A Quote by Eddy de Clercq
Of course I knew disco and dub from years before but I never heard such a radical new sound like house. It blew my mind!
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I'll always remember when I first heard Lester [Young]. I'd never heard anyone like him before. He was a stylist with a different sound. A sound I'd never heard before or since. To be honest with you, I didn't much like it at first.
I got into dub a long time ago. I was into dub before I even had any interest in reggae or Jamaican songs, Bob Marley, or any of those established artists. I just thought it was such an unusual sound.
Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)
Even when disco went out, I could still make hits. Once I had so much success, every idea became concentrated. I had so much confidence. I knew how the bass should sound, what rhythms would work. The tempos I knew: 110 to 120 BPM. I knew they would dance in the clubs in New York or anywhere.
Twenty years ago I went to see this show The Best Disco in Town Live, it was all these disco acts like Gloria Gaynor and Tavares and I had the best night of my life. There was no new music, it was just hits you loved growing up.
'Spectrum' is in part a disco song. But we play it hard, and it's a real euphoric, wailing tune. It's kind of like a total house anthem, in a way, but it seems to be going down really well. We've got all the grunge kids going mad for disco house raves.
Whenever I sing, I try to make it different, the sound that you've never heard before, and put something new, which people love.
I dabbled in things like Howlin' Wolf, Cream and Led Zeppelin, but when I heard Son House and Robert Johnson, it blew my mind. It was something I'd been missing my whole life. That music made me discard everything else and just get down to the soul and honesty of the blues.
What I hear about the book does not sound like the Scott McClellan I knew for two years. I can say, without fear of contradiction, that I knew Scott better than any other White House correspondent or Washington reporter.
When I was 5 years old, I moved with my mother and brother from Philadelphia to a small town in Florida. People talked more slowly there and said words I had never heard before, like 'ain't' and 'y'all' and 'ma'am.' Everybody knew everybody else. Even if they didn't, they acted like they did.
I am taking my production style more into the world of dub. I mean true dub production techniques but in house music.
As a late teenager, the punk movement pushed me further. In particular, the Clash, which happened to leak through the time of disco, showed me that there was this cross-cultural sound that could cut across genres and audiences. Like punk was to disco, rap music was a rebellion against R&B, which had adopted disco and made it worse.
I blew amps like they were made of tissue paper. Once I blew out the sound system at Royal Albert Hall in London.
No one heard about Bill Clinton on his first trip to New Hampshire. I showed Mike Huckabee around the state years before he ran, and no one knew him then, either.
The King walks. He nods. His glance is like God's touch - under it all things spring to life. A wave of his hand and a hundred musicians tear into the Handel, making a sound you've never heard before, and never will again. A sound that goes through you, through flesh and bone, and reorders the very beat of your heart.
I'm always trying to experiment and come up with new palettes of sound and new combinations of music that you haven't really seen or heard in film before.
