Clubbing Magazine


Pete Tong is perhaps the world’s best known radio DJ and have over a decay entertained the world with his Essential Selection and Essential Mix on BBC Radio One. Clubbing talked to Pete Tong when he was in town for the Heineken Thirst world tour.
You are one the most influential persons in the dance music industry today – is it hard to have the power to promote and judge if something is hot or not? - No it’s not hard – it’s what I do and what I like doing. People sometimes write to me to say it’s really unfair that you don’t play my record and you are stopping my success. I don’t turn water into wine – I can’t take something that is shit and make it great – I don’t do that. I’m lucky to have a taste in music that more often than not is reflected by other people liking it. Good records are made all the time and the fact I choose to play them – well what I’m really doing is speeding up the process – I’ve missed records – everybody does that.
How much of your own music taste are influenced on what you bring on the radio? - All of it – nothing ever gets played I don’t like. I do have one slot on the show where a DJ comes on and play some records. It’s very rare I don’t want to keep the records that the DJ´s bring in.
You have been in the music industry for many years – having your own record label FFRR, A&R for London Records and consultant for Warner and you are on contract with BBC until 2005 – what’s next for you? - That just the current deal – I don’t know if they kick me off or keep me on (laughs). I just want to keep looking for new challenges. I committed doing Pacha last year – I though it was an important time for me for clubs to run really well – if we take care of clubs, the nightlife, and the social and cultural aspect of clubbing and providing environments where people want to come to hang out and hear great music – we will repair and reinvent the business. The business went very big in late 90’ and it couldn’t finance itself. - Working on the syndication of the radio show globally and getting the internet access of the show more advanced – the internet has done more for my international reputation than anything.
I understand that you also are producing tracks? - Yes – I’m doing it for myself – its like painting – it’s something I really wanted to do and never had the confidence to do before now. So it feels good. It’s kind of learning enough about the technology because you can make music so easily – you don’t need a studio just a laptop, Logic and a MIDI keyboard. Ultimate I want to create not spending weeks reading manuals learning how to rewire Logic. I just did a chill-out track for Paul Oakenfold´s Perfecto chill out album, which came out really well. I’ve been working with different people; I don’t just want to get stuck. I worked with Steve Mac, Chris Cox and Tommy D and it all went well – It’s good for my confidence just to bounce ideas of different people.
	How do you see the compilation marked? - It’s pretty much shot to pieces – I did compilations at a time where they sold ridicules amounts – when I did !Annual” for Ministry Of Sound with Boy George we went into the Guinness Book of records for the best selling dance compilation with 800.000 copies – but those days are long gone. When I was on contract with Warner I was tied into these TV advertised compilations, where you were compromised all the time and I think in a way in hurt me internationally. As much as people understood who I was in England – if you are picking up a copy of a TV compilation in South America you won’t understand why certain tracks were on it and when you saw me I wouldn’t sound like that. The 6 latest albums have been like a CV for me showing off what I’m doing – I don’t go into it to make money anymore. The Blue and the Red albums did me good it was really honest and had no agenda – just to put good underground music across. Last year we didn’t want to do a Pacha compilation, but we are doing one this year but with an angle – I’m doing the main room CD and the backroom CD with a hip-hop DJ Scream from Germany. I think it is a refreshing idea. I would like to do one with Apple I-tunes in a different way where you can download tracks for the Ipod.
	You have been part of the Heineken Found@Thirst competition. What are your feelings about it and what it gives the industry? - It creates a lot of media, a lot of talk, and a lot of heat. It gives people who are prepared to give it a go – to take a chance and to make something happen. I say a lot to people just to get involved, get a smile on your face take it in your stride don’t treat it like “oh my god if I enter I can fail and my career is over” It should be done with a certain – what the hell – because many people that has entered the competition, not necessarily reached the final things has happened for them. We come through the market and you get to meet a lot of people and you are given a lot of new music. Just last week I’ve played a record on the radio from a producer from Greece – and I think it’s going to be huge. He didn’t make the final. Miss Motif didn’t win the Irish edition. So if you win you get a lot of media attention – we don’t promise to turn anybody into a superstar DJ overnight. But you are going to get your 15 minutes of fame.
Photos and interview: Christian Almind