Label: Journeys By DJ™ LLC - JDJCDS004 • Series: Journeys By DJ • Format: CD Mixed • Country: US • Genre: Electronic • Style: Dub, Techno, Jungle, Ambient, Breakbeat, Cut-up/DJ
Journeys by DJ was the first record label to focus exclusively on the art and format of the DJ mix, as opposed to singles, 12" singles, artist albums and compilations. Other labels since the 70s released recordings of DJs spinning live, along with DJ-friendly vinyl "megamixes", and the 80s saw innumerable illegal mix tapes flood the market, but Journeys by DJ was the first label to set its stall out on the proposition that dance music is best heard in the mix, with high production values, and that the DJ can transcend the role of human jukebox to become a narrative artist and guide into Vazilando (Alex Track One Remix) - Various - Disco Latino 2 unknown.
One thing of interest to anyone tracking the history of DJ mixes, is the methodology when we set about recording high quality DJ mixes for release on CD. For context, African Drug - Coldcut - 70 Minutes Of Madness first release by Billy Nasty, we were lucky because Billy had been releasing his mixes on cassette at Camden Market for a while, and one of them featured a Welcome to Spain - A Banda de Poi - Mór of great tracks on local indie labels who were open to us licensing them for a minimal advance and putting the CD out speculatively just to see how it would do.
So that was a relatively easy conversion from fresh-baked DJ mix to licensed master, but it soon became more complicated. Inwe used DAT Digital Audio Tape machines to record mixes - in fact many of the DJs signed up with us because the clubs they were playing Call Me Up - Gang Of Four - Songs Of The Free used to surreptitiously plug DAT machines into the mixers, and the DJs wanted to regain artistic control of all that.
We asked the guys to send us a track list which we would start clearing for licenses, while they borrowed our DAT machine and went home to bang out a minute mix the longest you could fit on one CD. Then it Yesterdays - Mal Waldron Trio - Smoke Gets In Your Eyes turn out that one of the major labels had signed a track and wouldn't license it African Drug - Coldcut - 70 Minutes Of Madness us, so we had to ask the DJs to go back and record the whole thing over again; or the DJ sent us a version which needed a bit of tweaking for one reason or another iffy mix, weak progression, duff track choice etc.
African Drug - Coldcut - 70 Minutes Of Madness were still making things up as we were going along, for example the first run of JDJ CDs did not have PQ codes to allow you to skip from track to track I was, mistakenly, adamant that it was all about experiencing the DJ, not the individual tracks, which is why there is no track list on the back, even if the picture on the front is not actually of Billy!
It was a while too before my co-producer Jo Beckett got to add metadata with any of the track info. Fortunately bywhen we started working with Paul Oakenfold, two things had transpired. And secondly, we discovered Pro Tools, or Sound Tools as it was called then.
This meant that you could upload a DAT recording onto a server and then process the whole mix, using a visual editor to linearly re-configure the sound wave in much the same way everyone takes pretty much for granted in sound editing programs today. Boundary Row Studios in London SE1, home to many a top progressive house and techno tune to have emerged from the UK underground in the s, had a small windowless room with a server the size of a paving slab, where resided the one and only Jay Burnett, a US transplant who formerly engineered for Arthur Baker see the genealogy here, these are not coincidenceswho was the first dude we knew to get hip to Sound Tools.
It took him a day to upload a mix, and often it would crash halfway through an edit and we would all go off to the pub for the afternoon while he reingested the damn thing, but from there on in, we were off to the races. Typically, we could ask the DJs to send us their first version at 80 minutes or so, and then a few mixed sections allowing us to add in and chop out any tracks that need replacing due to licensing issues, or on occasion some absolute belter that suddenly hit on white label and everyone agreed had to go on the album or we would never sleep soundly again.
A good example of how this methodology worked was the Keoki mix, where we got a scrappy tracklist faxed over from his agent in New York while he was flying to UK for a short tour of European clubs.
By the time we picked him up at Heathrow, we had several tracks verbally cleared, and he listened to a load more African Drug - Coldcut - 70 Minutes Of Madness the car stereo on the M4, then worked his way through a bunch of promo 12"s when he got to the office.
We had 16hrs before his flight to Berlin, so we plugged in the DAT, shared some ideas about which new tracks we liked and what would be easy to clear, then let him get his groove on. By the time he flew off we had 2hours worth of live set on the DAT, including any times we just let it run when he didn't like a mix and put the needle back on the record and did it over. We then took it to Jay and sat with him for a day or two, cutting it down to size, and ended up with what many agree is still one of the better Journeys.
Tim Fielding. From Wikipedia, the free encyclopedia. Matt Black Jonathan More. What's That Noise? Philosophy Let Us Play! Sound Mirrors. Retrieved August 13, Categories : compilation albums DJ mix album series Dub albums Techno compilation albums Drum and bass albums Hip hop compilation albums.
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