c,mon, thick dick~~~~ -- breakmag

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Date Posted: 01:26:15 08/14/02 Wed
Author: dun want a short dick man
Subject: c,mon, thick dick~~~~
In reply to: PODODARECORDSCOMPANYTHICKHEAD 's message, "JAMES LAVELLE BIO" on 23:52:56 08/13/02 Tue

>JAMES LAVELLE
>BIOGRAPHY
>
>
>'I became a DJ because I couldn't Breakdance and I was
>no good at Graffiti.': The Underground's loss, music's
>gain. Well, not in every sense- musically, James
>Lavelle has been at the heart of the London
>underground for almost a decade. In love with all
>kinds of music for all of his 27 years.
>Like the rest of us, it was the parental record
>collection that switched James Lavelle on to music,
>early Lavelle sets included the likes of Stevie Wonder
>and Deep Purple, an eclectic mix that was an embryonic
>blueprint both for James Lavelle as a DJ and for his
>label Mo' Wax; good tunes are good tunes - the genre
>doesn't matter.
>
>But back to the young James, and hip-hop, the one
>style of music that initially captivated him. It
>wasn't just the music; the UK's fledgling hip-hop
>scene was as much about Tacchini as it was Whodini and
>the breaks were the rhythms for breakdancing, which
>James couldn't do! Not that it mattered; he was
>already sold on the breaks. Inspired by the sound
>systems put together by the likes of Afrikaa Bambaata
>in the states and by the Wild Bunch over in Bristol,
>James started buying records by the bucket load and
>providing the soundtracks to his hometown Oxford's own
>block party scene. The first party he put on, at 15,
>made him enough money to get a pair of decks and with
>Oxford starting to run out of vinyl, London beckoned.
>There's probably no better example of right place,
>right time.
>
>Even during his work experience, at Bluebird records
>in West London, James Lavelle was selling tunes to the
>founding fathers of modern British dance. Pete Tong,
>Dave Dorrell, Norman Jay and Tim Simenon - the list is
>as long as it is distinguished. It also included
>Gilles Peterson, whose new Talkin' Loud label, with
>its fusion of different sounds, had given James an
>idea for a label of his own.
>
>Taking its name from the night he'd started promoting,
>Mo' Wax Please, Mo' Wax was set up in 1993 with
>?,000 from Honest Jon's Records where James (still
>only 19) now worked. At Honest Jon's, James had
>started putting hip-hop tracks alongside the classic
>breaks that had inspired them; from the outset Mo' Wax
>worked along similar lines.
>
>Out on the floor, James was again looking to do
>something different. He was playing Saturdays at the
>Fridge in Brixton and with Patrick Forge at the
>Gardening Club but was looking to take the anything
>goes eclecticism of Mo' Wax Please to a bigger
>audience- which made starting a club on a Monday night
>seem a bit odd. But �That's How It Is? founded with
>Gilles Peterson at Bar Rumba was an instant classic
>and eight years down the line is still at the same
>time and in the same place. How many clubs can you say
>that about?
>
>Meanwhile, Mo' Wax was taking the Lavelle musical
>approach to even greater heights with the release in
>1996 of DJ Shadow's seminal 'Endtroducing', a record
>that turned music on its head and catapulted Mo' Wax
>into the spotlight as never before. James says simply
>'It changed everything' and for a while things did go
>a bit mad with both him and his label in ever
>increasing demand. Whilst the groundbreaking Mo' Wax
>nights at the Blue Note still epitomised his laconic,
>DIY approach to music, James found himself being
>overtaken by business and celebrity and chose this
>time to decamp to Los Angeles to spend three months
>working on a new brainchild, an album of his own, to
>be called UNKLE. It took five years.
>With contributions from Ian Brown, Richard Ashcroft
>and Thom Yorke, UNKLE was an immense piece of work,
>the British alternative dance record that James had
>always envisaged making. But the sheer length of time
>spent in the studio inspired James primarily to get
>back into clubs and to start DJing again. A DJ support
>slot for the Verve followed, as did similar tours with
>Massive Attack, The Beastie Boys and Radiohead. James
>was also heavily involved in fashion, providing
>catwalk soundtracks for Alexander McQueen, Hussein
>Chalayn and Japanese label Ape. And then there was a
>season in Ibiza and opening night sets at London
>superclubs Scala and Fabric, where he started his now
>famous Friday night residency at Fabric Live.
>
>It was a back to his roots move; a chance to play the
>records he loved to people who loved them, to both
>entertain and educate a whole new generation of
>clubbers in the same way he'd been entertained and
>educated in the '80s. Because ultimately, James is
>just a music fan like everybody else. 'The school kid
>with the broken glasses who made it' is how he terms
>it. 'I don't want to be in magazines, I just want to
>play records'.
>
>In between playing records, James has found time to
>produce guitar band South, and provide the soundtrack
>for Jonathan Glaser acclaimed movie 'Sexy Beast' which
>threw him in at the deep end but gave James the chance
>to rediscover his DIY approach to music, an approach
>he never lost but one increasingly difficult to hold
>on to.
>
>Not that he really needs to worry- his sheer
>enthusiasm for his music ensures its freshness. James
>is one of those characters who seems to be constantly
>pinching himself to make sure its true. 'I've got the
>luckiest job in the world' he says, and you can't help
>but believe him. This is the lad who has gone from
>stealing VW badges to being name checked on record by
>Mike D; the James Lavelle musical revolution has gone
>full circle and that big wheel just keeps on turning.

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Replies:

Re: c,mon, thick dick~~~~ -- DICKHEADTHICKHEADPODOKICKYOURASS, 02:19:26 08/14/02 Wed