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█ - d e e p h o u s e -
03.10.2004
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artist : Powder Productions
title . Powder Beats Volume 2
type : EP
year . 2001
genre : House
subgenre . House
label : Glasgow Underground
cat . GU 081
URL : www.glasgowunderground.com
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grabber : Wavelab
encoder . Lame 3.96
quality : 192kbps / 44,1Khz / Joint-Stereo
source . Vinyl
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A1.Dirt Bag Beats 06:01
A2.Hot Beats 06:02
B1.Dirt Bag 06:35
B2.Jungle Drums 04:50
23:28 min 32,3 MB
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The deep house crew brings you once again a high quality release of
soulful dance music.. music with emotion that deserves the promotion..
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It's Only Now, As Phil Kelsey Slides Into His Thirties, That He's
Really Started To Fire On All Cylinders. He's Been Everything From A
Tea-Boy To A Major Producer At One Of The Nineties Most In Demand
Studios, He's Hell-Raised In Fast Cars And Seen 3 Of His Own
Productions In The Top Ten In One Week. On Top Of That He's Worked
With Multi-Platinum Artists Like Moby, Erasure And Tinita Tikaram And
Created Dance Floor Monsters For The Likes Of Dina Carroll, Martha
Wash And The Peech Boys. But He Wouldn't Go Back. Not In A Million
Years.
"The Early Years Are Ones That I'll Quite Happily Leave Behind," He
Begins. "by The End Of 1995, I Felt Like I Was Working In Some Kind
Of Factory That Turned Out Records To Order. It Was So Far Removed
From Where I Started, I Just Had To Get Out Of There."
The Year Was 1996 And Phil Had Been At Dmc Studios For About 4 And
Half Years. He'd Gone There Straight From Art College (Where He
Studied Graphic Design And Illustration) Just Looking To Get Studio
Experience. As An Avid Fan Of Eighties Bands Like The Human League,
Simple Minds And Depeche Mode, He'd Already Amassed A Small Home
Studio Complete With Basic Synthesisers, Samplers And Sequencer And
Was Ready To Do Anything To Learn More. It Was Only Six Months Before
It Was Someone Else's Job To Make The Tea And, Before His First Year
Was Out, He'd Put Together His First Solo Production. It Was Pka's
'let Me Hear You Say Yeah!' And It Was Huge. Like Most Productions
Back Then, It Sounds Dated Now, But In The Heady Pre-Trance Days Of
1996 When Someone Like Sasha Or Paul Oakenfold Weaved It Into Their
Soundscape Of Tough British House, Clubs Went Wild.
"It Just Happened One Weekend", Explains Phil. "they Were The Quiet
Times In The Studio When I Could Get In And Start Mucking Around With
The Equipment. It Didn't Take Me Long To Work Out How Everything
Worked And That Was One Of The First Things I Did.'
From There Pka Released 'temperature's Rising' And Again Progressive
Hot-Mixers Like Gordon Kaye And Nick Warren Went Crazy For It.
Collaborations With Dave Seaman As Creative Thieves And East Side
Beat Followed As Track After Track Flew To The Top Of The Club Charts
And Filled Dj Boxes The World Over. Productions And Mixes For Some Of
The World's Best Selling Electronic Artists Were Next With Phil
Working Disco Magic With The Likes Of Ce Ce Penniston And Kathy Brown
Or Tripping Out With Ten Minute Dubby Excursions For Erasure And
Moby.
Four Years Later And The Mixes Had Started To Get On Top Of Another.
There Had Been More Than 100 Different Remixes As Well As Dozens Of
His Solo Productions. His Work Rate Had Been Incredible And The
Strain Was Starting To Tell. "i'd Had Enough Doing Pap Remixes," He
Says Quite Bluntly, "i Had Started Out Doing It For The Love Of The
Music And Somehow I Had Got Caught Up Doing All This Rubbish. When It
Got To The Stage That I Was Being Offered Stuff Like The Village
People, I Had To Stop."
It Was A Full Year Later Before Phil Got Back In The Studio. Slowly
At First, Helping His Friends Andy Hughes And Dave Harman With Their
Remixes For A&m. Then Taking On Studio Sessions For Lofty And Bob
Jones Chilli Funk Label Before Finally Getting Together With Hughes
To Work On Some Original Productions. 1998's Glasgow Underground
Long-Player 'pipe Dreams' By The Newly Formed Powder Productions Was
The Result. Gone Was The Commercial Touch That Had Major Labels
Falling Over Themselves In The Early Nineties, The Latest Kelsey Work
Was Deep And Groovy. Cuts Like The Warm, Shimmering Funk Of 'dub
Powder' And The Razor-Sharp Latin Mayhem Of 'chile Sauce' Were
Turning On A New Bunch Of British Dj Talent. Deck-Heads Like John
Digweed, Steve Lawler And Danny Howells Were Tuning In To Powder
Productions Raw Dancefloor Sound
But It Was The Summer Of 1999 That Powder Truly Came To Life. Their
Own Re-Interpretation Of One Of Their Lp Standouts Was Re-Released As
'chile Sauce 99' And Djs Across The Board Went For It In A Very Big
Way. You Heard It For Four Solid Weeks On Danny Rampling's Show, At
Every Basement Jaxx Party, At Slam On The Boat, Everywhere Dj Sneak
Played. It Topped The Playlists Of Djs As Diverse As Josh Wink And
H-Foundation, Ashley Beedle And The Idjut Boys. In Short, It Was
Massive.
They Spend Most Of 2000 Working On Their Own Label 'shedcentral' As
Well As Working On Their Second Lp, 'cuban Fire'. The Shedcentral
Releases Have Consistently Been Picked Up High-Flying Djs With Roger
Sanchez And Sandy Rivera Notable Fans. Unfortunately, Just After The
Album Was Delivered, Andy Hughes Left Phil To Continue Powder
Productions On His Own. Since Then Phil Has Completed 'powder Beats'
The Latest Single From 'cuban Fire' As Well As Powder Remixes For
16b's Alola Label, Mute, Halo Vargo's New Bloom Imprint As Well As
Re-Working The Jersey Street Classic 'brand New Day' For Glasgow
Underground.
remember to support artists.
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shoutouts to the groups that love the music they promote..
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Now releasing VBR and CBR encoded rips on ripper's choice
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If you're down with the deep house music, music with feeling..
music that makes you groove no matter where you are.. and you
keep the feeling real. .∙· d e e p h o u s e 2 0 0 4 ·∙.
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nfo/header by rudo; updated at 01 oct 04