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Speaker 1: Approache production. What was your favorite time to play there? What?

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Speaker 1: What would what would every DJ want time? What was

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Speaker 1: that time? I think like that place used to no one.

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Speaker 1: That would anyone want closing time? That was the ship

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Speaker 1: that might be their fucking graveyard. One would be early

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Speaker 1: d c M. Would you want the first set or

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Speaker 1: the early midnight in.

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Speaker 2: The middle set. Everyone wanted the main set, But there's

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Speaker 2: some DJs that the music and the content they had

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Speaker 2: suited the closing set eye rolling back music sort of

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Speaker 2: big trancy, long build ups and dirty fat beats, and

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Speaker 2: but as as the years progressed and the venue started

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Speaker 2: closing earlier and earlier, you know, the closing set sort of.

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Speaker 1: But it was good for you though, to have an

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Speaker 1: early set when the crowd when they packed.

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Speaker 2: Yet I like the early stuff I building it up

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Speaker 2: because in the build up set you don't play the

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Speaker 2: big bombs, and it tests yeahs a DJ, right, and

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Speaker 2: you've got to speed your BPM up from a certain

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Speaker 2: bpm up to a certain bpm and get it ready

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Speaker 2: for the main DJ. And a good DJ is a

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Speaker 2: good opening DJ. That's that's my opinion, because if you

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Speaker 2: can warm that floor up without playing the big tunes.

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Speaker 1: You're a good DJ.

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Speaker 3: Yeah, one hundred percent agree with you on that one.

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Speaker 3: That opening set or the first couple of hours is

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Speaker 3: a lost.

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Speaker 1: That craft disappeared.

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Speaker 2: Everyone wants to play the big tracks in the first set,

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Speaker 2: in the middle set, and in the inset.

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Speaker 3: But I get where you come from because I was

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Speaker 3: the opening DJ and other venues, I'd play nineteen eleven

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Speaker 3: and then someone else will jump on eleven to one,

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Speaker 3: then someone else won to three, whatever, and then whatever.

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Speaker 3: I'd be the first DJ there. But I used to

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Speaker 3: love my sets because set out standard.

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Speaker 2: Yeah, not every DJ likes the first set because it's

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Speaker 2: not popular. Most DJs want the main set. But you

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Speaker 2: learn your craft in the early set. You're setting the tempo.

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Speaker 2: If you could set the tempo without playing the big tunes,

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Speaker 2: you're a talented DJ in my opinion.

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Speaker 1: You know what I mean.

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Speaker 4: You can say that for the closing set close.

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Speaker 3: Yeah, you can play some weird shit for a closing

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Speaker 3: set where you can play So this is the thing. Now,

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Speaker 3: I've come to understand the closing set as when you

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Speaker 3: play like your big hits, your big bangs. That's when

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Speaker 3: you play like you back then you could go to

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Speaker 3: a nine ten eleven midday. My sort of time came

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Speaker 3: to about closing was about six.

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Speaker 4: Am, eight am, nine am at the most. You know

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Speaker 4: what I mean some places like that.

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Speaker 1: Well, I mean we're saying those times now.

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Speaker 3: Like yeah, crazy nothing back then. The music you'd play,

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Speaker 3: Like you said, every DJ has a different set. You knew,

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Speaker 3: if Mickey D was playing, you get some banging tracks.

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Speaker 3: If DK one came, you give that dark city pizzicator

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Speaker 3: type of sound. Sometimes you see someone come in and

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Speaker 3: play like just big transhitters. So every DJ had this store,

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Speaker 3: had their craft, and sometimes you waited. You were there

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Speaker 3: and waited for the DJ to play, doesn't matter what

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Speaker 3: time he was if you want to hear them.

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Speaker 2: If it's a general question, every day, ja, I want

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Speaker 2: to play the main sit Oh, yeah, of course.

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Speaker 1: If it's if what was what was the time that

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Speaker 1: no one wanted no one wanted like if you got fun,

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Speaker 1: I've got that time, I guess it.

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Speaker 2: Not every day I wanted the predominantly, not every day

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Speaker 2: I wanted to close.

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Speaker 3: SIT Yeah, I remember I used to sleep and say

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Speaker 3: wake up at like twelve one am, time to go

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Speaker 3: to the city of Yeah, that's what I'd say. Maybe

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Speaker 3: opening said, Opening said is not bad. It depends what

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Speaker 3: if you're playing opening house or opening energy whatever.

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Speaker 1: I just I just looked at them when I used

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Speaker 1: to work at these dcms and some of the clubs,

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Speaker 1: and I just go, fuck, did you like there's no

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Speaker 1: one here? The crowds like do they even know who's

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Speaker 1: on fucking set? How disappointed m was that DJ feel

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Speaker 1: like he's got this fucking crowd in front of him

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Speaker 1: who looked like they're fucking fucked off.

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Speaker 2: And that's if the drugs were good that weekend, the

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Speaker 2: closing sit would be would how much? How much influence

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Speaker 2: did a batch of drugs have on a certain weekend,

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Speaker 2: Like I'm not joking fact in fact, no one.

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Speaker 1: Takes ecstasy anymore.

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Speaker 2: If people were taking ecstasy today, you'd be seeing a

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Speaker 2: different dance floor. I'm telling you now, and and and

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Speaker 2: am I am I saying it wrong. If it was

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Speaker 2: a good batch of drugs, the club's not closing till

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Speaker 2: mid day one o'clock and it's a full fucking house.

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Speaker 1: I'm telling you now.

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Speaker 2: If it was a bad batch of drugs, but.

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Speaker 1: Everyone everyone that I was taking the lines of coke

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Speaker 1: and they just want to go back to a room.

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Speaker 3: Times that happens, We're going to come back to our

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Speaker 3: and why I was going to chill out.

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Speaker 4: Know what they're going to do.

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Speaker 1: It's not cocaine. Is a dance floor drugs.

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Speaker 2: No, it's a kickback in your room with your mates thing.

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Speaker 2: It's expensive people having off toilet seats. It just doesn't

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Speaker 2: make sense, you know what I mean. I don't that

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Speaker 2: people were taking ecstasy back in the day that I

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Speaker 2: was DJing.

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Speaker 1: Fuck man was.

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Speaker 4: Ready loving life.

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Speaker 1: Yeah, people walking on walking into the club at twelve

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Speaker 1: one o'clock.

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Speaker 2: Mate, it was roaring at six am, roaring some insane

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Speaker 2: three till about seven am. It was a perfect time

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Speaker 2: to play. So it was ten to three, three to

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Speaker 2: seven and seven are closed. That were the set times.

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Speaker 1: Well that was when before DC's closed to ten, because

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Speaker 1: I remember when it used to close at fucking ten

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Speaker 1: to eleven. Yeah, I mean, so it was ten to three,

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Speaker 1: three to seven, seven to close.

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Speaker 4: It was three d whole night.

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Speaker 2: You imagine saying that now made our club goes from

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Speaker 2: ten to eleven am. Mate, you're playing fourhels. You're playing

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Speaker 2: four hels, you're playing four hours. Yeah, no hits, no

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Speaker 2: cheesy music.

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Speaker 3: Yeah, right, good music ex changed too much nowadays for

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Speaker 3: that teams so accessible.

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Speaker 1: Yeah, music is that accessible. The attention get sick of

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Speaker 1: the stuff.

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Speaker 4: The attention spans drop a man, it was rare.

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Speaker 1: It wasn't accessible before.

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Speaker 2: Man, every song you'd play, the place would fucking roll

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Speaker 2: like it was like the super Bowl.

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Speaker 1: Well, the thing is, I still get I still get

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Speaker 1: off on listening to the old school music like back

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Speaker 1: in back in the early two thousands, even ninety nine, nineties.

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Speaker 4: You know what I mean?

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Speaker 1: That to me is the music whereas nowadays I just think, fuck,

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Speaker 1: it's just all commercial now ship you know what I mean.

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Speaker 1: It's I'm hearing out on the radio where you know,

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Speaker 1: too unlimited and all this shit. You know what I mean?

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Speaker 1: That was me.

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Speaker 2: I went from a spectator to to we're talking late

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Speaker 2: late nineties now, went from a spectator to a nightclub

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Speaker 2: DJ or or playing at the big clubs. I've seen three,

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Speaker 2: three generations of people generation maybe three.

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Speaker 1: I've just seen everything change.

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Speaker 2: And I DJ now, don't get me wrong, I have

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Speaker 2: some awesome nights, but so fucking different.

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Speaker 1: Man. So that's what I experience. That comes back into

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Speaker 1: the to the DCM reunions they're not the same, adding nah,

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Speaker 1: of course not. Man.

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Speaker 2: It made the people of fifty and sixty years old

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Speaker 2: now fifties and sixties and the young people that are

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Speaker 2: coming through to experience.

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Speaker 1: That they're not they're not. They don't know how to

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Speaker 1: party like no, man, the core isn't what it's supposed

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Speaker 1: to be. They're going off what they've heard, you know

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Speaker 1: what I mean, the stories they've heard, and they're just

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Speaker 1: going to experience like a it's like an exhibition, like

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Speaker 1: a museum. Look at that. Oh that sounds good. Oh

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Speaker 1: my brother used to talk about that.

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Speaker 2: Balls. Yeah there they are. Yeah, yeah, yeah. Can I

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Speaker 2: go back to something he was saying before you were

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Speaker 2: saying the gigs went dry? I'm going to comment on that.

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Speaker 2: So you could be the most talented DJ, right and

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Speaker 2: you can either explode or deflate, and you're talented and

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Speaker 2: you can rock a dance floor, And that goes back

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Speaker 2: to me politics.

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Speaker 1: Politics has a lot to do with it. If I'm

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Speaker 1: going to comment.

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Speaker 2: On his on his djaying career, he was making that

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Speaker 2: much of a splash and got raided, and people were

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Speaker 2: hyping him up to hit a certain level that actually

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Speaker 2: scared a handful of people that controlled the scene. And

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Speaker 2: that's what I've worked out over the years, and it

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Speaker 2: happens to a lot of DJs. You're either talented and

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Speaker 2: you make it through a certain way. You've got to

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Speaker 2: be vocal, you've got to have your network skills, or

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Speaker 2: you go back to Nicks in the day made a

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Speaker 2: big splash and then he wasn't getting gigs anymore.

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Speaker 4: Why yeah, I wasn't vocal as well.

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Speaker 1: Why kneel? Why you probably didn't politics? Bro, People were scared,

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Speaker 1: people were I.

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Speaker 4: Was playing gigs.

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Speaker 3: Everything was working, and then it's just all of a sudden,

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Speaker 3: it's just like, yeah, we'll put you on.

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Speaker 4: We'll put you on.

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Speaker 3: And then the call stopped coming through, and then you

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Speaker 3: see all these other people come through, Like.

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Speaker 2: But everyone else was getting everyone else was getting their gigs,

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Speaker 2: do you know what I mean? And in this scene

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Speaker 2: there's so much fucking politics in our scene especially, it's

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Speaker 2: not funny and it's and you can't escape. It doesn't

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Speaker 2: matter how nice you are. It's just sad. It's very sad.

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Speaker 2: And you're talking about like, say, there's a football team

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Speaker 2: and there's a superstar coming up and he scares a

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Speaker 2: couple of the stars, they'll block him out.

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Speaker 1: Say doesn't care and changing room state. It's the same

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Speaker 1: in the music the same in the music scene.

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Speaker 2: If you can wigre your way, we'll jump over those

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Speaker 2: little hurdles and get through.

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Speaker 1: As a talented artist, we'll make it.

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Speaker 2: But if you can't, and you sit back and wait

201
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Speaker 2: and you're quiet, and you're hopeful and trusting, you'll get

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Speaker 2: fucked off.

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Speaker 4: That's what happened to me. Man, I'll put my end

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Speaker 4: up that happened to me.

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Speaker 1: Simple. But were you? Were you looking away because you

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Speaker 1: are Georgie Jay and to guarde you into places? Did

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Speaker 1: you have?

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Speaker 4: Did you realistically?

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Speaker 3: I had no one because the people I looked up

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Speaker 3: to ultimately the ones that stopped calling I had.

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Speaker 1: I networked really well.

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Speaker 2: I was very very good with my my the people

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Speaker 2: that that would go around to watch me play, the

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Speaker 2: followed you everywhere. Man, Georgie taught me the craft, but

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Speaker 2: he didn't help me get gigs.

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Speaker 1: I got my gigs. Georgie didn't help me get gigs.

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Speaker 2: He taught me the craft, thankfully, like thank you for that,

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Speaker 2: But I had to work for my gigs because if

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Speaker 2: I took gigs, I'm taking potential work off him too,

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Speaker 2: you know, and he's newly married and he's a career

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Speaker 2: guy himself, so it was sort of every man for himself.

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Speaker 2: But if you weren't vocal, and you weren't a go getter,

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Speaker 2: and you weren't a dodger and a weaver and a networker,

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Speaker 2: and you were you were jeopardizing someone's position, You'll get

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Speaker 2: fucked off. So you sort of got to wiggle your

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Speaker 2: way through. You know what I'm saying. You can't just

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Speaker 2: be good at what you do. You gotta work it,

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Speaker 2: you know what I mean With Nick? Nick is a

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Speaker 2: bit more of a quiet fell and just enthralled in

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Speaker 2: the music sort of thing to.

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Speaker 1: Say, to speak in some ways.

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Speaker 2: And I worked that out myself because when me and

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Speaker 2: myself and Dave Boston starties Forever Energy think we started,

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Speaker 2: Dave goes, oh you heard a Nick Nova. I go, yeah, man,

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Speaker 2: I heard of him as a youngster. He goes, oh,

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Speaker 2: he's awesome, he's talented, he's not doing anything, and maybe

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Speaker 2: he's been asleep for ten years.

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Speaker 1: I want to listen to the episode in four Click

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Speaker 1: the link in the description