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12 other sets by Eddie Richards
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Eddie Richards - Absurd - Los Angeles US - Jun 2007 - Part 1
Submitted By: 
geekedonsugar
geekedonsugarGenre: Techno
Date of Set: Jun 9th, 2007
Filesize: 95.96 MB
Total Downloads: 2
Biography of Eddie Richards
“The only person playing music around me at home was my sister, and she was into Motown.”
Musical Roots
“I don’t name-check influences. I’ve always liked and played new music, and that’s what I was doing in ’88 and what I do now still. Nothing’s really changed with me, I get bored really easily with stuff and I’m always looking for something else, something new. I went to Detroit and spent time with those guys. It was the first time Jeff Mills, Mike Banks, Richie Hawtin and Dan Bell had all been together I remember; I think they may have hated one another. We used to call Richie the ‘Techno Beatle’, you should see his hair in the photo, like John Lennon’s. I brought him to England for the first time to play. I ran a DJ agency for a long time [Dy-na-Mix] and was responsible for getting most of those guys here for the first time: Jeff Mills, Rich, Lil’ Louis, Todd Terry. We were pushing the American scene over here from 1990. It was just new music like ourselves, we were just trying to help. I was the first to give people a chance. Terry [Francis] was on our books all those years ago and I couldn’t get him a gig because no-one knew who he was. People got greedy though. DJs got greedy. The scene got really big and they started asking for more money, and the people that put those DJs there – the small clubs – they weren’t interested in playing for those guys any more. They could play bigger places, for more money, and I was disappointed with the whole thing. There was too much ego, too much greed. I didn’t want to start an agency: in fact, I asked other people to do it. But no-one would so I did it. It needed to be done. I ended up doing accounts for most of the fucking time, and working for everyone else except me, for no thanks, and no fucking money. I thought: time to knock it on the head and work for me.”
First Projects
“This is amazing: I started my first mobile disco with this guy when I was at school, and we called it Ministry of Sound, and I didn’t register the name. I actually thought of that name before they did, this was 25 years ago, way before they thought of it. I’ve still got pictures. We made a console, a coffin thing, and covered it in orange fabric with lime green letters on the front saying ‘MINISTRY OF SOUND’ in capitals. I used to place adverts in papers; I could prove it was my name. Who knows if it was half-inched [overseas contacts – half-inched = ‘pinched’] but we were definitely first. For the first thing we did we had one eighteen inch loudspeaker, with no treble or anything. It was borrowed from a bass guitarist and we did a social club. That was the first time I’d ever gone out to a disco as well, and I was the DJ. I played whatever I could get, which was my sister’s ‘Motown Chartbusters’ LP and a few other bits. That’s how it all started. When I was 16 I was a bit cheeky. I went up to the owner of a nightclub and said ‘The DJ here is shit, I can do better.’ He said ‘Yeah? Well come down one afternoon’. He was thinking I was a complete waster, but he really liked it when I played. So I started DJing at a nightclub in Leighton Buzzard when I was 16. Then I went to college somewhere - South Bank - and instead of going to classes used to do all the pubs with topless dancers, DJing there. All the time I was collecting records. Every single week I went around every single record company to collect new music. It was a full-time job; if I wasn’t DJing I was hunting for records. It was like an obsession.” Someone came up to me in a pub in Milton Keynes – we used to do this night playing a mixture of Grandmaster Flash, punk, electro, a bit of everything that no-one else was playing - and asked if I wanted to try out for a new club that was opening in London. That was the Camden Palace, and it was run by Steve Strange and Rusty Egan of Visage. It became a really famous venue. I was there until the rave scene started and after that I’ve been touring, playing pretty much every weekend, for twenty years. That was the place that started it off: there were no other clubs like that, ones that had turntables you could mix on (believe it or not). In 1983 there was hardly anyone that had decent turntables or a decent system. You used to go into places and they had tiny little speakers. No-one ever mentions Camden Palace, its not in any books or anything, it’s a crime.”
Labels and Production
“I have four labels. Lunar Tunes is kept free for people I meet on my travels. If I hear something I like it’ll go out on there; Storm is more of a house thing; Dynamix is more techy; and Other Sound is really a shared label with a German guy, just stuff we both like. I’ve done mixes for The Shamen, Orbital, Louie Vega... I was doing stuff years ago uncredited; it’s only in the last few years I’ve added my name to edits and mixes; I’ve been busy in the studio helping people for years. I’ve had a couple of Top 20 hits too. Jolly Roger was one. It was an acid track, two minutes long, that you could never mix in time. So I lengthened it, changed it around and put some effects on it. I gave it to Colin [Favor] to play on Kiss FM - with no intention of releasing it - and Virgin heard it and licensed it. It could have gone higher in the chart but the BBC banned acid music. I was due to go on Top of The Pops and everything, it was mad. The Shamen was a number one, I did the mix of ‘Ebenezer Goode’. My name is on it somewhere and I have a silver disc on the wall at home. The track that is credited for getting there is an alternative mix, but the one radio played was mine.”
DJing
“When I left Camden Palace it was because warehouse parties had started. The first one, Sunrise, was organised by a guy in Milton Keynes where I live. He asked me to choose the DJs for it; I was ‘Music Coordinator’, he was very efficient. I said we should get this guy I’d heard down in Brighton called Carl Cox, Colin Favor, and a few others. I was choosing the DJs for all those raves around the M25 – they were nicknamed ‘Orbital’ raves which is where the Hartnoll’s got the name from – and we started to get further afield. I remember doing one in Birmingham and thinking ‘wow, word is getting out.’ Then it got further, and it started to get into different countries, and now I’m playing in Uruguay and goodness knows where else, mad little places you’d never imagine have a house scene. People still ask about my ‘DJ Name’ ‘Evil Eddie Richards’. I don’t mind it, it just sounds dated. The Camden Palace gave me that. They had a Halloween night where they insisted everyone dressed up, but me and Colin Favor decided we’d not bother. They got really pissed off and made us wear badges, and they needed something that sounded good with my name. So ‘Evil Eddie’ it was. And then I thought it sounded OK and started telling people it was my DJ name. I thought it sounded cool: in those days everyone had a dj name but now they don’t.”
Fabric
“I’ve been doing fabric from the start, at Wiggle nights. I think it’s the best club in the world. It has the right attitude, and im saying this because I believe it. Fabric doesn’t rely on big name DJs and it pushes people. The big names are involved, but others get a chance.”
The Future
“Ive got a lot of tracks, very different things, and id like to get them out. Id like to see if I can make a ‘real’ album, blues and reggae. Ive forty tracks to put together, itd be nice if someone would buy them and put them out. With DJing and production its like I’ve always done it, so it’s a case of ‘same old same old’ really.”
Musical Roots
“I don’t name-check influences. I’ve always liked and played new music, and that’s what I was doing in ’88 and what I do now still. Nothing’s really changed with me, I get bored really easily with stuff and I’m always looking for something else, something new. I went to Detroit and spent time with those guys. It was the first time Jeff Mills, Mike Banks, Richie Hawtin and Dan Bell had all been together I remember; I think they may have hated one another. We used to call Richie the ‘Techno Beatle’, you should see his hair in the photo, like John Lennon’s. I brought him to England for the first time to play. I ran a DJ agency for a long time [Dy-na-Mix] and was responsible for getting most of those guys here for the first time: Jeff Mills, Rich, Lil’ Louis, Todd Terry. We were pushing the American scene over here from 1990. It was just new music like ourselves, we were just trying to help. I was the first to give people a chance. Terry [Francis] was on our books all those years ago and I couldn’t get him a gig because no-one knew who he was. People got greedy though. DJs got greedy. The scene got really big and they started asking for more money, and the people that put those DJs there – the small clubs – they weren’t interested in playing for those guys any more. They could play bigger places, for more money, and I was disappointed with the whole thing. There was too much ego, too much greed. I didn’t want to start an agency: in fact, I asked other people to do it. But no-one would so I did it. It needed to be done. I ended up doing accounts for most of the fucking time, and working for everyone else except me, for no thanks, and no fucking money. I thought: time to knock it on the head and work for me.”
First Projects
“This is amazing: I started my first mobile disco with this guy when I was at school, and we called it Ministry of Sound, and I didn’t register the name. I actually thought of that name before they did, this was 25 years ago, way before they thought of it. I’ve still got pictures. We made a console, a coffin thing, and covered it in orange fabric with lime green letters on the front saying ‘MINISTRY OF SOUND’ in capitals. I used to place adverts in papers; I could prove it was my name. Who knows if it was half-inched [overseas contacts – half-inched = ‘pinched’] but we were definitely first. For the first thing we did we had one eighteen inch loudspeaker, with no treble or anything. It was borrowed from a bass guitarist and we did a social club. That was the first time I’d ever gone out to a disco as well, and I was the DJ. I played whatever I could get, which was my sister’s ‘Motown Chartbusters’ LP and a few other bits. That’s how it all started. When I was 16 I was a bit cheeky. I went up to the owner of a nightclub and said ‘The DJ here is shit, I can do better.’ He said ‘Yeah? Well come down one afternoon’. He was thinking I was a complete waster, but he really liked it when I played. So I started DJing at a nightclub in Leighton Buzzard when I was 16. Then I went to college somewhere - South Bank - and instead of going to classes used to do all the pubs with topless dancers, DJing there. All the time I was collecting records. Every single week I went around every single record company to collect new music. It was a full-time job; if I wasn’t DJing I was hunting for records. It was like an obsession.” Someone came up to me in a pub in Milton Keynes – we used to do this night playing a mixture of Grandmaster Flash, punk, electro, a bit of everything that no-one else was playing - and asked if I wanted to try out for a new club that was opening in London. That was the Camden Palace, and it was run by Steve Strange and Rusty Egan of Visage. It became a really famous venue. I was there until the rave scene started and after that I’ve been touring, playing pretty much every weekend, for twenty years. That was the place that started it off: there were no other clubs like that, ones that had turntables you could mix on (believe it or not). In 1983 there was hardly anyone that had decent turntables or a decent system. You used to go into places and they had tiny little speakers. No-one ever mentions Camden Palace, its not in any books or anything, it’s a crime.”
Labels and Production
“I have four labels. Lunar Tunes is kept free for people I meet on my travels. If I hear something I like it’ll go out on there; Storm is more of a house thing; Dynamix is more techy; and Other Sound is really a shared label with a German guy, just stuff we both like. I’ve done mixes for The Shamen, Orbital, Louie Vega... I was doing stuff years ago uncredited; it’s only in the last few years I’ve added my name to edits and mixes; I’ve been busy in the studio helping people for years. I’ve had a couple of Top 20 hits too. Jolly Roger was one. It was an acid track, two minutes long, that you could never mix in time. So I lengthened it, changed it around and put some effects on it. I gave it to Colin [Favor] to play on Kiss FM - with no intention of releasing it - and Virgin heard it and licensed it. It could have gone higher in the chart but the BBC banned acid music. I was due to go on Top of The Pops and everything, it was mad. The Shamen was a number one, I did the mix of ‘Ebenezer Goode’. My name is on it somewhere and I have a silver disc on the wall at home. The track that is credited for getting there is an alternative mix, but the one radio played was mine.”
DJing
“When I left Camden Palace it was because warehouse parties had started. The first one, Sunrise, was organised by a guy in Milton Keynes where I live. He asked me to choose the DJs for it; I was ‘Music Coordinator’, he was very efficient. I said we should get this guy I’d heard down in Brighton called Carl Cox, Colin Favor, and a few others. I was choosing the DJs for all those raves around the M25 – they were nicknamed ‘Orbital’ raves which is where the Hartnoll’s got the name from – and we started to get further afield. I remember doing one in Birmingham and thinking ‘wow, word is getting out.’ Then it got further, and it started to get into different countries, and now I’m playing in Uruguay and goodness knows where else, mad little places you’d never imagine have a house scene. People still ask about my ‘DJ Name’ ‘Evil Eddie Richards’. I don’t mind it, it just sounds dated. The Camden Palace gave me that. They had a Halloween night where they insisted everyone dressed up, but me and Colin Favor decided we’d not bother. They got really pissed off and made us wear badges, and they needed something that sounded good with my name. So ‘Evil Eddie’ it was. And then I thought it sounded OK and started telling people it was my DJ name. I thought it sounded cool: in those days everyone had a dj name but now they don’t.”
Fabric
“I’ve been doing fabric from the start, at Wiggle nights. I think it’s the best club in the world. It has the right attitude, and im saying this because I believe it. Fabric doesn’t rely on big name DJs and it pushes people. The big names are involved, but others get a chance.”
The Future
“Ive got a lot of tracks, very different things, and id like to get them out. Id like to see if I can make a ‘real’ album, blues and reggae. Ive forty tracks to put together, itd be nice if someone would buy them and put them out. With DJing and production its like I’ve always done it, so it’s a case of ‘same old same old’ really.”
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