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Paul Oakenfold interview 2005
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| bilaal |
Hi there addicts,
i've found a "january 2005" interview on the master Paul Oakenfold.
Paul Oakenfold interview
January 05, 2005
It is likely that there is no one in electronic dance music who stirs as much debate and opinion as Paul Oakenfold. There are loyalists who praise his every move, purists who accuse him of "selling out," and critics who claim he's been spending too much time in the office, and not enough time behind the turntables and mixing boards. Whatever stance a given person takes, there is one irrefutable truth: he is DJ culture's most widely recognized personality... and in a largely marginalized genre, that means everything.
On Dec. 7, 2004, the Recording Academy announced the year's Grammy nominees for the hard-fought and brand new category Best Electronic/Dance Recording. Paul Oakenfold's latest album, Creamfields, was one of them.
The industry stirred and the fan sites cheered. Both sides wondered how a mix-CD -- an edited compilation of other people's music -- could be eligible for the coveted Grammy. Few, if any, have worked harder than Oakenfold to push dance music throughout the world, but some were considering the implications. What does this come from? What does it mean? And where is it going?
Oakenfold gives some answers to what are now frequently asked questions...
So, you got the Grammy nomination for Creamfields. Right off the bat, How do feel about that?
I feel really proud of that and to be involved in the first time for the new Best Dance/Electronic Category. So, yeah I’m really happy.
Going back in time to when you put your first record on a turntable, if you could have looked forward into the career you’ve had and are having now, what would you say have been the biggest surprises?
The biggest surprises would be being offered to be the opening act on a U2 world tour, being in the Hard Rock Rock ‘n’ Roll Hall of Fame in Vegas, DJing on the Great Wall of China, playing at the Hollywood Bowl… Those kinds of things.
Playing on the Great Wall of China. What did that mean to you, being that China is what it is today?
Well, it took a year just to organize the show. So, playing there and the history of that place, and obviously that country, was a great achievement for me.
In dance music, you’re in a rather unique position. You’ve been there since the early days, and you’ve seen it go the whole way that it has. What do you think it’s given you personally?
I’m surprised at how much I’ve seen and learnt for a box of records. I never thought in my life that I’d travel the world, see some amazing things, for a box of records. So I’m blessed to have done that.
Do you think it’s taken anything away? Perhaps it’s pared you down in a “less is more” kind of way?
Not at all. I believe in “less is more,” but if people get the chance to travel, then they will.
Did you have a New Year’s resolution?
Uh… no. (laughs) I know there’s something I need to improve, but I can’t think of it right now. I don’t know… Maybe to not drink as much. You know we British love our drink.
So tell me about the Grammy nomination. It’s a mix-CD, which has people stroking their chins wondering what the rules will be and what the committee’s stance on the category is. What do you have to say to the purists who believe that the category should be reserved for artist albums and, almost total rehashings like Sasha’s Involver?
I really don’t know how the committee works and it’s structure and what it’s based on, but Sasha’s album and mine were both up for nomination. Sasha’s album obviously didn’t get the vote.
I think DJ culture should be embraced by what’s going on. If you can take the art form of what we do to the next level through a DJ compilation where you remix, reedit, rearrange, restructure, and you have your own records on the mix, it falls into a new kind of album. And I think that the committee obviously looked at Sasha’s album and mine and felt that they were both worth nominating for those reasons. I presume, for some reason, I got more votes by people out there than Sasha. I know that they were both put forward, along with a lot of albums.
Since you’ve been on many sides of the music industry, performance and business, etc.
Well I run a small record company, if that’s what you mean.
What kind of place should mix-CDs have in the Grammy category?
I don’t know really. I don’t know enough about how the Grammies are put together.
To take the Grammy category into account and look at the global scope of the scene, what do you think is going on in dance music?
It’s changed. I just got back from Argentina where I played for 50,000 people. You’d never expect that amount of people to be into dance music. I was in Panama on a Tuesday night, Ecuador, El Salvador, Central America is popping up now. People are starting to get into it. Poland… Russia… It’s starting to become popular in those kinds of places… obviously in Europe, where it’s been for years now. In America, it’s just going in a different direction, which I think is good.
Do you think we’ll see more bands and things like that?
I hope so. That’s what it needs.
What do you think of this move toward Ableton Live?
Do you mean DJing through a laptop?
Yeah. With a laptop or a controller.
I think we have to embrace technology, but I think that from the crowd’s point of view, they don’t really want to see a DJ playing on a laptop. A DJ could bounce back and say, “Well it’s all about the music.” Well, I think it’s a bit about both [music and performance]. There has to be a balance there and I’m sure from the crowd’s point of view they don’t necessarily want to see someone up there with a laptop in front of him. Who knows.
Do you see a production album in the near future?
I’m working on the follow up to Bunkka.
Anything else going on?
I’m working on writing cues for the re-make of The Pink Panther and we’ve got the soundtrack to the TV program that I’m involved in called The Club that’s coming out.
Another thing that you’re known for is finding artists that are ready -- DJs specifically -- and giving them a hand up. You did that with D:Fuse and Sandra Collins of course. Do you see anything like that coming up?
Well I’ve signed a rock band called The Bad Apples and I’ve signed a rap artist called Spitfire, who raps and sings. So, yeah, I’m really into those.
This is on Perfecto?
Yeah, they’ll be coming out next year.
Do you see this as applicable to the dance music thing? Or are you diversifying your stable of artists?
I see it as, they are a part of dance, because they come through the roots of dance. You can dance to all different kinds of music you know.
Indeed. Well thanks for your time, Paul.
You too.
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taken from the following website http://www.cooljunkie.com/interviews/2005_01.html |
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| Orko |
thats actually a pretty good article, I especially like the intro.
Most people just focus on how much of a god he is, but atleast the writer knew and stated that there is a population out there, which doesnt like Oakey.
thumbs up to the interviewer for keeping it objective. |
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| The Drow |
| He sold his soul for money, end of discussion. |
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| eisbaer6 |
so he is making another album were he made all the songs himself?
I hope he wasnt talking about the club. Either way I hanvet given up hope completely on him I think. |
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| dinoXpress |
| not too cocky... |
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| Orko |
i think something that most people over look, is the fact that he was a big POP guy in the first place. Ive heard him state it time and time again. So him going more 'mainstream' really isnt a big suprise considering thast where is roots are. dance was just really a pr
the guy grew up on rock, and made a career by promoting hip hop.
so he is really signing rock/hiphop acts again, this isnt the first time. |
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