



Цитата:
Оригинальное сообщение от Steel Silent
читай! раз интиресно.


я вот думаю, к чему этот твой пост?




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Steel Silent
garridge psycho





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[*] размещено 5-10-2006 в 23:24



а я вот подумал к чему твой первый пост в топике, и подумав, ответил тебе ;)



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pasta
garridge lover





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[*] размещено 7-10-2006 в 19:19



сэнскс фо линк.



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KzMz
garridge maniac





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[*] размещено 15-10-2006 в 08:45



ещё интервью от Golden Child

Many fans of new school UKG would think that Golden Child is relatively new to the scene, yet he has been involved in music for over 12 years. Originally getting into Acid through his cousins at Raindance, in 88-89, he progressed to Jungle and Drum & Bass until he sought a more soulful vibe in the form of UK Garage. Now with his own record label, Chocolate Factory Records, he has become part of driving the current vocal garage scene with 3 original releases in 2005, and many more forthcoming in 2006 featuring vocalists such as Colour Girl and Jay Harvey. He also has a show on one of London’s biggest pirate stations, Shine FM. I went along to Golden Child’s studio in London to find out more about one of the most recently talked about producers in UKG



Your music tastes have evolved from Acid and Hardcore to Jungle and Drum & Bass… what made you stick with UK Garage?

I didn’t want to keep jumping scene… My aunt said there’s no point being a jack of all trades and a master of none so I decided to stick to Garage. I’m bringing the soulful side of it back, which is why a lot of my music is original vocals and strictly pushing new singers.

When did you decide to take up producing and how would you describe your current sound?

It was around 10-12 years ago through friends in the Jungle scene. I used to sit and watch Kane in the Trouble On Vinyl studio and from there I just wanted to be a producer. I’ve got two sounds – a soulful vocal sound and a dubby club sound, just to cater for both sides.

Looking at your discography, you had a release in 2004 which was very dark compared to the others?

If you ask anybody that knows me as a DJ, I’ve always played soulful music but sometimes you go through a stage where you get a bit lost. I did those tunes a few years back when the scene had lost its soul and there was no direction, it was only Grime that was doing anything and no one was interested in vocals. Making the dark stuff didn’t do anything for me so I left it behind to do vocal material.

What do you think is hindering the UKG scene from moving forward?

There’s only one thing that restricts it and that is negativity and there is a lot of that going on. There are DJs that specifically don’t want to play people’s music or who people might not want to book because of whatever reason. In order for this scene to grow, there needs to be unity - we all need to come together and work for the same movement. It’s what they’re doing in D&B and that’s why their scene is strong now. I do feel it is starting to happen in UKG.

What kind of studio setup are you working with at the moment?

My studio equipment includes a G5, a Focusrite, an EL7 Fatso and various compressors and keyboards. I do everything through my computer because can lose a bit of quality if you go through a mixing desk. In terms of instruments I can play the piano a bit enough to get my chord progression and I’ve been playing the guitar for the past 6 months. I think it’s important to have both a musical ability and a technical grasp of sound engineering, as there’s nothing worse than hearing a producer that doesn’t know anything about scales and their music just ends up out of tune.

How did you learn to use all the production equipment?

I was self taught mainly, I also did a SSL course for about 6 months just to get a basic understanding of sounds and frequencies. The rest was from sitting with friends who are producers. I bought an AKAI sampler, read a book, and just practiced.

Who and what have been the main influences in your productions?

I don’t really listen to anyone’s sound when it comes to that, I try to focus on what I’m doing - a Golden Child production should sound like me. But I’m quite broad minded when it comes to the spectrum of music that I actually listen to - MJ Cole, Todd Edwards, Wookie, Dr Dre, even some rock artists.

Were there any reasons for the changes in your DJ and production name?

Politics - it really goes down to that. A lot of people will think that I’m new, but I’ve been around for a long time. I was one of the founder DJs of Taste FM, it was 1994 when we started that station with the first transmission from my friend’s bedroom. At one stage I was producing with Andy-B but we fell out of friendship and I had to knock our production name on the head. I’ve had a lot of DJ names such as DJ Lion and Zion H, and the reason I’ve changed my name is because I’ve changed myself. I know a lot of DJs keep the same name but for me it’s been more a growing process just trying to find myself and what I want to do in this scene. I think Golden Child suits me to the T.

Which UKG DJs and producers do you feel are having a good 2006?

DJ wise – I’ve got to take my hat off to Charma because he is supporting the new sound. Also have to big up Richie Vee, Cameo and Excel. Producer wise - Will Phillips, Domino, and without a doubt Delinquent. Wookie’s kind of left the scene to do what he was doing with the housey stuff but hopefully he’ll come back. Matt Jam’s been there for time, I’ve got to big up Karl Brown as well and can’t forget the infamous MJ Cole.

Why do you think your recent vocal productions have been so popular?

I think it’s because the structure of our music is very song-based when it comes to vocals and club-orientated when it comes to the backing tracks and it’s what people have been waiting for. It is very refreshing because there aren’t a lot of new producers doing original vocals rather than remixes and bootlegs.

How did you hook up with your vocalists?

Working with Colourgirl was a dream; it was though meeting Tony Portelli after he listened to my show on Shine about a year ago. He loved my music and took my number and said he had a singer for me without saying who it was until she came to the studio. As for Jay Harvey, I actually did a remix for one of his tracks when he was in a boyband via BMG about 3 years ago but the label didn’t want to pay us so we bought the backing track and put the vocals over it. I then hooked up with him when his group split up. He’s a brilliant singer and really easy to work with, we get a good vibe in the studio.

What releases can we expect from you in the near future?

What Do You Wanna Do is my next release which should be out in the shops in about a months time, I’ve got a Domino remix on the B-side and apparently there’s quite a buzz on that. Twisted should be out 2 weeks after that; I don’t want to miss the summer with those 2 tracks. I’ve done a few more tracks with Jay Harvey - Love Again which people are really going mad for, All Because Of You, and also one called What’s Your Name – so it’s a choice between those three. I’ve got another track with Colour Girl that I finished a few weeks ago which will hopefully be out early autumn.

What made you decide to set up your own label?

It was so I could have control over my own music and to put my mark on the scene. I find it very enjoyable running them but sometimes you get hiccups with the pressing where they might be a bit longer than they say they are so you end up having to push back your release date.

Which producers are you hoping to collaborate with in the future?

I’m hopefully going to do something with Qualifide, Will Phillips, and also Domino’s guys Control-S will be coming down for a jam in the studio. There’s loads in the pipeline but it’s just finding the time with everyone.

What other kinds of music do you make?

I do a bit of Hip Hop and R’n’B on the side but this country is very funny when it comes to that genre of music, and it’s a very hard scene to get into. I’ve done a bit of House with some other people. I’m also engineering and mixing down for some guys called Cruise Control. However, if Garage is the way I’m going to create a name for myself in order for the majors to notice then that’s what I need to do.

How do you find raving compared to when you first started out producing?

Right now it’s been rubbish to be honest with you - when the proper musicians were making the music, it had a lot of energy in it and that energy’s not there now because the scene went dark. But now I feel that the scene is starting to change. There’s not really a lot of Garage raves going on in London except one off events but the problem with them is that all they play is Old Skool. It’s going to be very hard for the scene to move forward if they continue that way. The only place that is pushing the new stuff is Prolific - I played there recently and the setting in Herbal is really heavy. I’ve got to big up the Prolific guys, keep up the good work.

How do you feel about the mainstream success of Grime?

Anything to come from the underground and crossover to go commercial is very positive for the scene especially for the youngsters these days because they are very lost, and sometimes the only way out for them is music. I’ve got to send a shout out to Dizzee Rascal, Kano, Wiley and Mike Skinner from The Streets because despite Grime having a negative effect on the scene, those artists are doing very well and trying to do positive things.

Should all UKG be geared for the dancefloor?

I think with every music scene there’s always a flipside and I think you need both club music and radio music. Sometimes what you listen to in your house is not really what you want to listen to in a club but then it depends on the crowd and the clubnight. Radio music can crossover into the mainstream if it’s a well made track, as long as it’s got the right promotion behind it.

What have been the most memorable moments of your career so far?

Getting my studio together because they can cost a lot of money, and then working with Colour Girl and Jay Harvey. And also going on the Uptown forums and seeing that there are people who like what I’m doing.

You’ve been on various pirate stations over the years, do you they’re still vital for the growth of the underground scene?

The only way pirates will be taken over is if there are DAB radios built into everything. Everyone listens to pirates, even the mainstream DJs do because that is where the fresh talent and music is coming from. Mainstream radio stations only jump on it when it blows from the underground so pirate radio is still very important to the health and success of our scene.

What is your ultimate aim music-wise?

To be the British Puff Daddy! I want to have a corporation that just deals with the whole music scene and produces and pushes new artists.

What are your all time favourite tunes?

From my raving days it’s got to be Sweet Harmony. I was bought up on Reggae so some of Dennis Brown’s tracks are my favourites too. Do the Humpty Hump by Digital Underground is another, love the bassline in that.

If you didn’t want to get into music what do you think you would’ve gone into job-wise?

As well as being involved in music full-time, I’m also a qualified carpenter. As many people in the music scene will tell you, your parents don’t tend to be very happy when they hear that music is what you want to do because they don’t really see a future in it. So my mum pushed me into having something to fall back on and carpentry was the only thing I got a good grade in at school!

If you could endorse any product what would it be?

Looking at it from a business side it would have to be either a brand of make-up or perfume, something to do with women because they spend a lot of money on things like that.

From your experiences in the industry do you have any words of advice for new producers?

The road to stardom can be very hard so you’ve got to stay strong and very determined because there will be times when you can get disheartened and feel like packing it all in. And don’t listen to what people say, just try and have a tunnel vision and be almost ignorant.

Finally, who would you like to give shouts to?

I mentioned most of them earlier, but I’ve got to send a shout to Delinquent, Domino, Charma, Will Phillips, and basically anybody that is working on pushing the scene to a healthy and enjoyable state. When we used to go out raving back in the day it was actually fun, so to anybody that’s trying to get that feeling back into the scene I’ve got to big you all up!

Check out Golden Child 2-4 every Wednesday on Shine FM, What Do You Want To Do is out now on Chocolate Factory Records…




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