World's Wealthiest Dj's

[Sooty]

The point made about taking a crowd on a journey is good one I did an article in Manifesto in the90's about the exact same thing with NS It should all be part of the magic of a night out that the Soulies can forget about the outside world for at least 60 minutes with a Dj,s set this somehow seems to have been forgotten or maybe no offence meant some DJ,s can't do it. a top record played taking the crowd one way then it might be another top record but going in a different direction which means in effect if that carries on the crowd has gone no where.The Dance scene of the 90's managed to do this until it lost its way. The journey can produce euphoria and make a good night a brilliant night and it's just my humble opinion that all d

DJ,s should strive for that whatever the genre of music. I'll repeat what I've said many times before it's not the jokes it's the way you tell them.

God Bless Mick Lyons

 

We pray at the same alter Mick.....wonderful....and it is why we got on back then......I reckon!!x 

Nobody can tell you I was about money. I came into the scene to escape all that bo**ox. I found 'fellowship....which money can't buy. Mick's venues as did Ady's....Pete Hollanders Winsford.....Nantwich....Dave's Cottons in Stockport.....all venues that were there for 'the craic'. As was St Ives we relaunched....I insisted. Having said that.....whilst I was happy DJing anywhere for nowt....I din;t expect what I got at some 'professionally' run venues back then....and what some DJ's 'asked for' as a wage!!!!!x

 

Personally....I never got more than £60. That was my peak. £30/40 was typical and that was for a nighter at which I regularly piled 30-50 through the door wherever I was djing....!!  I never ever asked for anything. But that's what came my way. 

 

I learnt early on as a promoter/DJ and after getting to know every major Promoter and National DJ in the Country during the 90's....that to some....money was what it was all about....and taking the pi**!!!x I asked some 'known' DJ's who saw me as a dipstick I suppose.......they came at me with £60....flagon of cider and they would get there 15 mins before their spot with a bunch of mates stood giving it husky joe lifeguard to me Soulies!!!! It happened twice.....never a 3rd. I turned to new names and to those who were 'active' not reminiscent. We had the same attitude and money din;t count. The nights became BRILLIANT. 6 years of 'new' DJ's came thru my Soul Nights with no National names appearing or required once!!x No....sorry....Ady came down I think to the City Stop but we wos friends and I dunno if I even paid him.....ooops!!!hehe!!x But u know wot I mean!

 

We carried that ethos into the nighters we promoted. ALL were S/N DJ's/Promoters and on the National stage for the first time. No names required....we sold out and everybody had it away!x I was a DJ...they were DJ's.....and we did it for the love of the groove and groovers. I paid all the DJ's £50 which was more than I got gor a nighter. I appreciated them. Mick's Blackburn epitomised it for us all. It was THEEE Venue in the 90's for the HARD CORE. I should know...we wos everywhere and I got reports from where I weren't to know. If u are promoting Nationally....I had to be aware of the National picture!!!x The 90's was an era of THE DJ...and I thank my colleagues and the likes of Mick who supported and promoted that 'excitement'. 

We din;t do too bad. Listen to Ian Levine....Chris King on the Tog doc....they all came back because of that excitement WE made. The Kings Hall is the legacy of it all....for 'the people'....and cashed in on the tsunami that was the new generation of DJ's. U just don;t see many of them on the bill......so some things have lapsed....but hey.....whoever puts em on and does the effort.....decides who gets on....end of!x Been there done that!!!!x

 

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SOOTY

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...errr....wealthiest DJ malarky??? I know and have seen many of them. I don't know of 1 that I could recommend for a spot at Blackburn. They'd sh*t themselves. I get paid £1000 for 2 hours at a gig in Amsterdam.. I get 500 for doing backing music for an hour at the V over the years. Gimme £40 and Blackburn/100 Club anyday...............DJ init.....X

I was with Norman somewhere on the stage at the back. He is coming up.......big build up.....about 50,000 out there.....he grabs the decks.....he's on one and starts shouting....no mic. Engineers/technicians running around trying to fix it....Norm going into 1 as his buzzz begins to backfire........crowd becoming restless.......I step forward......get some headphones laying on the table.....take the mic out and plug them in.....speak into the headset....................crowd went laaaary......Norm looks at me 'startled....begins to grin'....Big hug....and he's off....and he gets the cred to this day for that one....sigh!!x

 

I learnt that from Little Scotty who ran the door for Mick at Blackburn.....THANX MATE....worth every penny I never made!!!!!x Yawn....X

Modern 'DJ's'.......killing it....they are....if they ever had it....they shake when i'm about down at Brixton.....so they should.....charlatans...X

 

[pow wow mik]

Yeah but this is one of those format arguments which we love on here.  

 

Plus it's easy to take a pop at these guys but most of 'em were long-term pros who all had vinyl in their blood anyway. Carl Cox, Paul Oakenfold, Pete Tong, Judge Jules and John Digweed were all soulboys at one time 'cos I used to mail 'em records in the early 80s. They simply decided to adapt to changing musical trends, where some of us preferred to stay in the same comfort zone.  Nothing wrong with either approach in my view. I was always a bigger soulboy than them anyway. 

 

I saw Carl Cox and John Digweed in Ibiza a few years back and their sets were just magnificent and blew Space apart. Probably one of the best atmospheres and crowd-buzz that I have seen in 45 years of clubbing. Those guys are DJs in every sense of the word irregardless of format. Ultimately the music is more important than the format it's played on. Contrary to popular belief, having a box of vinyl does not a DJ make.  If I go and see someone play I'm pretty much going for their musical taste, their selections, their sequences and their skill in building a DJ set. The format is irrelevant. That is, APART from the Northern Soul scene where old attitudes die hard! 

 

Ian D 

I think the format rule survives on the northern scene because the acquisition of rare / new records has always been considered more important than dj skills, which without the requirements of mixing pretty much amount to sequencing....and when's all said and done, that's not such a huge skill really, and one that you're no more or less likely to have whatever format you play, so the gigs might as well go to people who at least collect proper records.

Do you reckon the standard of sequencing would improve without the format snobbery? If so, its time to abandon the rule. I know the scene I play on isnt at that point yet, but I can see how it might get there - when all the real records are in the hands of rich old guys who can't rock a dance

[Sooty]

They are 'detached' these DJ's is my best description. I haven't met one who danced behind the decks with the sincerity and passion that Derek Allen rock his soul...X.....showed. Not one that casually flips a record on that is...just Soul......yet a pop record really. From the heart....as it should be. These are 'traits' I picked up from Northern DJ's. They are 'in touch' with their music....connected. It's a different thing. Same as wedding Discos these days. CD jobs....they haven't got a clue about THAT TUNE. It's dis-jointed......up and down....a mess. Music floooows through u....and goes on the decks. Butch to some was inanimate as such in the 90's. I shared the decks with him many times taking over or leaving it to him. I luv'd his intentness. He had it......simple as. Never seen that on these 'DJs' faces either. Technical wizardry and mixing 'sounds'...........been done at Stonehenge for thousands of years. Easy peasy.

Choosing a tune.....irrelevant of all so to speak....and getting folk to dance to it.........is where it's at. I can tell u every sound/instrument of every tune I have across genres. Not the words.....but the sounds. It flows thru me....can't help it. That's why I have never listened to music in me car....since 1980. I can name that tune in 5 notes......it's all gone before!x LJ Johnsons Your Magic Put A Spell on Me at 16 1/2 rpm sound s like an Aboriginal tune i;ve heard from possibly 10,000 years ago. It also resonates with a tune from the Darkside of the Moon album which I heard at school music lessons!! Figured that aged 15! Just a saw wabbling and a violin/string noises.....great stuff!! Butch 'intense?'.....naaaa.......Soul Man....end of....X They ain;t 'out there'.......I reckon....X

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[Hooker1951]

I think the format rule survives on the northern scene because the acquisition of rare / new records has always been considered more important than dj skills, which without the requirements of mixing pretty much amount to sequencing....and when's all said and done, that's not such a huge skill really, and one that you're no more or less likely to have whatever format you play, so the gigs might as well go to people who at least collect proper records.

Do you reckon the standard of sequencing would improve without the format snobbery? If so, its time to abandon the rule. I know the scene I play on isnt at that point yet, but I can see how it might get there - when all the real records are in the hands of rich old guys who can't rock a dance

 

My opinion on this subject and I must stress my humble opinion is that no dj on the northern scene can enhance the music being played by talking in between records telling the audience what label, what colour how much it cost to people who have turned out for a good time.In answering pow wow mik question i beleive the standard would most certainly improve the music would do the talking instead of the dj.a good DJ should should not give a club time to think wether it's 100mph set or a strong mid tempo set he should just be or try to be slightly ahead of the club ready to change direction if need be every time a record finishes and a DJ speaks it breaks the vibe it would certainly sort the wheat from the chaff because a dj would be appreciated for his spot and not for his particular records If people want to know a bit of history about Adj,s records I'm sure they could ask before his spot or after his spot  Its the Soulies who matter it is them who part with their money. I am not decrying the soul anoraks here ino each one of you loves your music and you know your tunes I just think that their is a time and place for it not at clubs where people like their chemicals and alcohol. I repeat these are only my thoughts on the subject and I realise every body has their own views.

          GOD BLESS Mick L

[Rudzy]

Nice one SOOT'S - Good to hear from you.

 

I think what you're trying to get over is that it is a slightly different vibe to what we all WORSHIP.

 

IN THE ALTAR OF NORTHERN SOUL...

[Ian Dewhirst]

I think the format rule survives on the northern scene because the acquisition of rare / new records has always been considered more important than dj skills, which without the requirements of mixing pretty much amount to sequencing....and when's all said and done, that's not such a huge skill really, and one that you're no more or less likely to have whatever format you play, so the gigs might as well go to people who at least collect proper records.

Do you reckon the standard of sequencing would improve without the format snobbery? If so, its time to abandon the rule. I know the scene I play on isnt at that point yet, but I can see how it might get there - when all the real records are in the hands of rich old guys who can't rock a dance

 

I've long argued that it's not about the format but rather the choice. I always got frustrated years ago when I couldn't physically carry all the stuff that I MIGHT have wanted to play or which may have fitted the particular mood of the night. Exactly the same problem but multiplied when I want to bring 12"s and albums into the equation. For me personally, I like a wide choice of stuff to play but these days I mostly play different types of gigs which allow me to do that luckily. When I do Northern gigs these days I deliberate over what I can fit in a 200 count box but always end up thinking 'if only I'd have brought that....'.

 

Plus, naturally, anyone that has to have 50K's worth of originals in order to comply with OVO policy, is a richer guy than myself.....

 

Ian D 

[Sooty]

....ARGHHHH....u've found me Rudzy!!!!x Wot r u gonna tuck me up with this time Bruvver?!!!hehehe!!x Nice to hear from u mate...X Indeed I mentioned you not long back in the FB forums......well respected u is.......pi**ed me right off!!!!heheh!!x 

We did some gigs at a Church ure end din't we???!!!!x I remember a hall/chapel of sorts!!! Flippin eck...just realised....it wos u!!!!!!.....within 3 years I wos telling some 'coats' that I thought it was God calling and then realised it wos Aliens and had it sussed.....demanding wos they wiv us or against prepare to fight jobby!!!!!x I got nice pills tho'.......FANX Rudzy......forever enhanced by your 'teachings'......nice 1 mate!!!x

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....I still believe in aliens tho.....but shush.....we'll talk about it when I pop in......!!!x

 

 

[Rudzy]

My opinion on this subject and I must stress my humble opinion is that no dj on the northern scene can enhance the music being played by talking in between records telling the audience what label, what colour how much it cost to people who have turned out for a good time.In answering pow wow mik question i beleive the standard would most certainly improve the music would do the talking instead of the dj.a good DJ should should not give a club time to think wether it's 100mph set or a strong mid tempo set he should just be or try to be slightly ahead of the club ready to change direction if need be every time a record finishes and a DJ speaks it breaks the vibe it would certainly sort the wheat from the chaff because a dj would be appreciated for his spot and not for his particular records If people want to know a bit of history about Adj,s records I'm sure they could ask before his spot or after his spot  Its the Soulies who matter it is them who part with their money. I am not decrying the soul anoraks here ino each one of you loves your music and you know your tunes I just think that their is a time and place for it not at clubs where people like their chemicals and alcohol. I repeat these are only my thoughts on the subject and I realise every body has their own views.

          GOD BLESS Mick L

SPOT ON MATE

 

All About The VIBE

[Sooty]

I've long argued that it's not about the format but rather the choice. I always got frustrated years ago when I couldn't physically carry all the stuff that I MIGHT have wanted to play or which may have fitted the particular mood of the night. Exactly the same problem but multiplied when I want to bring 12"s and albums into the equation. For me personally, I like a wide choice of stuff to play but these days I mostly play different types of gigs which allow me to do that luckily. When I do Northern gigs these days I deliberate over what I can fit in a 200 count box but always end up thinking 'if only I'd have brought that....'.

 

Plus, naturally, anyone that has to have 50K's worth of originals in order to comply with OVO policy, is a richer guy than myself.....

 

Ian D 

 

...hehe....Ian.....I only collect 45's......I lose out I know....but.......I couldn't tackle the complexity's of carrying/switching speed and remembering to go back malarkey......detracts from me dancing....!!!!!.....sheeeesh!!!x 

I had enuff on me plate to put right the balances....speed....and sometimes master output.....that i'd been left with by......erm........'friends'....done as a joke quite often.....we had a laff init!!!!x

Luv'd it!!!x But that's as far as me technical understanding and requirements go!!!x Respect mate.......!x

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SOOTY

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[pow wow mik]

I've long argued that it's not about the format but rather the choice. I always got frustrated years ago when I couldn't physically carry all the stuff that I MIGHT have wanted to play or which may have fitted the particular mood of the night. Exactly the same problem but multiplied when I want to bring 12"s and albums into the equation. For me personally, I like a wide choice of stuff to play but these days I mostly play different types of gigs which allow me to do that luckily. When I do Northern gigs these days I deliberate over what I can fit in a 200 count box but always end up thinking 'if only I'd have brought that....'.

 

Plus, naturally, anyone that has to have 50K's worth of originals in order to comply with OVO policy, is a richer guy than myself.....

 

Ian D 

So if it's not about format, but choice, how would the choice - that is, the programming / sequencing - of the DJs set be improved if the ovo rule was abandoned?

you seem to be saying that because djs would be able to take a wider selection but not convinced about that...surely 100-150 tracks are a big enough pool to select 30 from in a set?

how would the dj be decided on? on their ability to put a good set together? I'm not saying that that isn't a skill and it's an interesting thought.

I'm 100% ovo at the moment, because I've never considered that anything has ever been lost and much gained by that policy - imo, the most knowledgable and dedicated collectors seem to end up as the djs...so far...

But with the way the record market has gone, with so many crazily priced big pieces seeming to disappear from view after their sale, I've actually started forseeing a time where so many of the rarest records are in the hands of rich investors and collectors that the active djs can't get hold of them, or cant justify hanging on to them, or playing them on crappy jumping decks...and then it might be in the interest of the clubs and the music to fuck the rule off.

[Sooty]

...all of the top DJ's who evolved our end in the 70's and still around today were playing hissy boots/emi discs at youth clubs and village halls......we luv'd em!!x Innocence eh?!x

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[Ian Dewhirst]

So if it's not about format, but choice, how would the choice - that is, the programming / sequencing - of the DJs set be improved if the ovo rule was abandoned?

you seem to be saying that because djs would be able to take a wider selection but not convinced about that...surely 100-150 tracks are a big enough pool to select 30 from in a set?

how would the dj be decided on? on their ability to put a good set together? I'm not saying that that isn't a skill and it's an interesting thought.

I'm 100% ovo at the moment, because I've never considered that anything has ever been lost and much gained by that policy - imo, the most knowledgable and dedicated collectors seem to end up as the djs...so far...

But with the way the record market has gone, with so many crazily priced big pieces seeming to disappear from view after their sale, I've actually started forseeing a time where so many of the rarest records are in the hands of rich investors and collectors that the active djs can't get hold of them, or cant justify hanging on to them, or playing them on crappy jumping decks...and then it might be in the interest of the clubs and the music to fuck the rule off.

 

Hey, I'm not saying my preferences would work for anyone else, I'm just pointing out what works for me.  

 

I like a big choice. 1000s rather than a couple of hundred. In the 70s and 80s I had 40K records and my biggest chore was filing and re-filing stuff that I'd pulled out for different gigs. A time-consuming pain-in-the-ass after 20+ years. I also like to play instinctively rather than restricted on the basis that dropping a totally unexpected record at the right time can ignite a dance-floor and boost the atmosphere even more. Who knows what moods you can create if the vibe heads on a different course? Or you might get a sudden inspiration that a certain track will fit like a dream after the one that's playing but....blast....you only have the 200 count box of favorites with you.

 

I understand the OVO thing and, in fact, go along with it with Northern gigs because, hey, who wants to be lynched? But when you're looking at maintaining a 50K record box full of rare originals, then that's more a game of who has the disposable income and who doesn't. Basically a rich man's game at the top end these days I would have thought. It seemed to be much more affordable 45 years ago when I was young with no commitments and plenty of disposable income.

 

I'll tell you something else too: I wouldn't DREAM of playing £5-10K records on some of the equipment I see these days. A recipe for disaster IMO. I went through 3 Tobi Legend's and 2 Morris Chestnuts in 4 years by the mid 70s but that was tempered by the fact that they were relatively easy to replace back then. Still a pisser though. Trashed records are no good to anyone but even less so when they still cost a few grand!

 

Ian D    

[Spacehopper]

back to the original topic  I see a lot of the richest 'djs' are also producers..so promoting their own tunes which every time someone downloads or buys the latest mix cd they get paid for, aswell as any radio play..i know they still get 4 figure sums for djing but I wonder if its the producing that lifts them into the million dollar league?

[Ian Dewhirst]

back to the original topic  I see a lot of the richest 'djs' are also producers..so promoting their own tunes which every time someone downloads or buys the latest mix cd they get paid for, aswell as any radio play..i know they still get 4 figure sums for djing but I wonder if its the producing that lifts them into the million dollar league?

 

David Guetta's spots seem to be filled with his own awful productions so I guess the answer is yes! 

 

Ian D 

[Guest Byrney]

And in some cases like that well paid DJ Paris Hilton are sequenced ( probably using software) in a set prior to going on - just press a button and pretend to mix and twiddle some knobs. 

David Guetta's spots seem to be filled with his own awful productions so I guess the answer is yes! 
 

Ian D 

[Ian Dewhirst]

And in some cases like that well paid DJ Paris Hilton are sequenced ( probably using software) in a set prior to going on - just press a button and pretend to mix and twiddle some knobs. 

 

A friend of mine caught a Madonna concert where one of the DJs in the Top 10 list was supporting. He had to walk along a cat walk to a laptop setup on a kind of DJ Alter and press a start button and then pretend to be mixing. $250K. Not bad for 40 minutes 'work' ay? 

 

Ian D 

[Northern Soul Uk]

What has to be taken into account about top DJs, is that a lot of their revenue comes from royalties from the records that they have made in the past, especially names like Carl Cox, Sasha, Oakenfold etc. It's not all DJing fees.
I remember in the 90s, Judge Jules  was paid 250K to play for 2 hours in Sheffield, so there are a lot of big earners out there. Pete Tong cost £1200 when I booked him to play a gig for me in 1993, so that would be what? 8K'ish now, but well worth it, he packed the 1800 capacity club and there were 400 queuing to get in, he also plugged the gig on Radio 1 for 2 weeks. 

[Professorturnups]

Derek Pearson, on 07 Feb 2015 - 10:41 PM, said:

Interview with Geoff Oakes the main man behind Renaissance in Mansfield:

 

https://www.dmcworld.net/dj-tv/entry/question-and-answer/geoff-oakes--henry-blunt-539.html

 

And I quote: 

 

Where did the inspiration for Renaissance begin?

 

"It probably came from a combination of influences from the Hacienda and my earlier clubbing years at the Wigan Casino......”

I read somewhere that these guys had a piece of furniture called "The Wonky Table" as a tribute to The Twisted Wheel

 

Mark C