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- Team LtH proudly presents -
John_Digweed_-_Kiss100_08-08-DAB-2004-LtH
┌─── RELEASE iNFO ─────────────────────────────────────────┐
│ │
│ Artist.........: John Digweed and Jon Marsh │
│ Title..........: John Digweed Kiss100FM Show 8 Aug 2004 │
│ Tracks.........: 2 │
│ Length.........: 113:12 min │
│ Size...........: 155,00 MB │
│ Label..........: N/A │
│ Cat. Nr........: N/A │
│ Year...........: 2004 │
│ Genre..........: Progressive House │
│ Release Date...: Aug-08-2004 │
│ Street Date....: Aug-08-2004 │
│ Ripper.........: Team LtH │
│ Supplier.......: Team LtH │
│ Source.........: DAB │
│ Grabber........: Team LtH │
│ Encoder........: LAME 3.93 │
│ Quality........: 192 kbps, 44.1 kHz, Stereo │
│ │
└────────────────────────────────────────────────── LtH ───┘
┌─── TRACKLiST iNFO ───────────────────────────────────────┐
│ │
│ Track # Track Title Time │
│ │
│ [ 01 ] 01_John_Digweed_-_Kiss100_08_08_2004-LtH 55:14 │
│ [ 02 ] 02_Jon_Marsh_-_Kiss100_08_08_2004-LtH 57:58 │
│ │
│ │
│ │
│ Total Time: [ 000:00 ] │
│ │
└────────────────────────────────────────────────── LtH ───┘
┌─── RELEASE NOTES ───────────────────────────────────────┐
│ │
│LtH presents John Digweed Show from Kiss100 (Aug 08 2004) │
│For tracklisting visit: http://www.arts.ualberta.ca/kiss/ │
│ │
│ Guest DJ: Jon Marsh │
│ │
│ This kind of thing is so subjective that it's hard to │
│ know where to begin. The beginning, I guess... │
│ │
│ Camberwell, London, 1965: youngest by 9 years of four │
│ children. The main advantage of this was being │
│ surrounded by the record collections of three │
│ teenagers as a very small child; folk, pop, │
│ psychedelic rock, and, as a unifying force in the │
│ house, The Beatles. The first record I bought was 'The │
│ Ballad Of John & Yoko' by The Beatles on an Apple │
│ Records but I have a feeling I was coerced by my │
│ siblings to use my pocket-money towards this. I'm well │
│ aware that my second purchase was 'Ernie, The Fastest │
│ Milkman In The West' by Benny Hill! │
│ │
│ All through my childhood I was obsessed with music, │
│ buying singles wherever possible and being fascinated │
│ by the b-sides - music i hadn't heard on the radio; │
│ often terrible, occasionally amazing. The emergence of │
│ artists like Roxy Music and David Bowie was hugely │
│ influential though, and as a kid, I was equally │
│ enamoured of the less adventurous, but more simplified │
│ music/visuals of Sweet and Wizzard. │
│ │
│ The first band I was totally drawn to was Sparks. │
│ Seeing them on Top Of The Pops doing 'This Town Ain't │
│ Big Enough For Both Of Us' was a seminal moment - │
│ dynamic, melodromatic, and unique. I also remember │
│ hearing Kraftwerk's 'Autobahn' in 1975 (I think) and │
│ being mesmerised by the synthesized otherworldliness. │
│ Conversely I also got really into the progressive rock │
│ of Peter Gabriel-era Genesis and, unsurprisingly, Pink │
│ Floyd. │
│ │
│ Aged 11, and living in London, the entire punk thing │
│ passed me by! │
│ │
│ It was the new wave/post-punk movement that really │
│ began to lead me into more active participation in the │
│ scene. I had always kept an eye on the │
│ synthesized/electronic underground and I used to go to │
│ parties at the Chelsea Drug Store n the King's Road │
│ where Stevo (who founded Some Bizarre records) was the │
│ DJ playing underground electronica. This movement - we │
│ defined ourselves as futurists - ran parallel with │
│ much of the New Romantic movement but with less │
│ commercial attention. It really cemented my fixation │
│ with synthesizers, and exposed me to primitive drum │
│ machines. The other club that I went to around this │
│ time was the midweek Pyramid night at Heaven. │
│ │
│ As a teenager I played in bands at school as a │
│ drummer. Musically these weren't original or much good │
│ but it was great experience. I tried to teach myself │
│ rudimentary piano and started writing very basic │
│ songs. I had no idea how to arrange them or perform │
│ them as access to the kind of sounds/equipment I │
│ wanted was prohibitively expensive. Eventually I met a │
│ guitarist called Steve Waddington and we put together │
│ a very early version of The Beloved in 1984. We made │
│ demos using borrowed equipment- very simple synths and │
│ live instruments but amazingly got a session on John │
│ Peel's radio show after giving him a demo. We recorded │
│ that in January 85 and naively presumed it would all │
│ grow from there - I was only 19 after all... │
│ │
│ It didn't quite work out that way and in order to play │
│ live a friend of mine from college joined as drummer │
│ so that I could concentrate on singing. This line-up │
│ continued for two years and we released four │
│ independent singles, but it was taking us in a much │
│ rockier direction than had been the original idea for │
│ the band. │
│ │
│ At the same time (1985/86) we were being exposed to │
│ music coming from the States, most notably the │
│ freestyle beats of Mantronix. That was so exciting and │
│ seemed to be pushing the whole envelope of electronic │
│ music into new territory. In late 1986 (Nude @ │
│ Hacienda) and 1987 (Flim Flam and Delirium in London) │
│ I heard early house played to little response, but │
│ again it was fresh and challenging. │
│ │
│ In 1987 we split The Beloved back to a two-piece, │
│ studio-only unit using sequencers and synths instead │
│ of bass and drums, and I went to New York for the │
│ first time, ostensibly to try and get a record deal on │
│ the back of our first 'dance' single 'Forever │
│ Dancing'. Although I didn't get the deal I was exposed │
│ to so much music (and pharmaceuticals) that it changed │
│ me hugely. I also came home with a vast collection of │
│ early house 12"s courtesy of a lovely guy called Kenny │
│ Ortiz @ Capitol Records. │
│ │
│ Back in South London in early '88 someone told me │
│ about these parties in a gymnasium in Bermondsey where │
│ people were 'going nuts to acid house records' and I │
│ found my way to Shoom. Nothing prepared me for the │
│ madness (and friendliness!) which was so overwhelming │
│ that I felt all the different things I'd been │
│ searching for musically had coalesced. Danny & Jenni │
│ Rampling's parties have become legendary, and rightly │
│ so, because they acted as a catalyst for the entire │
│ dance/club scene that exists in the UK today. │
│ Something magical happened and I feel so lucky to have │
│ experienced it from such an early point. │
│ │
│ Nothing so exciting could stay underground for long │
│ but it touched so many people who wanted to express │
│ themselves musically. Established artists like ABC and │
│ Paul Rutherford used to go every week and made records │
│ that reflected their experiences. We had just got a │
│ major deal in the UK on the basis of demos done in │
│ late 1987 but we were already changing our musical │
│ ideas to accomodate what we were living through. It │
│ was just a wonderful happy accident to have studio │
│ time to try and express ourselves and although our │
│ first house cuts were less than impressive we learnt │
│ fast. In 1989 when the whole scene began to go │
│ overground we were recording what would become │
│ Happiness'. In late summer we sent out promos of 'Sun │
│ Rising' and it all began to take off. The massive │
│ irony is that although it became an anthem at so many │
│ big outdoor parties I never went to any of them │
│ because I was always in the studio. │
│ │
│ It was also in autumn 89 that I met Helena who would │
│ become my wife and collaborator. We met at a Boys Own │
│ party in a railway arch in Vauxhall - rave on !!!!! │
│ │
│ Through 1990 the band really took off and we spent a │
│ lot of time travelling and promoting 'Happiness'. It │
│ was great fun but hugely draining and, in truth, │
│ pushed me and Steve to a state of exhaustion. The best │
│ bits were the studio time and our remix album 'Blissed │
│ Out' is to my mind a better definition of where we │
│ could have gone with that line-up. However, we drifted │
│ apart after this and never recorded together again. │
│ │
│ Around this time I bought decks and taught myself to │
│ mix. DJing seemed a good way to explore more creative │
│ paths with less focus on the individual than fronting │
│ a band. In retrospect perhaps not strictly true! My │
│ first attempts in front of people were just at friends │
│ parties and i was wracked with nerves but it's │
│ incredibly addictive and you keep going back. │
│ │
│ In 1993 The Beloved resurfaced, with Helena now │
│ involved. Our first single together, 'Sweet Harmony', │
│ proved to be the most successful of all Beloved │
│ records and the album 'Conscience' similarly so, │
│ althougn it's a more collaborative record with a lot │
│ of guest musicians, and not especially connected to │
│ the dancefloor. On the back of this my DJ career │
│ developed but I've always played quite deep house and │
│ I think a lot of my early bookings expected a more │
│ commercial sound. Gradually I built up a reputation │
│ based on the music I was playing and when I began to │
│ play regularly at Ministry around 1995 I felt I really │
│ pushed on in style and confidence. The remixes we did │
│ of tracks from 'Conscience' really show the areas we │
│ were moving into. Whilst having crossover hits we were │
│ making club records for Junior Vasquez @ Sound Factory │
│ which had become so important to us. The nights we had │
│ there were the best I've ever experienced in clubs. │
│ Total surrender to the DJ by a massive crowd of │
│ amazing people. His music would vary from the dark and │
│ brutal to phenomenally beautiful and then off again │
│ into percussive darkness... awesome. And so many │
│ fantastic vocal records like Industry 'Release Me' or │
│ Kristine W's entire early catalogue! │
│ │
│ Our next album 'X' tried to incorporate these elements │
│ into our sound with dark instrumentals like 'Crystal │
│ Wave' (another big Junior Vasquez track) or the single │
│ 'Satellite' but it failed to garner much attention at │
│ the time. This was a blow to us because we really felt │
│ we'd finally made a record that represented exactly │
│ what we were into, but you have to accept these things │
│ in life and we're still very proud of the album. It │
│ must have impacted in some way though because we're │
│ still working on the follow-up! │
│ │
│ Over the last seven years I've concentrated on my DJ │
│ career and also made some more underground records for │
│ labels like NRK, Honchos, Junior, & Gourmet. Having my │
│ own studio now allows more creative freedom and means │
│ we can remix records for labels with smaller budgets │
│ as well as for majors. │
│ │
│ I've travelled all over the world as a DJ but realised │
│ that the most satisfying way to develop is through │
│ residencies [if possible]. I currently play monthly at │
│ Fabric in London (where I've played since it opened). │
│ Other guest slots are fitted around these. I've also │
│ had two mix CDs released, one for NRK, and one for │
│ Fabric. │
│ │
│ I'm currently working on music for a new Beloved album │
│ which may see the light of day in 2004..... │
│ │
│ Have FUN :) │
│ │
└────────────────────────────────────────────────── LtH ───┘
┌─── GROUP NOTES ─────────────────────────────────────────┐
│ │
│ We are currently looking for: │
│ │
│ [*] Talanted Rippers/Suppliers │
│ [*] 100+MBit Affil Sites │
│ │
│ Contact us: If you need us, You'll find us. │
│ │
│ │
└────────────────────────────────────────────────── LtH ───┘
From all over the world, into your stereo.
.:Team LtH 2004