Terrance Flores, Los Anglos, Usa - Offical Interview

(15) I think the UK tangent of House Music only helps the movement, because this tangent itself is splintered into various groups like you said. As I said earlier, I believe that more ingredients to the stock the better. It does not dilute it as some might charge, but, to me enhances the flavors even more.

I believe that is where Humphries missed the point when he was dissing "Speed" Garage. Not every house cut should be a vocal cut, you know. It'll all be boring if that is what all House was. I am actually fascinated in how hybrids of sounds -- of anything(art/religion/etc) for that matter -- develop. It's the esoteric, scholastic side of me coming out. ;-)

(16) I get service by a handful of labels, but I still believe in actually searching and shopping for cuts. I think even if I did get serviced by every single label, I would still be missing out on so much more if I just relied on that. 90% of the fun is actually discovering a song that actually could get you down on your knees on the listening station, because it is THAT good. It is also a benefit that I work in a DJ record store, because I get to be the first to hear every new song/track that comes in every week. And if I am quick enough, I get to snatch it for myself as well, particularly if the quantities are low. Hahahahaha ...

I don't know about compilation albums being much more acceptable, because this is pretty much a mooted point here in America.

Yes, Carl you are hoping for small miracles again. Hahahaha ... Seriously though, with Groove 103.1 having an all Dance music format, House -- and Garage to a certain extent, have been getting some spins. After all, House is probably the most accessible of all formats within the Dance Music genre, not including R&B/Hip Hop, in the United States.

Well, regular and mainstream bars and clubs in LA still lean to a more Pop oriented programming. However, those that do specialize in House and Garage are primarily just Club Nights and not specifically 7 Nights a week. Luckily, we have been able to pull talent such as Kerri Chandler, MAW, Knuckles and so forth into our city to play. Yes, we have been guests to UK talent such as CJ Mackintosh, Oakenfold and Farley & Heller as well, much to our delight. Again, mad ass props to Doc and Marques because they have been great ambassadors for my City of Los Angels.

And yes Carl, are you high? I would love to be same caliber of those people. Yet, I don't know if I would want to be placed in the forefront in representing people from my area. Though I haven't heard him spin, two DJs have absolutely blew me away with his talent. The first time I heard Louie Vega spin in person, I was beyond astounded. I did not know what to expect from. The only time I've ever heard him was the Mix CD he and Kenny did for the Ministry of Sound, which is still up there as my favorite Mix CD.

He blew me away with his 3 turntable wizardry. He taught and showed me to implement every single element of the song and to work it. His technical prowess and precision is almost without equal. I still cannot forget when he worked the drum break of IT'S ALRIGHT, I FEEL IT to the bone. Essentially, he was doing live remixing right in front of me.

The other one was hearing Aaron O at Club Universe for the first time ever around 1995. I think it was pinnacle moment for me, because I was actually losing faith in Garage. I thought it was getting stale. Then, when he worked his magic of Deep House that grooved in every part of your body and soul in a big room filled to the capacity, I knew it can and has been done. I never thought a big room crowd can feel Deep house, but this one did because of his skills. Man, his sets were absolute magic.

(17) As for my own DJ techniques, like my set itself, it's quite varied in style. However I do have a tendency to lean towards of being a "blender". That is the aspect that got me hooked on being a DJ in the first place. The first time I heard ever heard a mixing DJ, I was amazed how the music never ended, and that I didn't know when a song has been segued into the next. I love keeping the flow and vibe flowing without interruption. I like to keenly listen to the instrumentation, percussive elements and overall vibe and energy of the record and let that be my added guide for the next record. Of course, this is on top of what I feel the crowd is feeling, what the lyrical content is and so forth.

But as for basic mixing, I like keeping the mix go on forever. This is why I am a big fan of Bonus Beats. Quite handy tools.

(18) My advice? Actually getting on the Internet is a big one. I have met and made so many contacts on the Internet. Nowadays there are a lot more flakes, so be careful out there when it comes to promoters.

For the most part, follow what you feel inside. usually, what you think and feel initially are your best bets. I know it sounds cliche, but there is a kernel of truth to it.

(19) Technics 1200s are it. No ifs, ands or buts. The reason they have become the industry standard is that they are just workhorses. They can survive the harshest of abuse and still perform like new. Believe it.

(20) I think the public should give their dues to both the DJs and the producers of the tracks they play. Us DJs use the tracks/songs much like say a pianist uses a piano. They are our instruments. At the same token, people should recognize the instruments we use, because they in themselves are works of art. If a DJ moves you in how he or she plays a song, or a set, then yes you should give him or her all the praise they deserve. This goes in reverse as well if they suck.

Hehehehehe ... I don't know if it's a good or bad thing if we are seen as the new guitar heroes. I do know that people should recognize being a DJ is not just playing a record after another. People should recognize the art behind it, and not just human jukeboxes.

"It's a spiritual thing. A Body thing."

carl@garage-music.com