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- Team LtH proudly presents -
John_Digweed_-_Transitions_(Kiss_100)_01-22-SAT-2006-LtH
┌─── RELEASE iNFO ─────────────────────────────────────────┐
│ │
│ Artist.........: John Digweed and Pete Heller │
│ Title..........: Transitions 22 January 2006 │
│ Tracks.........: 2 │
│ Length.........: 119:02 min │
│ Size...........: 163,00 MB │
│ Label..........: N/A │
│ Cat. Nr........: N/A │
│ Year...........: 2006 │
│ Genre..........: House │
│ Release Date...: Jan-22-2006 │
│ Street Date....: Jan-22-2006 │
│ Ripper.........: Team LtH │
│ Supplier.......: Team LtH │
│ Source.........: SAT │
│ Grabber........: Team LtH │
│ Encoder........: LAME 3.93 │
│ Quality........: 192 kbps, 44.1 kHz, Stereo │
│ │
└────────────────────────────────────────────────── LtH ───┘
┌─── TRACKLiST iNFO ───────────────────────────────────────────┐
│ │
│ Track # Track Title Time │
│ │
│01_john_digweed_-_transitions_(kiss_100)_01-22-2006-LtH 60:01│
│02_pete_heller_-_transitions_(kiss_100)_01-22-2006-LtH 59:01│
│ │
│ Total Time: [ 000:00 ] │
│ │
└────────────────────────────────────────────────────── LtH ───┘
┌─── RELEASE NOTES ───────────────────────────────────────┐
│ │
│ LtH presents John Digweed's Transitions from Kiss100 │
│ (Jan 08 2006) │
│ │
│ Guest Mix: Pete Heller │
│ │
│ From childhood marching bands to disc jockey and dance │
│ music producer: Pete Heller knows a good drum when he │
│ hears one. Boom-boom. Out go the lights. │
│ │
│ Born in Brighton, Pete Heller was a music nut right │
│ from the get-go. The Clash, Psychedelic Furs, Jam and │
│ Madness as a kid and then discovering nascent hip hop │
│ at a Clash gig in London. ôI was sitting at the back │
│ before the Clash and this band came on," remembers │
│ Pete. ôI'd never heard of this music before. It was │
│ very rhythm-based. It was Fab Five Freddy doing a hip │
│ hop show. I thought, æI've got to get into this'. │
│ Found out about Groove Records, went up there and the │
│ first import I bought was Davey DMX æOne For The │
│ Treble'. It smelt different." │
│ │
│ Things were different in the 1980s before house │
│ arrived and shocked our system to its core. Dance │
│ music was a minority interest, like clay pigeon │
│ shooting or wine tasting. There were few magazines │
│ documenting it, and no-one wanted to be a DJ. It was │
│ like dreaming of being a gas fitter. But when Heller │
│ discovered clubs (thanks to an older sister), he was │
│ smitten. ôThere was no DJ culture then. They were just │
│ blokes who played records. But I found them intensely │
│ glamorous. That whole music and club scene was very │
│ other, then." │
│ │
│ At Manchester Uni, he got a break DJing and started to │
│ promote parties all the while travelling back to │
│ London where the early house/Balearic clubs were │
│ mu-Shooming out of from nowhere. ôIt was the maddest │
│ place I'd ever been to," says Heller of Danny │
│ Rampling's now-famous Shoom. ôIt suited my aesthetic │
│ completely, because all I did was take acid, and lots │
│ of it. I'd go straight to the dancefloor and that was │
│ it." │
│ │
│ Against the odds for such a young shaver, Heller was │
│ handed the warm-up slot when Shoom relocated to │
│ Busby's. Aside from the instant kudos of playing at │
│ the hottest club in London, it was a satellite around │
│ which half of London's club faces revolved. │
│ Introductions were made, friendships were sealed, │
│ including those of Terry Farley and the Boys Own crew. │
│ Heller worked in the studio on the first Bocca Juniors │
│ single (he played guitar) and somehow found himself │
│ producing The Farm alongside Terry and Madness's Suggs │
│ (ôWe spent most of the time playing Subbuteo, although │
│ I did programme a little beat!", laughs Heller) │
│ │
│ When the cheque arrived for Heller's contribution to │
│ Altogether Now, he bought studio gear and started │
│ making proper house music with Farley (as Roach Motel │
│ and Fire Island). Lots of records, one club hit after │
│ another. DSK's What Would We Do: massive tune at the │
│ Sound Factory. Happy Mondays' Stinkin' Thinkin': │
│ ditto. Eventually the records were big everywhere, │
│ remixes, original productions, funky, deep, guaranteed │
│ floorfillers the lot of 'em. │
│ │
│ In the mid 90s, the pair had an unlikely crossover hit │
│ when a rejected remix, Ultra Flava, suddenly became │
│ the hottest track in Ibiza and went top twenty n the │
│ UK. Then, in 1998, Heller produced his biggest hit │
│ yet, with Pete Heller's Big Love. ôTerry went to see │
│ Chelsea in the European Cup Winners' Cup final in │
│ Stockholm so I went in the studio on my own. I knocked │
│ it out really quickly. In a day. Actually 12 hours. │
│ After I'd done it, I thought it was going to be a demo │
│ so I edited it down to ten minutes and that became the │
│ final release." It reached number 12 in the UK pop │
│ charts in May 1999. │
│ │
│ Since then, he's continued to produce more club │
│ monsters: Sputnik, Stylus Trouble, remixes of Cevin │
│ Fisher, Inner Cityà and endless list. And now - in the │
│ wake of JBO's recent cessation - sees the launch of │
│ Phela Records. His own baby, though not literally. │
│ More music, big plans (well medium ones, but big │
│ eventually), a nice website, direct interface between │
│ man and machine and man (and woman). More stylus │
│ trouble, in fact. │
│ │
└────────────────────────────────────────────────── LtH ───┘
┌─── GROUP NOTES ─────────────────────────────────────────┐
│ │
│ We are currently looking for: │
│ │
│ [*] Talented Rippers/Suppliers │
│ [*] 100+MBit Affil Sites │
│ │
└────────────────────────────────────────────────── LtH ───┘
From all over the world, into your stereo.
.:Team LtH 2006:.