1. Is having a responsible role within Northcott Productions a constant worry in your life? Do you like the responsibility of running of one of the biggest label groups within House music today, and do you love the challenges that it presents.

As with any self owned and runned business, your working all the time. I wouldn't call it worrying, but its the kind of business that requires a lot of attention to detail. It’s very time consuming maintaining your business responsibilities and relationships. You have to constantly be "plugged in" if you want to stay ahead. I guess I love it cause I keep coming back for more!

2. In fact what we would like to know is, how did you gain entry into Northcott? Was it a case of being in the right place at the right time, or was there more to it then that?

I guess you can say I was the right place at the right time. Back in the early 80’s I was in a record pool called Sure. The pool director Bobby Davis was working on The B Beat Girls For The Same Man a much sampled track thereafter (Josh Wink, Samantha Fox, etc.) for my partner Silvio Tancredi. They became good friends and the introduction was made. I did various mixes and edits for the now defunct 25 West records which Silvio owned. I became a fixture at his studio and his current partner flaked and I was there. From that point on we’ve been together. The whole story can be found at http//:www.northcott.com.

2a.You don't only have a desk job as we have seen with the many mixes that you have done through 1997. With that in mind, are you a person who prefers to work using samples, or are you more comfortable using real vocalists and real Instruments? Does it worry you to hear more and more dj's and producers preferring to use samplers, instead of going for the more "Human Touch"? Do you prefer to work with vocalists more than machinery?

I love the hybrid approach. The art of production is my passion, be it working with computers and technology as well as with musicians. I believe the two work very nicely hand in hand. Of course there has to be a balance. As far as the new jacks are concerned, I think that the sample end is a good beginning for someone but you must progress to vocalists and musicians to realize the full potential of music.

2b. When I last asked this question the last time things were still in the development stages towards Soulful House music in America. Have things changed with regard to peoples perception towards the music?

House music in America is still a very underground thing. Most of House Music is of an artist less nature and successful music in America needs an image. That why MTV blew up in the States. House Music today is very disposable with records lasting in popularity only a few weeks and thats not enough for records to become commercial. It always amazes my how for example in the UK different types of music wind up on the national charts. Americans aren't that open minded I guess.

3. Are you at peace with the press? Do you constantly worry about being misquoted, or do you have a good relationship with the press as a whole?

Yes, I am at piece with the press. Its inevitable that you will be misquoted. It’s all for the sake of selling magazines I suppose. I myself don't get much coverage in the magazines but all of our labels do which I am very grateful for. My only gripe is that the press sensationalize things as the next best thing and then they disappear. For example, they’re love affair with Junior V., Gusto, etc. They praise them then rip them apart. They don't do enough exposing of the staples of the music. The things that have lasted the test of time and trends.

4. Through the singles that I have been listening to at present, it seems as if US producers are making even greater strides within the Vocal Garage circles, and Deep House circles then ever before. The Master at Work, Kerri Chandler and Blaze albums pay witness to this observation. Does it bother you that England, who are going through this love affair with Speed Garage could be missing out here?

I think that we don't tend to segregate music and just except it for what it is. In the end it’s all so similar that tearing down the barriers is whats needed. Soulful house is my preference but I love other styles as well. It works for us. Maybe the UK should just enjoy the music for what it is. The world is a big place and no one style can dominate a market.

5. Speed Garage has in one way or another pushed Garage into the spotlight. It has also even lead to some real meaty arguments on both sides of the Atlantic. What are your views on this passionate subject of this music. Is it the progression that was needed within the Garage circles, or was it a case of "if ain't broke why fix it".

I think the term "Speed Garage" is ridiculous, and I take offense to people using the term to describe a style of music which bears no resemblance to what the term actually means. The Garage was a place where you heard all types of music not just screaming divas over soulful tracks. The UK coined the term "garage" to describe todays brand of US Vocal House. I don't think Speed Garage helped anything concerning US House. Its a slight production twist on our own style. Most of it is anyway. What Tuff Jam and the like are doing is closer to US House, not that monotonous Armand rip off style.

5a. From what I know of, your labels were the first labels within the USA to work with Speed Garage artists such as RIP and Tuff and Jam. How did this come about? Was it a case of having great people on the grapevine? What were they like to work with....?? Were the singles successful?

I guess it was just me "being on top off shit". Thats makes me feel good that I can still recognize trends. My company has proven that throughout the years. The RIP single was very successful while the Tuff Jam single just did ok. I wasn't happy with what the guy’s turned in as final mixes so I gave it a shot. In the end I wasn't to happy with what I did either. My favorite track on that double pack was "My Love" which was a prerequisite to what they became known for.

6. You have worked with some of the top names within the business where Garage music is concerned. Who have you worked with that impressed you, and why?

I’ve worked with some very talented people throughout the years and I’m grateful for that. The thing that really impresses me is raw talent. A great Vocalist or Player really gets me excited and those sessions are usually all nighter’s! As far as some in particular, I’d rather not single anyone out.

7. Is there anybody that we should keep our eyes on within this style of music for the future that you have seen in your travels?

Bobby D’Ambrosio,USA, George Sykes from Equip Records,US Sandy Rivera,US Ron Trent,USA, Cosmo (NY-She/DJ),USA, Catch Productions,UK, Frankie Feliciano,USA, just to name a few. Plus all the usual suspects, M.A.W.,USA, Soulfuric,USA, Mousse T.,USA, etc

8. In Europe "The Body and Soul Club" is constantly being referred to as the club to go to within New York. Have you visited it yet, and does it live up to the hype?

A fact you may not know is that the promoter John Davis is from the UK. Yes it’s very good, from a Garage purest point of view. I wish they Would do more guest spots of different DJ’s besides the residents though. Joe Clausell, Francios K., and Danny Krivit are all very talented but I like to here a different perspective once in a while.

9. You have produced so many classic tunes in the past, such as "Do you want me Baby", by Cloud Nine and "Don't Be Shy" by you and Victor Simonelli. For instance, the track called " Do you want me baby is considered a classic today, and selling for really ridiculous prices over here(Uk) in some specialist Garage and House shops. How did that single come about? Who was there a vocalist on this classic track?

Firstly, I didn't produce the Cloud Nine record, it was just Victor. I engineered and played on it. How it came about was a session that consisted of me engineering for Victor and he did two tracks that day. One was Cloud Nine and the other was "I Know A Place". Both did very well. I had the choice to pick one for Sub-Urban and I picked the Cloud Nine record. It’s still selling today!

10. After the initial success with Victor Simonelli, why the sudden break up!!! Why didn't you continue as a team? Are there any future plans to team up with Mr. Simonelli in 1998? Do you keep in touch at all?

I talk to Victor all the time. We are very good friends. He’s a hard guy to pin down as he’s always traveling. He also is living in Rome now which makes it even harder for us to collaborate on something. We definitely will be doing something together in ‘98.

11. What have you to say to any aspiring Dj/producers out there that are trying to break into the world of House music on a serious level!!!

Keep doing it and before you know it you’ll have developed your own style. Thats the most important thing. Ripping off other peoples shit wont give you longevity.

12. You seem to be person who loves the soulful element within Garage and Deep House music. Are there any plans of further remixing jobs that might require your soulful touch to them?

Anything I do will always have a soulful approach to it. It’s just where I come from. There are many projects scheduled for me in ‘98 but you’ll just have to wait and see!

13. What are we to look out for within the Northcott stables for 1998? Or is it a case of just watch this space??,

Check out http//:www.northcott.com and that will fill you in!

.14. Will you be visiting Europe this year?

I am always in Europe. I’ve been doing gigs mostly in Switzerland and Italy as of late. I would love to come to England again, as I haven't been there in a while. They seem not to be too interested in US DJ’s right now, but I’m sure it will be soon.

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