Interview with Bob Sinclar (2/3) by Toni Tambourine

(1/3), (2/3), (3/3),

What is your first memory of house music? In Paris we had two scenes; we had the gay scene and we had the Hip Hop scene ... I liked Garage because it was from the black music, but Hip Hop was more visual for me as a DJ, the scratching and everything. The DJ was more important. House music was there but not from the beginning for me. I started with Hip Hop, then Acid Jazz, then came Trip Hop, all music with black influence.

In '97 and '98 I discovered new artists such as Kenny Dope and Armand Van Helden, these guys were coming from Hip Hop and House. They used to produce these different types of music at the same time in New York. I started to produce Hip Hop.

Where does your turn at ITH find you? To do a mix compilation is really hard for me, it will be my first one. I did a 'best of' for the DVD, but it's really hard to be really hip to what's new. Records come out really early and everybody's doing compilations with the same tracks. I had to find a good balance between my classics and all new records. ITH are really famous compilations, really big DJs have done it so it's a really big thing to do in my career. I also did it because I have a lot of things to say in this compilation.

What new or exclusive tracks have you included in the track listing? It's always really hard to do exclusive tracks for a compilation, but I tried to find very rare tracks that nobody had used. I put my new single Love Generation on it, I played that a lot this summer, it was amazing. It will be the first compilation with this track. I did an exclusive remix of Martin Solveig's Jealousy and used some very rare tracks from Masters At Work and Roger S, and also a brand new track from Julian Jabre. I like French producers so I try to include a lot of them in my compilations.

What did you want to represent with your mix? Love Generation was very surprising for me. It's not exactly the same style I am used to doing, it's dance music of course, but it's not based on the same energy! When you do club tracks you have the structure and the break, you have to come back to the music, to keep the people's energy. On this track it was a different base, it was from the heart, what you feel. It really was fantastic to do, and it happened completely by chance. I was in New York six months ago to record some disco stuff. I had three or four disco tracks for my new album, which I hope is coming soon, and I had this instrumental. I was not really happy with the track but Gary Pine from the Wailers came into the studio, I said to him 'I have this track but I'm not sure what to do with it'.

I started to whistle a melody, but it was destined to be replaced by a bass line and a vocal melody. Gary said 'ok, I'll do something with this', he wrote the song in an hour, he came behind the microphone and he started to sing this song. Sometimes it happens when you are in the studio, we had it! It was blessed! What does the name Defected mean to you, and what is your history with the label? Defected is a very special label for me.

When Simon (Dunmore) came to me he was the first guy to ask me to work with him in the UK, and you know the UK is the king of the world for dance music. He came to me when I released I Feel For You, and we went Top Ten together.

It's really important to be faithful and to work with the right people in this business, so I've worked with Simon for seven years now. I'm really faithful in business, I use the same people, the wholesalers and journalists, all those guys. Simon has a certain way he likes music, a certain style, he has kept to this, it's really important for an artist to be on this kind of label.

Continued ...next page (3/3)

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