From his early days MCing in warehouse raves, appearing on Top Of The Pops with The Shamen, DJing at clubs all around the world, opening one of the finest nightclubs we have ever seen with The End and running the groundbreaking Superfreq label. Richard West is one the good guys of dance music – and boy do we need him. Dan Prince gets the exclusive interview…
Richard welcome back to DMCWORLD. Right before we talk about the albums, gotta kick off with your post on Facebook on Monday morning from a leg of your ‘Smell The Coffee’ album tour…
“It’s 10am, somehow we’re still in West Exit club in Hastings, even though it closed at 3am, oops, how did that happen? The good news they have a 10am opening license & Jim came up with the novel idea that we should open up now & crack on! I’m even gonna work behind the bar, but be careful, the drinks may be strong! So, here’s the play, it’s free to get in so get in! If you’re in the area & you play forward thing house, bring some tunes & you can play a little set. we’re about to have a blinding bank holiday Monday! You’ve gotta be in it to win! Cum!”
…so what the hell was all that about then?!!!
“West Exit is a new club in Hastings and wow, what a nice place, it’s like a baby version of The End. The place is done up perfectly – great sound system, great lights, nice bar – it ticks all the right boxes. The people that own and run the place are lovely – it again felt like The End, real family vibe and everyone pulling in the same right direction. We had a blinding night there on the Sunday of the last Bank Holiday weekend, great crowd and everyone really loving it. It finished at 3am, they kicked everyone out, closed up shop and Team Freq (mr mates) and I ended staying for one for the road. That turned into quite a few for the road, having great conversations about spiritual stuff, music and generally putting the world to rights and at 10am, one of their resident DJs – Jim – suggested we open back up. Of course Team Freq is well up for it & the club said they had a 10am opening time license, so we just went for it, put up a load of Facebook statuses and off we went, people started coming in at around lunch time, DJs turned up with tunes, we had an open decks policy so people that don’t normally play got involved and we had an amazing afternoon and evening of it, so much fun! There was no money in it for anyone, the club couldn’t have made anything as they were giving out booze left, right & centre & we all played for free & had a right royal Bank Holiday Monday, all doing it for the love. I want to go back there & do a Superfreq all-dayer some time later in the year.”
The tour rolls into London on Saturday at Paramount for your Superfreq residency, where have been some of the stand out dates so far?
“All the dates on my Smell The Coffee album tour have been special in their own way. I started off on the Friday of the first May Bank Holiday in Dublin, which was fun. Really nice people there and then we did Below’s 8th anniversary in Birmingham which was wicked, a huge line up and I smashed the granny out of that. Then we had Superfreq in London, which is always amazing. Then on the Sunday we went to Fump in Colchester, again an excellent party and a right up for it crowd. The following weekend we did Float Your Boat in Maidenhead which was a very nice boat party indeed and then down to Junk Club in Southampton which is a firm Superfreq favourite – we do 2 or 3 parties there each year – amazing club, amazing people that run it, spot on. The following week Team Freq drove up to Glasgow for a special one, the whole gig was for charity for Brain Tumour UK, I played for free and even paid for my driver and petrol taking no expenses. I was a little disappointed about the turn out for this one, especially as it was a charity show but we all had a great time. It was one of my good mates birthday up there too which made it extra special. The next day we drove down to Manchester to do Dusted at Joshua Brooks and again, what an amazing night. The Dusted crew really do have it right, amazing people, amazing crowd and it’s quite a new night in Manchester, this was only their 4th event and a night that cannot fail, mark my words! Next came the 2nd May Bank Holiday weekend and we kicked that one off in Brighton with the Beatsworkin crew where I played with A Guy Called Gerald, very nice party and crowd and then we cracked on afterwards at Ed’s Records, a great new little record shop in a small warehouse / loft type space and from there, drove back to London with just enough time to get freshened up for the We Are FSTVL in Upminster. That was a great festival and we had a great time. Somehow, I was put on first in the Crosstown Rebels tent which didn’t make sense, they could really have done with a bit of Mr.C filth later on that day / evening, but I suppose someone has to open up, I just thought it wasn’t the smartest musical programming move but I played a great opening set to the people coming in and actually really got the tent happening, attracting people to the goodness like bees to honey. Then on the Sunday was West Exit in Hasting, which we’ve already discussed. This weekend just passed, on Friday we had a blinder in Portsmouth at the Barn where I played a 4 hour set, pulled their trousers down and smacked their bottoms while parading around in my PVC fetish outfit (just kidding), but it was excellent, great spot done by people that really love it. After that we jetted back up the road to do the Faithless charity gig at the Electric in Brixton, supporting the local kids. That was the 2nd charity gig I did during this tour, always good to get involved. Saturday we then went up to Northampton for an early show at the Academy, which warmed us up nicely for the 2nd London show for the tour and yes, Superfreq was incredible yet again! I now only have one show left on the tour, at Moles in Bath this coming Saturday and we can well and truly say we’ve raped and pillaged the nation and left a trail of destruction in our wake.”
Well fuck me, that sums it up! Well moving on, this week sees the release of Sounds Like Alola – Volume 3, seventeen tracks celebrating 20 years of this seminal deep house label. Why was this label so important?
“I’m extremely excited about this CD release! Alola was one of the first Tech House labels out there and real quality too, merging together deep house and techno with a seriously open minded musical philosophy – so much amazing music on that label by truly great cutting edge artists. There was no pretentiousness about the label at all, simply quality cutting edge music and I was fortunate enough to do some remixes and have my own releases on this label and Omid’s Sexonwax label too. A lot of the new kids coming though on the scene haven’t yet researched their history, so it’s great that Alola are doing this retro series as it introduces some roots and culture into the scene and also, much of this music is timeless and sounds every bit as good today as it ever did.”
You and label boss Omid Nourizadeh have become firm friends over the years. What are this man’s talents that made him such a formidable and true pioneer on the international dance circuit over the years?
“I love Omid, a real gem in this scene. He’s so much fun to hang out with and a real friend that would do anything to help out his mates. His music is world class – he can produce anything from deep house to progressive to tech house to techno and all in his own unmistakable style. Omid has put so much work into this scene over the years, he’s an amazing DJ too, with such great energy and that’s because he does it for all the right reasons. He’s still making amazing music, always with an eye on the future but with experience. I do expect a second coming from this man, I can see him turning a few heads with the new school people any time now as he’s still making amazing tunes. We’re actually working on another track together as we speak.”
Talk us through your mix…
“It was very difficult to pick the tunes for this mix, what with so much quality on Alola to choose from, but I feel I ended up with something quite special. There’s lots of tunes from Omid on there and a few of my own too and the mix really pulls on the deeper side of the Alola catalogue, ranging from deep house to techno and even some disco thrown in their for some good measure. Like all of my DJ mixes that have been recorded, I wanted to do this live as I love the feeling of actually mixing tunes together rather than editing them together digitally as you can’t really duplicate the sound of a proper DJ mixing as it has a kind of organic sensibility to it and there’s a certain energy in the mix and a tightness that can’t really be duplicated when syncing beats as the syncing will be on the kick, so what about when you need the hats to work and they have a very different swing to each other? I have most of the tunes on vinyl of course, seeing that I’ve always loved Alola, but I had to get Omid to shoot me over a few files of the tracks that I couldn’t find in my collection and did the mix live on 2 turntables and 2 CDJ’s, mostly with vinyl and a few CDs thrown in. I’m delighted with the mix, it obviously really sounds like an authentic Mr.C mix as I have my own style of spinning. Also, Omid’s done a great job on the mastering of the CD so it sounds just fantastic.”
You live in Los Angeles now, more and more Europeans in the industry are doing so. You have sat and watched this whole dance explosion take over the States for these last two years. What are your thoughts on it? What are your thoughts on these kids earning $200,000 for a set, EDM tracks blasting out in supermarkets, billion dollar companies muscling their way in snapping up brands, clubbers finally dancing to a dance beat in the States…?
“I think it’s great that EDM has hit the States properly. Of course I hate most of this commercial crap that’s being churned out, but if that’s what the kids who are just starting to go out want, then great, it’s way better than them listening to the even worse fake hip hop that’s being made now or rock & roll. EDM is a great introduction for the kids into dance music and of course, as they mature, so will their tastes and that can only be good for the cutting edge dance music scene as a whole as these kids are our future. Yes, there are quite a few DJs moving there from Europe which is great, as we’re able to add some real authenticity to the scene and share our experience and knowledge, but let us not forget – Techno, House and Garage come from America and was then taken by us Europeans who then went on to create a culture – this culture is now being embraced by the Americans. Almost every major city has a great underground dance music scene and American people demand quality, so it’s great to be working and living there, having an input and sharing the love. Also, lots of the new kids out there, just like in Europe, have grown up listening to electronic dance music played by their parents or elder siblings. Because of this, dance music now has a firm foothold in the USA and can only continue to grow and improve and this makes the scene very fresh and exciting. Europe can be a little jaded at times, so I think that America will be showing Europe a thing or 2 over the coming years and hopefully that will become a new source of inspiration for Europe, as American music was in the late 80’s. We shall see but from where I’m sitting, it all looks extremely positive for the whole world and electronic dance music.”
As mentioned earlier, you are in the UK promoting your new ‘Smell The Coffee’ album, I hear it took quite a while to complete?
“I did take a long time to complete, about 3 years, but I really wasn’t in a hurry as the album is me, not like anything else out there so it wasn’t going to age. I started out by making 10 instrumental tracks digitally, which my mate Daniel Mancini engineered, he actually learned his craft in my Watershed Studio in the 90’s. When those tracks were done they all sounded pretty complete. I played it to a few DJ mates, some of who thought it was a nice finished product, which of course it wasn’t as I knew I wanted lots of vocals as I had a real message that I wanted to share about people waking up to a new way of thinking. I then lived with those tracks for about 6 months in which time I wrote 6 vocal songs and then went into the studio to record the vocals. I got my good friend Victoria Wilson James to do one song and did the rest of the vocals myself. After this I slowly went about replacing all the bass lines and acid lines with analogue hardware as I didn’t feel the bass and stuff was thick enough or organic enough. After that I went about arranging the tunes around the vocals. I got rid of one of the vocals and made it an instrumental as the album didn’t seemed balanced enough, there were too many vocal tracks on it and stripped another track down to just chorus vocals. After it was all arranged, I then sent the album to Francis Harris and Jordan Lieb to mix down in a multi million dollar studio in New York. I was there for the first 2 mixdowns and then left the rest to the boys to mix down as arranged on an SSL desk using high- end outboard compression, effects and processing. They’d then send me each track as it was completed, some of which I’d send back asking them to make some changes with some of the balancing, until the tracks sounded how I wanted them to sound. At this stage I thought the album was finished and sent it round to half a dozen labels and it was their responses that told me that the album wasn’t good enough. Each of the labels like some tracks but weren’t sure about others and they all had different tracks that they liked, but none of them wanted to release the whole album as some of the tracks were simply not their sound except for B-Pitch, but there was still something they weren’t sure about with the overall sound of the album. This told me that the album wasn’t good enough. It was good, but good doesn’t work these days, it has to be amazing, so I took a step back, looked at the whole album objectively and realized that it actually wasn’t finished – there were things missing, a percussive element and also some trippy melodies and sound effects – as for a vocal concept album, it was just too minimal. I then went about adding more percussive parts and more synths onto the tracks and after that was done I mastered the whole thing with the Dance Spirit guys, the finished product is what you hear now and I’m delighted with it.”
What can you tell us about the tracks – a fifty fifty vocal / instrumental balance…talk us through the tunes….
“‘Smell The Coffee’ starts with a track called ‘Open Up’ which will be the first single from the album released on June 24th. Victoria Wilson James (formally Soul II Soul and The Shamen) wrote the song. I gave her all of the instrumental tracks and asked her to pick one that she liked. I also told WVJ what the whole album was about and she went ahead and wrote this amazing song. Victoria is one of my best friends and also one of the most spiritual people I know, so she really gets it. The song is about people shifting their consciousness and embracing a new way of being.
The second track is called ‘The Future’ and is a bit of an attack on the ravers who are trapped in this rave bubble, where everything is all hunky dory. Well I have news for you, things aren’t as nice as they seem as we live in a world full of greed, where the politicians are no more than puppets of the elite rich, so I wanted to do a track that pointed that out, that was an attack, but very tongue in cheek and saying that it’s not to late for us to make a difference in this world. Everything happens as it’s meant to, when it’s meant to. As the Universe unfolds, us Humans have a real say in the way that it’s unfolding and if we open our eyes, see what’s going on and voice an opinion, we can make a difference. I’m seeing lots of people getting spiritual now, new pages and websites about the human shift in consciousness, meditation, altered states of consciousness, so we are moving in the right direction. This track was just a little prod. The vocal I wanted to be very theatrical and fun to really make the tongue in cheek side of the song come though, I feel I got it right. Of course there’ll be those that don’t like it, but also those that love it. This will be the 2nd single from the album to be released in August and it’s been going down a storm in my sets.
The 3rd track is called ‘Wake Up’. It’s a very lively number, a party house tune with bouncy bass line, an acid melody and deep pads, instrumental for the most part with just the vocal refrain “Wake Up’ thrown in from time to time.
The 4th track is an instrumental dubby acid house track called ‘War Games’. I wanted to get the feeling of war happening on this track, just to bring the subject of war to light as there’s so many wars going on in this world, of course all orchestrated by the elite rich so they can make loads of money. The dub bass hits represent bombs dropping and the syncopated acid lines represent machine gun fire. The track had to have dark overtones to it as that’s what war is about, the devil’s machine using people’s faith and fear to make us all want to kill each other.
Track 5 is pure filth. I wanted to do one track about sex but it also had to be about love, so the song is about 2 bodies and souls coming together and connecting as one while in the throws of sex. It’s not easy to do a track about sex without it being cheesy but I nailed it with this track, making the vocals deeper in pitch to make it sound more devilish, as after all, no sex please, we’re British. This will be the 3rd single from the album with an October release.
Track 6 is called ‘Step It Up’ and was originally going to be a vocal track about us raising the bar with music, making things as best we can as music and all art is the agent of Human Evolution. I ended up keeping this as an instrumental though as it just felt better. It’s an old school electro style track with it’s rhythm and bass but with acid lines and trippy arpeggiated melodies running through it and is inspired by my teenage years when I was into the first wave of old school electro coming from America.
The 7th track is also off beat electro and did have a full vocal but the verses just didn’t feel right so I stripped it down to just the chorus and made them very electronic like a robot singing. The song is called ‘Interaction’ and I wrote this for the fans of my Mr.C Facebook page who were a real inspiration with the writing of the album. I asked them what they expected of a new album from me as it’d been almost a decade since my change album and replies came flooding in. Each time I went into the studio to work on a track, I asked what they wanted to hear. Of course, I had many varied suggestions and whatever I did make in the studio would be me writing and producing, but this way I felt I could get those they really love and respect my work involved in the album, which was amazing. So that said, Interaction is for al those they gave me inspiration and ideas with the recording of this album.
Track 8 is called ‘Synchronicity’ and the vocal is an update of the very first tune that I ever released back in summer 1987, which was a track called ‘Page 67′ on Eddie Richards’ Baad imprint. It’s a spoken word number where I talk about the synchronicity that comes about when you practice Meditation and think positively, a technique that has been the backbone of all of my success for the last 30 years. I’m lucky enough to have been given information at a very young age, information that I’ve been able to use as a tool to make my life better and it’s my duty and the will of the Universe that I share this information, so that’s what this track is all about.
Track 9 is called ‘The Hunt’, it’s inspired by Giorgio Moroder, especially his track ‘The Chase’. One of my fans suggested that I do an Italo disco number which I thought was a great idea and this track is the result. I panned the bass line hard left and put a delay on it hard right right, which gives it that Moroder style Italo bass line and then built a more modern tech house track around it. This is another of those tracks that’s been killing the dance floors.
The final track is called ‘Smells Good’ and with this track, I wanted to get the feeling of Bliss, that feeling of pure happiness when ones inner purpose has been fulfilled, a sense of completion. It’s slow and soulful, a little like an early 80’s soul / dance track, but with a modern production, beautiful melodies, harmonies and a wonderful feel good factor.”
You said in an interview a little while back…“If you take the top 100 DJs in the world I doubt that any of them are as forward thinking as I am when it comes to picking records.” So I had a look through the current DJ Top 100 and I couldn’t find one in there who could maybe give you a run for your money. Don’t you find that sad?
“Not at all, this is a popularity contest where he who plays the cheesiest music to the largest crowds and does the most amount of marketing and canvassing for votes will reach the top. Also voting in these types of people are done by youngsters, the grown ups don’t really get involved and I do have an older demographic listening to me. I truly don’t care about being in these charts and I actively encourage my fans not to vote for me in these competitions. These things are all about ego. These DJs who play all of this cheese to satisfy their egos and greed and have people patting them on the back all have their place in this dance music scene. I for one am not going to play cheesy trance, mainstream house, obvious banging crap or any other type of lowest common denominator worm fodder and someone has to do it, so it may as well be them. I don’t need to be up there to have my ego stroked, I got over that shit many years ago through hard work in letting go of my attachments. I care not for people to tell me how good I am as it’s my job to help people forget about the shit that they have to deal with in every day life and come into the moment to dance and celebrate the moment that is life, it’s my job to find and promote new cutting edge music and I do that with integrity and for all the right reasons. I earn a very good living from DJing, I have a nice house in L.A, live with 2 beautiful and amazing women, can enjoy fashion and self expression, I travel the world, sampling new cultures and gaining wisdom in the process, so I really don’t need to be paid silly amounts of money to DJ, which is what these charts are all about, not about music, not about love, not about sharing. It’s these greedy DJs that force the prices up for the people paying on the door, making it almost impossible for promoters to make money, who often come out of doing events broke. You also have to blame the promoters for being greedy too and trying to make a quick buck from hiring these crappy DJs. It’s a bit like football, over inflated egos getting paid over inflated wages which drives up the prices. As for the music and my own tastes, I have a very low boredom threshold with just about everything in life and that includes music. When I go record shopping, I look for music that doesn’t sound like anything else, music that sounds fresh and turns me on, gives me goosebumps and gets me excited. When I find these tracks, of course I want to share them so I get very excited about playing them out. This is why none of those Top 100, in my opinion, could give me a run for your money when it comes to throwing it down. But also, saying that, this is just my opinion and opinions are like arseholes, we all have them. What’s one person’s poo is another person’s gravy, horses for courses, live and let live…”
How much of a problem is your forward thinking as a DJ been for you these past three decades? Have there been times you maybe thought people just didn’t get what you were doing?
“It’s nice of you to point that out. There’s been many times, especially in the first decade of my career when I thought that people don’t get it. It’s not like that anymore though as I couldn’t care less, those that like what I play and understand what I’m doing will come to celebrate life with me, those that don’t won’t, that simple. There’s still a very important place for DJs like me to be out there promoting new music. It’s impossible for me to play what’s current as I’m already over it, as mentioned, I get bored easily with music and I’m always looking for something new and because of that I’ll never be the hype DJ and in vogue, never what’s trendy. I’ve seen DJs playing the same sort of sound I was on a year or 2 ago or even more and do very well with it, going on to become big names playing that style. I’ve then seen many of them sell that sound out and become much more obvious and then get really big, but all good, I’ve seen them come and I’ve seen them go and I’m still here, all these years later, doing what I love, playing upfront and innovative dance music that I really and truly love with integrity and I’m having an amazing time of my life with no regrets. I’m extremely happy and isn’t that what’s important? I’ve had friends who are mainstream DJs say to me many a time over years gone by that they love my music and that they wish they could play that sort of stuff, but their crowds expect a certain type of thing and many of those DJs are no longer in the business. Well my fans and friends expect a certain type of thing too – and that’s to hear exciting, cutting edge dance music, so I could never sell out to my loyal followers.”
What is coming out next from you studio wise?
“I’ve got lots coming out – I’ve been busy in the studio. This year I’ve already released my single ‘I’m Gonna Give You Some’ on Superfreq, my remix of ‘Money Dish’ by Mikael Stavötrand and David Scuba on Riff Raff, a track called ‘Special Box’ which is a new collaboration I’m doing with Affie Yusuf under the name Indigo Kidz, also on Superfreq, my ‘Smell The Coffee’ album, my remix of ‘Lights and Buttons’ by Joint Custody on Superfreq and I have remixes of ‘Late’ by Xo Chic, ‘Chant’ by Affie Yusuf and Trevor Loveys and ‘Atferborn’ by Affie Yusuf all due this summer on Superfreq. I also have a new track called H’echizo’ due out any time now on Get Physical, as well as all 3 singles from my album due out over the summer and into the autumn. I will of course be working more in the studio this year between tour dates so I’ll have more music ready for next year when my world tour is over and done with.”
What are the next plans from your Superfreq label?
“To simply keep releasing great music – I have an excellent roster of artists on the label, new up and coming fresh talent and people that have been around the block a few times. We’re releasing 2 EPs each month, which is a hell of a release schedule and I will also be releasing a remix of my album at the end of the year, I’m having all the label artists remix a track each.”
A few questions I have always wanted to ask you…
Was being a milkman the best possible job on earth for you when you first discovered clubbing?
“Actually, I discovered clubbing at the tender age of 14 and by the age of 16 was really hitting town hard every weekend. I did my milk round when I was 20 years old and it was indeed the perfect job for a clubber as I would be out clubbing literally every night of the week. Clubs closed at 3 or 4am back in the day, so I’d get home after partying at 4am, get showered and freshen up, have a hearty breakfast and get to the dairy yard in Bloomsbury in central London by 5:30am, load up the milk float and be out on the road by 6:30am. Half of my round were domestic customers, flats and houses, the other half offices and the central London colleges in Gower Street, so my round would be done and dusted by 11am three weeks of the month as I would collect only the money from the domestic customers weekly, but I’d pick up the offices and colleges money monthly, which would mean my Fridays wouldn’t be too long. I’d then be wrapped up home in bed by 12 noon, sleep a full 9 hours, wake up, have a nice dinner, get ready and then hit the clubs every night. The downside was that the last week of the month would be a very long week, not finishing my round until 4pm each day which was a killer as I had to collect all of the offices’ money that week. Another bonus was there were plenty of unsatisfied housewives and simply randy girls needing a little extra cream off the top of the bottle, so sexual perks were great. I wasn’t a bad looking 20 year old and very confident and flirty so I’d often go back and get my nuts in after the round was over.”
Fact or fiction? You nearly ended The Prodigy’s career before they began with some terrible advice on ‘Charlie Says’?
“Hahaha, fact! Back in 1989 I was resident at a weekly party called Mangled at the Braintree Barn. The Prodigy are from Braintree and as young kids used to come along every week, it was me that turned them on to house, techno and breaks, so when they made their first tune they wanted me to hear it. They gave me a cassette tape and on it was a tune called ‘Charlie Says’. I gave it a good listen and said to them, it’s not really my thing as it’s a heavy break beat track with big ravey pianos in it, good tune but not for me as I’m was hooked on Detroit Techno, Chicago Acid, House and New York Garage. I did like breaks but only the deeper stuff, the big rave break tracks were just not my bag. I told them to program some real drums and lose the cheesy pianos – terrible advice as it turned out! Thank God the lads didn’t listen to me and followed their vision and put it out, as in all fairness, it was a great tune and really launched their career. It was then great to see them go on and do really well with it, they’re great lads and had real vision and passion about their sound and yes, my advice was terrible, but I was young and stupid and stuck in my own narrow minded little world.”
What was the most surreal experience you had doing television shows with The Shamen?
“They were all pretty surreal, especially Top Of The Pops. Going on for the first time to do ‘Move Any Mountain’, it was everything that I had in me to stop myself laughing, seeing all these young teenage kids in the crowd, not really knowing how to dance or what to do, so that was probably the most surreal moment for me. After that I got used to it so even though there were funnier moments, that first time on TOTP was definitely the most surreal.”
What is the biggest thing you miss and don’t miss about your beloved The End nightclub?
“I don’t miss anything about The End at all. That’s because I’m all about the moment and enjoying what’s actually happening now rather than being nostalgic about things gone by, although I am very proud of what we achieved. Of course I have only the very fondest of memories, the amazing nights, working on that amazing system, it really was the best club in the world. If I were to say I missed anything at all, it was working with Layo and Zoe Paskin and all the staff that really made the club happen. It was like one big family with everyone pulling in the same direction, it was all their hard work that really made The End what it was.”
And finally, what keeps you so enthused for your craft. Many of your colleagues have dropped by the wayside yet you keep coming back with new ideas, new projects, new ways of pushing music forward. How much of it is to do with the fact that you are still a big kid in a grown up’s body?
“A lot of it is about me still being a big kid. I’ve always been very naughty my whole life and I’m still just a mischievous as I’ve always been, I like to have as much fun as possible and I’m very easily excited, especially when it comes to having mischievous fun. Also, as I’ve mentioned earlier, I do have a very low boredom threshold so new music and also fashion really turn me on too and pushing that, as a DJ, events organizer and a record label get me very excited. It’s fair to say I’m every bit as excited about dance music and it’s community as I’ve ever been.”
Various Artists – Sounds Like Alola – Volume 3 – Mixed By Mr.C
(Alola) ALOD003 is out now:
http://www.beatport.com/label/alola-records/14015
LISTEN TO THE LP MIX HERE:
https://soundcloud.com/sexonwax/mr-c_sounds-like-alola-vol3-mr
LISTEN TO THE 4-TRACK EP SAMPLER HERE:
https://soundcloud.com/sexonwax/sets/mr-c-alola-ep-sampler-volume-3
FURTHER INFO:
https://www.facebook.com/omid16b?ref=hlhttp://www.alola.co.uk
https://www.facebook.com/pages/Alola-Records/143996228668
http://soundcloud.com/sexonwax
