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Paul Woolford - Space - Ibiza ES - Jun 2008
Submitted By: 
DancerintheDark
DancerintheDarkGenre: House
Date of Set: Jun 15th, 2008
Filesize: 122.90 MB
Total Downloads: 12
Biography of Paul Woolford
With an approach and attitude that is slightly different to most, Paul Woolford has established himself as one of the most original dj/producer/remixers that house music has exposed in recent times.
An avid buyer of vinyl since the age of 8 ('Let's put it his way, I'm not telling you what my first record was&ldots;!') and carrying an obsession with music that borders on an illness, he's what you might call a vinyl junkie. The backdrop to all this has been the radio, which has been permanently switched on in the Woolford household.
At the age of 12 he acquired his first turntables and, having already discovered home keyboards and the percussion section of his father's organ, he set about re-creating the rhythms that had been on constant rotation from those early house compilation albums that were all somebody on pocket money could afford at the time.
After a brief flirtation putting together pause-button megamixes consisting of huge amounts of other records, Paul's focus shifted as he soon realised that not only did he want to be a dj, he also wanted to produce these records that were being played on the radio. In this time he still managed to win a megamix competion on local radio in Leeds at the age of 13, which was to then act as a red-rag to a bull; his prise was a stack of 12 inch records, among them Adonis 'The Poke' - a seminal acid house track.
Paul's first visit to Dave Beers infamous Back To Basics sealed his fate in many ways, being as it was the place where he heard so many of the records in his own collection in the full club context, which felt to Paul like jigsaw pieces falling into place. 'I remember clearly the first time I walked in, I think I was only 17; the only way to describe it was bedlam. And the overriding thought was 'I've got to play in here one day!''. From that day on, Paul began to fiercely develop his dj skills. Today he holds a residency at Basics inbetween his guest spots globally, and a DJ style and ability beyond the reach of most that takes an underground sound and twists it into public conscience.
Woolford released his first record at the age of 21, a collaboration with his friend and studio guru Tony Senghore. They went on to form a partnership and released a succession of 12 inches and an album that were picked up on by the more switched-on house djs such as DJ Sneak and Mark Farina. Their fusions of house, electronica and hip hop sensibilities were widely acclaimed across the dance music media (Single Of The Month in Muzik, Album of the Week in Seven magazine), and paved the way for an open-minded approach with which Paul carries through as the common thread throughout his music.
After these initial releases Paul began his Bobby Peru project for 20/20 Vision, and in February 2000 on the release of his debut LP 'Death Of A Player', was once again on the receiving end of widespread positive acclaim from the press (Album Of the Month in DJ magazine amongst other excellent reviews). This was the project that really put Paul on the map both with the press and with many djs and dance music fans, and ensured that Bobby Peru as an artist was developed further, and is now an on-going part of Paul's studio life.
His studio skills sharpened and he put these to further use on collaborations with Yousef for the esteemed Junior label (10,000BC 'Whatever'), again a pivotal move and one that opened many doors, and he also collaborated with Steve Mac on a release for Junior Sanchez' Cube label in the States. Both these collaborations have continued and thrived even though the tracks have varied widely in their scope, and this is an important part of Paul's outlook. Darren Emerson also invited Paul to collaborate on an unreleased Brother Brown remix around this time that was a huge inspiration.
From there things snowballed, and whilst many labels have offered a home for Paul's music, he's been selective and given his quality singles to 2020 Vision, Underwater, Subliminal, Soma's Freelance Science imprint, and most recently Mark Brown's C2 label. These releases and his remixes have made fans of his production from a wide range of djs from across the board including Laurent Garnier,Erick Morillo, Andrew Weatherall, Pete Tong, Derrick Carter, Seb Fontaine, Dj Heather, Sister Bliss, Yousef, Slam&ldots; the list continues and this is testament to the quality control and a signpost of Paul's long-term wider aims.
Simultaneously the list of labels Paul has remixed for grows all the time and so far includes NRK, Azuli, Robsoul, Airtight, Brique Rouge, Hooj, TronicSole, Virgin, Palm Pictures, DMC, City Rockers, Warners, Credence, Nulife, Bush, Rulin, 20/20 Vision, Variation, Automatic and many more. Paul's view of remixing differs slightly to that of many in dance music, and he eschews the 'give 'em one of your own tracks with the vocal stapled on' school of thought in favour of creating a whole new environment for each project which Paul then uses as an experiment for new ideas, the most successful ones of which then become the inspiration for album material and other tracks.
Throughout all of this studio time, Paul has also built up his global dj bookings and clocked up the airmiles taking his unique style of djing across the world from Chicago to Singapore and all points inbetween. He is universally regarded within dance music as someone who djs as well as they produce and sees himself very much 50% DJ and 50% producer. The clubs and events he's played at and rocked speak for themselves: Pacha in Buenos Aires, Argentina, Smartbar in Chicago, Berlin Love Parade, Pacha in Ibiza, Space Ibiza, Peter Pan in Rimini Italy, Piekarnia in Poland, Centro 360 in Singapore, Creamfields festival and Ibiza at Amnesia, Homelands consecutively for the last 4 years. These are just a few from an ever-growing list.
Paul's Djing style takes in the more energetic abstract approach of layering tracks in key to make a third sound, and blends it with the more straight forward club-rocking approach to make a very well-rounded and eclectic program that takes in underground house, techno, electro, breaks and whatever suites the moment, all through the focus and context of a house set. Over the years he has developed his technical abilites at the same time as his programming and so everything builds towards a more emotional climax, and it's with longer sets that Paul's technique shines.
Yousef was the first DJ on Radio 1 to invite Paul to do a 30 minute hotmix, and this happened in 2001 when he sat in for Seb Fontaine. This was a key mix and pricked up the ears of many who had previously bought Paul's records and not known about his deckskills, this mix also included a track by Ivan Smagghe's Blackstrobe who have in 2004 broken through and made a solid impact on dance music. Seb Fontaine followed in March 2002 and again, Paul constructed a live mix that was wildly different and very peak-time that furthered his reputation. And in December 2002 Pete Tong awarded Paul the accolade of being one of his 'Heroes Of 2002' and invited him onto the Essential Selection to spin a 30 minute hotmix which furthered support and really kicked off Paul's bookings.
Since then Paul has enjoyed the support of all 3 and also Lottie, as all have regularly played Paul's productions and mixes on Radio 1.
The inevitable Essential Mix debut was made in April 2004 to absolutely fantastic feedback and saw Woolford tear through around 33 tracks in 2 hours.
Paul is currently working on the second Bobby Peru album for 2020 Vision as well as Djing and remixing with the usual energy. His plans for his music are to take it beyond the concept of 'cross-over' - his ultimate aim is to make records that appeal to everyone.
An avid buyer of vinyl since the age of 8 ('Let's put it his way, I'm not telling you what my first record was&ldots;!') and carrying an obsession with music that borders on an illness, he's what you might call a vinyl junkie. The backdrop to all this has been the radio, which has been permanently switched on in the Woolford household.
At the age of 12 he acquired his first turntables and, having already discovered home keyboards and the percussion section of his father's organ, he set about re-creating the rhythms that had been on constant rotation from those early house compilation albums that were all somebody on pocket money could afford at the time.
After a brief flirtation putting together pause-button megamixes consisting of huge amounts of other records, Paul's focus shifted as he soon realised that not only did he want to be a dj, he also wanted to produce these records that were being played on the radio. In this time he still managed to win a megamix competion on local radio in Leeds at the age of 13, which was to then act as a red-rag to a bull; his prise was a stack of 12 inch records, among them Adonis 'The Poke' - a seminal acid house track.
Paul's first visit to Dave Beers infamous Back To Basics sealed his fate in many ways, being as it was the place where he heard so many of the records in his own collection in the full club context, which felt to Paul like jigsaw pieces falling into place. 'I remember clearly the first time I walked in, I think I was only 17; the only way to describe it was bedlam. And the overriding thought was 'I've got to play in here one day!''. From that day on, Paul began to fiercely develop his dj skills. Today he holds a residency at Basics inbetween his guest spots globally, and a DJ style and ability beyond the reach of most that takes an underground sound and twists it into public conscience.
Woolford released his first record at the age of 21, a collaboration with his friend and studio guru Tony Senghore. They went on to form a partnership and released a succession of 12 inches and an album that were picked up on by the more switched-on house djs such as DJ Sneak and Mark Farina. Their fusions of house, electronica and hip hop sensibilities were widely acclaimed across the dance music media (Single Of The Month in Muzik, Album of the Week in Seven magazine), and paved the way for an open-minded approach with which Paul carries through as the common thread throughout his music.
After these initial releases Paul began his Bobby Peru project for 20/20 Vision, and in February 2000 on the release of his debut LP 'Death Of A Player', was once again on the receiving end of widespread positive acclaim from the press (Album Of the Month in DJ magazine amongst other excellent reviews). This was the project that really put Paul on the map both with the press and with many djs and dance music fans, and ensured that Bobby Peru as an artist was developed further, and is now an on-going part of Paul's studio life.
His studio skills sharpened and he put these to further use on collaborations with Yousef for the esteemed Junior label (10,000BC 'Whatever'), again a pivotal move and one that opened many doors, and he also collaborated with Steve Mac on a release for Junior Sanchez' Cube label in the States. Both these collaborations have continued and thrived even though the tracks have varied widely in their scope, and this is an important part of Paul's outlook. Darren Emerson also invited Paul to collaborate on an unreleased Brother Brown remix around this time that was a huge inspiration.
From there things snowballed, and whilst many labels have offered a home for Paul's music, he's been selective and given his quality singles to 2020 Vision, Underwater, Subliminal, Soma's Freelance Science imprint, and most recently Mark Brown's C2 label. These releases and his remixes have made fans of his production from a wide range of djs from across the board including Laurent Garnier,Erick Morillo, Andrew Weatherall, Pete Tong, Derrick Carter, Seb Fontaine, Dj Heather, Sister Bliss, Yousef, Slam&ldots; the list continues and this is testament to the quality control and a signpost of Paul's long-term wider aims.
Simultaneously the list of labels Paul has remixed for grows all the time and so far includes NRK, Azuli, Robsoul, Airtight, Brique Rouge, Hooj, TronicSole, Virgin, Palm Pictures, DMC, City Rockers, Warners, Credence, Nulife, Bush, Rulin, 20/20 Vision, Variation, Automatic and many more. Paul's view of remixing differs slightly to that of many in dance music, and he eschews the 'give 'em one of your own tracks with the vocal stapled on' school of thought in favour of creating a whole new environment for each project which Paul then uses as an experiment for new ideas, the most successful ones of which then become the inspiration for album material and other tracks.
Throughout all of this studio time, Paul has also built up his global dj bookings and clocked up the airmiles taking his unique style of djing across the world from Chicago to Singapore and all points inbetween. He is universally regarded within dance music as someone who djs as well as they produce and sees himself very much 50% DJ and 50% producer. The clubs and events he's played at and rocked speak for themselves: Pacha in Buenos Aires, Argentina, Smartbar in Chicago, Berlin Love Parade, Pacha in Ibiza, Space Ibiza, Peter Pan in Rimini Italy, Piekarnia in Poland, Centro 360 in Singapore, Creamfields festival and Ibiza at Amnesia, Homelands consecutively for the last 4 years. These are just a few from an ever-growing list.
Paul's Djing style takes in the more energetic abstract approach of layering tracks in key to make a third sound, and blends it with the more straight forward club-rocking approach to make a very well-rounded and eclectic program that takes in underground house, techno, electro, breaks and whatever suites the moment, all through the focus and context of a house set. Over the years he has developed his technical abilites at the same time as his programming and so everything builds towards a more emotional climax, and it's with longer sets that Paul's technique shines.
Yousef was the first DJ on Radio 1 to invite Paul to do a 30 minute hotmix, and this happened in 2001 when he sat in for Seb Fontaine. This was a key mix and pricked up the ears of many who had previously bought Paul's records and not known about his deckskills, this mix also included a track by Ivan Smagghe's Blackstrobe who have in 2004 broken through and made a solid impact on dance music. Seb Fontaine followed in March 2002 and again, Paul constructed a live mix that was wildly different and very peak-time that furthered his reputation. And in December 2002 Pete Tong awarded Paul the accolade of being one of his 'Heroes Of 2002' and invited him onto the Essential Selection to spin a 30 minute hotmix which furthered support and really kicked off Paul's bookings.
Since then Paul has enjoyed the support of all 3 and also Lottie, as all have regularly played Paul's productions and mixes on Radio 1.
The inevitable Essential Mix debut was made in April 2004 to absolutely fantastic feedback and saw Woolford tear through around 33 tracks in 2 hours.
Paul is currently working on the second Bobby Peru album for 2020 Vision as well as Djing and remixing with the usual energy. His plans for his music are to take it beyond the concept of 'cross-over' - his ultimate aim is to make records that appeal to everyone.
Ben Watt - Space - Ibiza ES - Jun 2008
Submitted By: DancerintheDark
DancerintheDarkGenre: House
Date of Set: Jun 15th, 2008
Filesize: 122.90 MB
Total Downloads: 12
Biography of Ben Watt
Half of multi-million selling duo Everything But The Girl and with a career spanning more than twenty years, Ben Watt's route to international DJ-producer status came after EBTG's superb interpretations of electronica in the mid-nineties (Missing, Walking Wounded, Protection with Massive Attack, Temperamental).
Encouraged by DJ-producer Howie B to start spinning he cut his teeth in London in 1995 mixing freestyle sets of jazz, drum n bass and deep house. Guest sets followed at top London nights such as James Lavelle's Dusted, Movement, Fabio's Swerve and Howie B's own westside Sunday parties. US DJ dates followed in 1996-7 for Giant Step in NYC as well as numerous after-hours parties during EBTG's world tour for their acclaimed 'Walking Wounded' album.
In 1998 he established the seminal London deep house Sunday club and compilation series, Lazy Dog, with Jay Hannan. Moving away from EBTG's mainstream eclecticism and effortlessly into club-oriented dance music production, he also turned out an accompanying string of acclaimed dancefloor remixes including 5-star re-rubs for Sade, Sunshine Anderson, Zero 7, Maxwell, Meshell Ndegeocello and Sandy Rivera. Lazy Dog folded at the top after five untouchable years of sell-out shows around the world and compilation sales of 100,000.
Unfailing in his energy and enthusiasm for music, in April 2003 Ben launched his new independent record label and club night, Buzzin' Fly - a new benchmark on the club scene with a cluster of revered underground hits including his own ‘Lone Cat’, 'A Stronger Man' (feat Sananda Maitreya aka Terence Trent D'Arby) and ‘Pop A Cap In Yo’ Ass’ (feat Estelle) and two best-selling Buzzin’ Fly mix CDs. Committed to new talent the label has already unearthed Justin Martin (Breakthrough DJ nominee at House Music Awards 2004 and 2005) and Lyon's groundbreaking Manoo and Francois A. The label won Best Breakthrough Label at the House Music Awards 2004.
From 2002-2005 as part-owner/founder of celebrated new west London nightclubs Neighbourhood and Cherry Jam, he orchestrated the music policy and image of both venues, helping establish their reputation at the forefront of the capital’s club scene. Under his creative direction Cherry Jam's intimate surroundings hosted packed underground club nights as well as rock band The Libertines' debut show, Beth Orton, Rough Nite, art exhibitions from Phil Knott and Sara Shamsavari, and the long-running spoken word night, Book Slam. At Neighbourhood, Watt brought in Groove Armada, the Rough Trade 25th Anniversary, the inaugural prestigious House Music Awards and a string of international DJs to guest at his own in-house nights. After three successful years he resigned in June 2005 from his roles as resident DJ and creative consultant at both venues to concentrate on other projects.
Now a central figure on London's club scene he DJs regularly in the capital as well as all over Europe, Australia and North America with regular sell-out shows in NYC, San Francisco and LA. 2005 saw him extensively on the festival circuit (Good Vibrations, Homelands, Coachella, Lovebox Weekender, Electric Picnic) and he currently fronts Buzzin’ Fly’s two new London residencies – monthly underground Sundays at Plastic People, and quarterly events at The End.
In Sep 2005, Buzzin’ Fly received five nominations in the House Music Awards 2005 – Label Of The Year, Most Innovative Producer (Ben Watt), Best Breakthrough Producer (Justin Martin), Best Breakthrough DJ (Justin Martin), Outstanding A&R (Ben Watt).
Encouraged by DJ-producer Howie B to start spinning he cut his teeth in London in 1995 mixing freestyle sets of jazz, drum n bass and deep house. Guest sets followed at top London nights such as James Lavelle's Dusted, Movement, Fabio's Swerve and Howie B's own westside Sunday parties. US DJ dates followed in 1996-7 for Giant Step in NYC as well as numerous after-hours parties during EBTG's world tour for their acclaimed 'Walking Wounded' album.
In 1998 he established the seminal London deep house Sunday club and compilation series, Lazy Dog, with Jay Hannan. Moving away from EBTG's mainstream eclecticism and effortlessly into club-oriented dance music production, he also turned out an accompanying string of acclaimed dancefloor remixes including 5-star re-rubs for Sade, Sunshine Anderson, Zero 7, Maxwell, Meshell Ndegeocello and Sandy Rivera. Lazy Dog folded at the top after five untouchable years of sell-out shows around the world and compilation sales of 100,000.
Unfailing in his energy and enthusiasm for music, in April 2003 Ben launched his new independent record label and club night, Buzzin' Fly - a new benchmark on the club scene with a cluster of revered underground hits including his own ‘Lone Cat’, 'A Stronger Man' (feat Sananda Maitreya aka Terence Trent D'Arby) and ‘Pop A Cap In Yo’ Ass’ (feat Estelle) and two best-selling Buzzin’ Fly mix CDs. Committed to new talent the label has already unearthed Justin Martin (Breakthrough DJ nominee at House Music Awards 2004 and 2005) and Lyon's groundbreaking Manoo and Francois A. The label won Best Breakthrough Label at the House Music Awards 2004.
From 2002-2005 as part-owner/founder of celebrated new west London nightclubs Neighbourhood and Cherry Jam, he orchestrated the music policy and image of both venues, helping establish their reputation at the forefront of the capital’s club scene. Under his creative direction Cherry Jam's intimate surroundings hosted packed underground club nights as well as rock band The Libertines' debut show, Beth Orton, Rough Nite, art exhibitions from Phil Knott and Sara Shamsavari, and the long-running spoken word night, Book Slam. At Neighbourhood, Watt brought in Groove Armada, the Rough Trade 25th Anniversary, the inaugural prestigious House Music Awards and a string of international DJs to guest at his own in-house nights. After three successful years he resigned in June 2005 from his roles as resident DJ and creative consultant at both venues to concentrate on other projects.
Now a central figure on London's club scene he DJs regularly in the capital as well as all over Europe, Australia and North America with regular sell-out shows in NYC, San Francisco and LA. 2005 saw him extensively on the festival circuit (Good Vibrations, Homelands, Coachella, Lovebox Weekender, Electric Picnic) and he currently fronts Buzzin’ Fly’s two new London residencies – monthly underground Sundays at Plastic People, and quarterly events at The End.
In Sep 2005, Buzzin’ Fly received five nominations in the House Music Awards 2005 – Label Of The Year, Most Innovative Producer (Ben Watt), Best Breakthrough Producer (Justin Martin), Best Breakthrough DJ (Justin Martin), Outstanding A&R (Ben Watt).
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