As soon as my better half found out I was interviewing Andy Caldwell I knew I was in trouble. All week all I’d heard, “oohh Andy is so dreamy, do you think he vacuums naked?” God woman, he’s not just a sexy single hunk you know! He is also a musical genius that can play pratically any instrument he wants, and he’s produced music for over 10 years! My wife’s response was to ask me if I think he’ll wear a wife beater while on tour here next time… It was a quiestion I wasn’t prepared to ask.
Andy, your musical background is so diverse, can you elaborate on it for us?
Well, unlike many people involved in the dance community, I’m a genuine music lover of all kinds. In fact right now, as I write this, I’m listening to Sigur Ros. I don’t think music is something you can compartmentalise; it’s a living, breathing thing. I try to bring my modest appreciation for music into my productions and attempt to steer people to open their minds to a broad range of styles. I’ve played classical piano since I was a kid, trumpet in the school band and keyboards with my group Soulstice. I just can’t help having an interest in a huge variety of music.
Your obvious passion for producing shines through on your thirty odd releases. Do you feel the same passion for the live element of DJing?
I absolutely do. In fact, if it weren’t for DJing, I wouldn’t be where I am now. The real catalyst for my conversion to producing arose out of an intense curiosity to learn how to make the music I was playing. Now I’m able to actually play the music I make and get an instant reaction from the crowd. That’s an intense feeling and something that I don’t think can be replicated any other way.
You were the first DJ to mix a disc on the “Hemmesphere” compilation series. Were you given complete freedom as to the direction of the mixes, and how were you selected for the process?
The people at Jam Recordings gave me a lot of freedom to choose the tracks for the compilation. I began the process by submitting a long list of tracks I was thinking of using. Once we had a confirmed list of cleared tracks, I put together 2 mixes, each one varying a bit in style and theme. I wanted the mix to fit in with their model for the brand, so I wasn’t going to send in a mix that was completely abstract. They ended up choosing the deeper of the two mixes as they felt it was more appropriate for the release. I think this project really cemented a relationship between us that began back at the WMC 2005. Caroline (my manager) asked them (Jam) to come check out my show with Lisa Shaw at the Music 2 productions party. They actually showed up and liked what they heard, the rest as they say, is history.
You have an artist album due for release in March 2006, can you fill us in on that?
My album is essentially a history of where I’ve been, musically, for the past 5 years. I have songs on there that I wrote back in 2001 like “I Can’t Wait” as well as new material that I completed just a few months ago. When working on the album, I wasn’t really thinking about what genre I was intending on marketing to, or how the remixes would sound. I really just did the album for myself. Some people are going to be surprised, I think, by the intense diversity on it. I go from rock influenced electro to ballad style bossa nova. It’s very diverse. I wanted to create something you could sit back and listen to from beginning to end and experience a whole range of emotions and feelings.
You have picked up and mastered many an instrument, including the piano. Are there any thoughts of releasing a more contemporary or even a classical record?
Actually, my skills are pretty rough right now; I’ve been on the road so much that I haven’t been able to practice playing keys and the like. That said, I definitely see myself working on other kinds of music down the road, not specifically related to the dance genre. I don’t know if you’ll be able to classify it as “classical” or “contemporary” but it will certainly have elements of just about everything under the sun.
Can you tell us about the music you’re producing for television?
Most of my work in the TV/film industry has come about as the result of licenses of my existing catalogue of work. It’s the rare occasion when I’m actually commissioned to produce a piece from scratch. I see myself more fully entering into this industry later, in the years to come. Right now I’m enjoying working for myself and producing music for my fans.
What’s the main advantage to having your own label, UNO Recordings?
The main advantage is creative control. I’m able to see a project come to fruition after months of ideas and remixes being tossed about. I’m able to also help my friends release their music and give them a platform from which to launch their artistic vision. So far Uno has been mostly a family oriented label. I’m working with a very tight knit group of people.
If you could change one thing about the perception of DJs, what would it be?
I’d have to say DJs are a bit over rated! Really, I think the people who deserve the credit are the producers making the music for the DJs to play! It’s really quite ridiculous the amount of attention and money the top jocks garner. Most of this has come about because of the lack of a connection between the fan and the artist, leaving the DJ the only real focal point. Many dance music fans don’t even realise that a DJ is merely playing other peoples music (usually). Let’s give credit where credit is due!
If you weren’t spinning vinyl what would you be doing right now?
I’d be making movies! I’ve always loved the cinema and did dabble in it before I got into music as my full time job.
Favourite remix that you have done for another artist?
I’d have to rank my remix of Knight Keys “Never Felt This Way Before” as my favourite to date. It’s a 10 minute monster with a sick break down. I remember hearing Danny Tenaglia play it at the WMC 2003 just a week after I had finished it. He let it play all the way through and then announced it shortly after it was done. Very cool.
Favourite memory from an overseas gig?
Dubai in April! I had the opportunity to play this amazing party in an open air venue literally on the beach with the gentle waves of the Red Sea lapping at the shore. It was a special night, the party was packed, great sound system and the people were totally going bananas.
Are there any DJs or producers from around the globe, particularly Australia, that you admire?
I think right now the most impressive thing coming out of Australia is Simon Grey. His most recent release has me spellbound. Really. As for international producers, Chuck Love from Minneapolis is killing it right now. He’s going to be a huge success in the deep house world.
Hemmesphere Four, with a disc mixed by Andy Caldwell, is out now on Jam/Shock.
