was it that simple to afford losing $5/person for bob's night?
personally i think wat just happened was a very very bad marketing strategy but ok .. ill go with the flow!
Bob Sinclar LIVE in Lebanon *POSTPONED*
Moderator: MODs
by jayc » Wed Nov 30, 2005 12:24 pm
BAT?!! ummmmm did u seriously just do that??
was it that simple to afford losing $5/person for bob's night?
personally i think wat just happened was a very very bad marketing strategy but ok .. ill go with the flow!
was it that simple to afford losing $5/person for bob's night?
personally i think wat just happened was a very very bad marketing strategy but ok .. ill go with the flow!
Free Your Mind | www.lebaneseravers.com
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jayc - Occasional Trancer
- Posts: 293
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- Location: Beirut
by jayc » Wed Nov 30, 2005 1:11 pm
"Love Generation" it is!
cheers and hope to see every1 being able to make it!
cheers and hope to see every1 being able to make it!
Free Your Mind | www.lebaneseravers.com
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jayc - Occasional Trancer
- Posts: 293
- Joined: Mon Jul 11, 2005 5:20 am
- Location: Beirut
by bat » Wed Nov 30, 2005 2:34 pm
Bob Sinclar Interview for DEFECTED
What were your initial ambitions and dreams for Yellow Production? Do they remain the same, or if not, how and why have they changed?
Its amazing having people asking me to do promotion! I started Yellow Productions, my label, in 1992 and I wanted to stay behind the scenes. I never wanted to be an artist, I just wanted to produce different musicians, I couldn’t imaging that one day someone would be asking me to do an interview, or appear on TV or even play in a club. It was my dream.
What did you really want to be when you grew up?
Somebody! I wanted to be like Bjorn Borg or Michel Platini, a sportsman, but I was a bit skinny; not strong enough for sport! That’s when I discovered music.
What are your memories of the musical landscape that you grew up in?
Musical influence in France is a nightmare! There is only the French variety! Funk and Black music didn’t arrive until really late; around ’84 or ’85. It was the radio really, first Pirates then official stations. In about 1984 it started to get better, they started to play Funk like D-Train, Earth, Wind and Fire, Prince, all the classics. We discovered that and it was amazing.
What’s the first record you can remember dancing to, when and where?
The first time I saw a DJ scratching records. In ’89 Hip Hop was arriving from America; we had Public Enemy, LL Cool J also Jungle Brothers and the Native Tongue, and all the Def Jam crew. We had all of this Hip Hop scene arriving; the dancing, the scratching, it was amazing!
What was the first record you purchased?
The first record I bought was Sweet T – I’ve got the feeling.
Where did you play your first gigs, and where did you really learn your craft? The bars, the areas, the crowds?
I didn’t know how to get into the music industry, I was DJing in my bedroom as a hobby, mixing tapes for myself, but I didn’t know how to introduce myself into the industry. I wanted to work in music, I didn’t know which area, maybe a record company. I started working for two different guys, one on a TV show called Rapline, they didn’t have enough money to keep me on so I started to DJ around Paris. I organised Hip Hop and Acid Jazz parties in ’91 and ’92.
What did it mean to you what you could do with all your influences?
I discovered immediately that the most important thing for a DJ to do is to make people dance; the DJ is there for the people. At the beginning nobody knows you so you have to show everyone who you are through your music. That’s still the same today, but people come to see you now. You have to play your records but at the same time you have to tell them a story about the roots of the music you love. I like Funk and Disco, but its hard for me know because dance music is on the radio, its everywhere; its hard to keep a balance between what you want to play and what they want to hear. That is the real job of a DJ, its hard to do that. The most important thing as a DJ is to see people dance to your music.
What is your first memory of house music?
In Paris we had two scenes; we had the gays scene and we had the Hip Hop scene … I liked Garage because it was from the black music, but Hip Hop was more visual for me as a DJ; the scratching and everything. The DJ was more important. House music was there but not from the beginning for me. I started with Hip Hop, then Acid Jazz, then came Trip Hop; all music with black influence. In ’97 and ’98 I discovered new artists such as Kenny Dope and Armand Van Helden, these guys were coming from Hip Hop and House. They used to produce these different types of music at the same time in New York. I started to produce Hip Hop.
Where does your turn at ITH find you?
To do a mix compilation is really hard for me, it will be my first one. I did a ‘best of’ for the DVD, but it’s really hard to be really hip to what’s new. Records come out really early and everybody’s doing compilations with the same tracks. I had to find a good balance between my classics and all new records. ITH are really famous compilations, really big DJs have done it so it’s a really big thing to do in my career. I also did it because I have a lot of things to say in this compilation.
What new or exclusive tracks have you included in the track listing?
It’s always really hard to do exclusive tracks for a compilation, but I tried to find very rare tracks that nobody had used. I put my new single ‘Love Generation’ on it, I played that a lot this summer it was amazing. It will be the first compilation with this track. I did an exclusive remix of Martin Solveigs ‘Jealousy’ and used some very rare tracks from Masters At Work and Roger S, and also a brand new track from Julian Jabre. I like French producers so I try to include a lot of them in my compilations.
What did you want to represent with your mix?
‘Love Generation’ was very surprising for me. It’s not exactly the same style I am used to doing, its dance music of course, but it’s not based on the same energy! When you do club tracks you have the structure and the break, you have to come back to the music, to keep the people energy. On this track it was a different base, it was from the heart; what you feel. It really was fantastic to do, and it happened completely by chance. I was in New York six months ago to record some disco stuff. I had three or four disco tracks for my new album, which I hope is coming soon, and I had this instrumental. I was not really happy with the track but Gary Pine from the Wailers came into the studio, I said to him ‘I have this track but I’m not sure what to do with it’. I started to whistle a melody, but it was destined to be replaced by a bass line and a vocal melody. Gary said ‘ok, I’ll do something with this’, he wrote the song in an hour, he came behind the microphone and he started to sing this song. Sometimes it happens when you are in the studio, we had it! It was blessed!
What does the name Defected mean to you, and what is your history with the label?
Defected is a very special label for me. When Simon (Dunmore) came to me he was the first guy to ask me to work with him in the UK, and you know the UK is the king of the world for dance music. He came to me when I released ‘I Feel For You’; we went top ten together. It’s really important to be faithful and to work with the right people in this business, so I’ve worked with Simon for seven years now. I’m really faithful in business, I use the same people, the wholesalers and journalists, all those guys. Simon has a certain way he likes music, a certain style, he has kept to this, its really important for an artist to be on this kind of label.
What’s your cherished record? And what’s your secret shame record?
The most expensive record I ever bought was Serge Gainsbourg’s ‘Percussion’, he did it in ’64 and I bought it for 1500 Euros! I have to buy different records because I am looking for sounds, so I have some tracks by Gazebo! I like Chopin and I did a cover of him, you know, (sings) I like Chopin, bom bom bom bommmm. So…. I’m sorry for that.
Whose careers do you admire, and what one song do you wish you had written?
I have a lot of classics and I like a lot of artists. I’m really a fan of Prince, from the beginning; I just discovered a few months ago that he did everything on his first album! From the drums to the guitar and the singing, he did it all in a basement. When I discovered this I said, ‘Wow’! First of all I should stop music, because of course I will never be able to do that, secondly I have to be inspired by this kind of career. I’m not on his kind of level but he is just amazing. The number of tracks he produced, so many amazing tracks, and today also. One of my favourite tracks is from Michael Jackson, its ‘Rock With You’, of course it was Rod Temperton; he wrote a lot of very good tracks. I am really ashamed because I am not a musician, and I make music, so in front of this monster I’m just a little thing!
We are very rude about French music prior to French house – what’s your view on it?
I was ashamed ten years ago to have French records in my case, you know? So now I’m really proud when there is something new in France; I’m excited. There are a lot of very good producers in France now.
Is there a stereotyped French view of UK music? And US?
Your country is really bizarre, these frog things can be number one, and at the same time Outkast can be number one. The best and the worst can make it to number one, but its good; the people have the choice. What’s fantastic about the British scene is that people are looking for music, they like music.
What music are you making now?
As I said before my sound is Black, I don’t know why, essentially but I’m really drawn to this sound. Black music for me is the music that will stay in my veins forever. I’m also Latin, so I try to mix Latin stuff and Black stuff at the same time; Brazilian music, Jazz, Disco, Soul. I try to express myself in this music; to leave a small print on the music I love.
What were your initial ambitions and dreams for Yellow Production? Do they remain the same, or if not, how and why have they changed?
Its amazing having people asking me to do promotion! I started Yellow Productions, my label, in 1992 and I wanted to stay behind the scenes. I never wanted to be an artist, I just wanted to produce different musicians, I couldn’t imaging that one day someone would be asking me to do an interview, or appear on TV or even play in a club. It was my dream.
What did you really want to be when you grew up?
Somebody! I wanted to be like Bjorn Borg or Michel Platini, a sportsman, but I was a bit skinny; not strong enough for sport! That’s when I discovered music.
What are your memories of the musical landscape that you grew up in?
Musical influence in France is a nightmare! There is only the French variety! Funk and Black music didn’t arrive until really late; around ’84 or ’85. It was the radio really, first Pirates then official stations. In about 1984 it started to get better, they started to play Funk like D-Train, Earth, Wind and Fire, Prince, all the classics. We discovered that and it was amazing.
What’s the first record you can remember dancing to, when and where?
The first time I saw a DJ scratching records. In ’89 Hip Hop was arriving from America; we had Public Enemy, LL Cool J also Jungle Brothers and the Native Tongue, and all the Def Jam crew. We had all of this Hip Hop scene arriving; the dancing, the scratching, it was amazing!
What was the first record you purchased?
The first record I bought was Sweet T – I’ve got the feeling.
Where did you play your first gigs, and where did you really learn your craft? The bars, the areas, the crowds?
I didn’t know how to get into the music industry, I was DJing in my bedroom as a hobby, mixing tapes for myself, but I didn’t know how to introduce myself into the industry. I wanted to work in music, I didn’t know which area, maybe a record company. I started working for two different guys, one on a TV show called Rapline, they didn’t have enough money to keep me on so I started to DJ around Paris. I organised Hip Hop and Acid Jazz parties in ’91 and ’92.
What did it mean to you what you could do with all your influences?
I discovered immediately that the most important thing for a DJ to do is to make people dance; the DJ is there for the people. At the beginning nobody knows you so you have to show everyone who you are through your music. That’s still the same today, but people come to see you now. You have to play your records but at the same time you have to tell them a story about the roots of the music you love. I like Funk and Disco, but its hard for me know because dance music is on the radio, its everywhere; its hard to keep a balance between what you want to play and what they want to hear. That is the real job of a DJ, its hard to do that. The most important thing as a DJ is to see people dance to your music.
What is your first memory of house music?
In Paris we had two scenes; we had the gays scene and we had the Hip Hop scene … I liked Garage because it was from the black music, but Hip Hop was more visual for me as a DJ; the scratching and everything. The DJ was more important. House music was there but not from the beginning for me. I started with Hip Hop, then Acid Jazz, then came Trip Hop; all music with black influence. In ’97 and ’98 I discovered new artists such as Kenny Dope and Armand Van Helden, these guys were coming from Hip Hop and House. They used to produce these different types of music at the same time in New York. I started to produce Hip Hop.
Where does your turn at ITH find you?
To do a mix compilation is really hard for me, it will be my first one. I did a ‘best of’ for the DVD, but it’s really hard to be really hip to what’s new. Records come out really early and everybody’s doing compilations with the same tracks. I had to find a good balance between my classics and all new records. ITH are really famous compilations, really big DJs have done it so it’s a really big thing to do in my career. I also did it because I have a lot of things to say in this compilation.
What new or exclusive tracks have you included in the track listing?
It’s always really hard to do exclusive tracks for a compilation, but I tried to find very rare tracks that nobody had used. I put my new single ‘Love Generation’ on it, I played that a lot this summer it was amazing. It will be the first compilation with this track. I did an exclusive remix of Martin Solveigs ‘Jealousy’ and used some very rare tracks from Masters At Work and Roger S, and also a brand new track from Julian Jabre. I like French producers so I try to include a lot of them in my compilations.
What did you want to represent with your mix?
‘Love Generation’ was very surprising for me. It’s not exactly the same style I am used to doing, its dance music of course, but it’s not based on the same energy! When you do club tracks you have the structure and the break, you have to come back to the music, to keep the people energy. On this track it was a different base, it was from the heart; what you feel. It really was fantastic to do, and it happened completely by chance. I was in New York six months ago to record some disco stuff. I had three or four disco tracks for my new album, which I hope is coming soon, and I had this instrumental. I was not really happy with the track but Gary Pine from the Wailers came into the studio, I said to him ‘I have this track but I’m not sure what to do with it’. I started to whistle a melody, but it was destined to be replaced by a bass line and a vocal melody. Gary said ‘ok, I’ll do something with this’, he wrote the song in an hour, he came behind the microphone and he started to sing this song. Sometimes it happens when you are in the studio, we had it! It was blessed!
What does the name Defected mean to you, and what is your history with the label?
Defected is a very special label for me. When Simon (Dunmore) came to me he was the first guy to ask me to work with him in the UK, and you know the UK is the king of the world for dance music. He came to me when I released ‘I Feel For You’; we went top ten together. It’s really important to be faithful and to work with the right people in this business, so I’ve worked with Simon for seven years now. I’m really faithful in business, I use the same people, the wholesalers and journalists, all those guys. Simon has a certain way he likes music, a certain style, he has kept to this, its really important for an artist to be on this kind of label.
What’s your cherished record? And what’s your secret shame record?
The most expensive record I ever bought was Serge Gainsbourg’s ‘Percussion’, he did it in ’64 and I bought it for 1500 Euros! I have to buy different records because I am looking for sounds, so I have some tracks by Gazebo! I like Chopin and I did a cover of him, you know, (sings) I like Chopin, bom bom bom bommmm. So…. I’m sorry for that.
Whose careers do you admire, and what one song do you wish you had written?
I have a lot of classics and I like a lot of artists. I’m really a fan of Prince, from the beginning; I just discovered a few months ago that he did everything on his first album! From the drums to the guitar and the singing, he did it all in a basement. When I discovered this I said, ‘Wow’! First of all I should stop music, because of course I will never be able to do that, secondly I have to be inspired by this kind of career. I’m not on his kind of level but he is just amazing. The number of tracks he produced, so many amazing tracks, and today also. One of my favourite tracks is from Michael Jackson, its ‘Rock With You’, of course it was Rod Temperton; he wrote a lot of very good tracks. I am really ashamed because I am not a musician, and I make music, so in front of this monster I’m just a little thing!
We are very rude about French music prior to French house – what’s your view on it?
I was ashamed ten years ago to have French records in my case, you know? So now I’m really proud when there is something new in France; I’m excited. There are a lot of very good producers in France now.
Is there a stereotyped French view of UK music? And US?
Your country is really bizarre, these frog things can be number one, and at the same time Outkast can be number one. The best and the worst can make it to number one, but its good; the people have the choice. What’s fantastic about the British scene is that people are looking for music, they like music.
What music are you making now?
As I said before my sound is Black, I don’t know why, essentially but I’m really drawn to this sound. Black music for me is the music that will stay in my veins forever. I’m also Latin, so I try to mix Latin stuff and Black stuff at the same time; Brazilian music, Jazz, Disco, Soul. I try to express myself in this music; to leave a small print on the music I love.
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bat - New Trancer
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by Nesta » Wed Nov 30, 2005 5:53 pm
ya chabebbbb raww2ouwa chouay lol bob sinclar is great.. i saw him 2 times in paris he wont be playing akid his commercial music in Beirut.. well he's a great House Dj, men ghayyir chouay men el Trance.. he plays happy house.. kamena path's u cant compare bob sinclar to digweed or sasha, it's like comparing ronaldo to roberto carlos.. u can compare bob sinclar with David guetta for example.. i'm going forr suuuuurrrrrrrrrrrre
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Nesta - Often Trancer
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by Trancestral » Thu Dec 01, 2005 11:40 am
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Trancestral - Often Trancer
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