Manic Revelations [VINYL]

hello everyone welcome to this first episode of raw stories, rs is a livestreaming program that explores the culture of electronic and underground music. each episode will focus on the history of a club, a label, an artist or a musical gear. we will try to focus on

what happens in the music scene. you’ll be able during this show to react live on our facebook page, ask your questions to our guest, and for this premiere of rs, i’m pleased to welcome our first guest: dj gregory aka point g hi gregory gregory >> hi matt matt >> how are you ?

gregory >> i’m fine matt >> cool gregory >> you look good on the screen, matt >> true ? you too, i’m sure. so we will explore your journey, your career, your story and your artistic profil, because you’re a real artist, besides you didn’t start into the music industry,

but in an art school, gregory >> yes in fact i’ve started in art school when i was kid, i was surrounded by a lot of people who was painting, sculpting… i think it influenced me a lot besides i had a bachelor a3 (arts and letter). i’ve prepared for enter to the beaux-arts school then i’ve did the penninghen art school in paris,

hold on i cut the sound, in fact i wanted to be a painter, but i’ve been literally swallowed by music so i stopped studying and i started slowly in music. matt >> how did your musical discovery begin? your first musical slap ? how did you get the trigger ? what was gregory listening to at the time ?

gregory >> i have the perfect answer ! i’m a child or rock, i listened a lot of psychedelic music king crimson, pink floyd, the beattles, the clash… of course david bowie ! and i started to change at the beginning of the hip hop, until i had a kind of revelation, it was powerful

onâ 'can you feel it' of mr fingers at the palace club. in 88. from that moment i wanted to discover this music that we call house music. i had the chance that my friend’s brother went to live in new york end of 87 and my best friend went to live in new york in 90, so from 90 to the time i lived in nyc in 98,

i’ve been in nyc every year. i’ve did my musical education like this, i went into each clubs, i bought a lot of records, but i didn’t know the people from the house scene in paris so it need a certain time to discover who was the people, what was the parties,

so it’s how it started. matt >> that’s a good school. gregory >> yes, it was mine matt >> so how did you get your radioshow on radio fg ? gregory >> in fact what happens ? my friend stephane’s cousin had with a partner called dan a record store in paris called ticaret, who was…

the hip hop store in paris end of the 80’s, beginning of the 90’s it was the place, face to stalingrad’s place. one day she said to her cousin : 'as you are in nyc i will introduce you to some distributors you will send me some hip hop records, i’ll sell them and you’ll add a little reward on it.' so i accompanied him during the summer. and…

i think the second year, i told him why i would not do it too ? we will go to pick up some house stuff, some stuff that we will not find in the records store in paris, and i told him i will sell them, we will do same. this is how i slowly met

romain who was working at bonus beat shop then called bpm, pascal and laurent garnier was at the usa import store as i was going out, not too much into raves, just a little bit i went a lot at boy club and of course rex club, i went to laurent garnier’s party at rex club, garnier’s padawan was dj deep

who was playing at the boy too, and at luna, i liked that he was playing house from new york, chicago, detroit not only techno, he played house and garage, you found same sound as nyc i was very happy to come listen him. one day i went to usa import with a bag of records, a lot of classics, some old trax label,

records who were hard to find in paris, like the milo johnson double pack nature boy… and i see dj deep who was listening the news, he opened his arms to me and told me me ‘you are the guy who is selling some records, that’s awesome’ then we started to speak, we became friends,

the funny thing is the same week i’ve met… there was a record store called caramel who was in an apartment, it was like you go to a friend’s flat, so i was front of the door and i see a guy we start to talk i was young so i opened my big mouth

and the guy was answered me seriously he had a serious level, i told him about new york, disco… and he said ‘i know what you talking about’ i continue about larry levan… he said ‘yes larry levan… …you know… …i accompagnied larry on his last tour in japan’ i said ‘how is that in japan?’

he said ‘i grew up in japan i’m finishing my studies in rennes so i know what you’re talking about ' so i told him let meet us again. it was alex from tokyo. i introduced him to dj deep and we became a kind of trio. we work together many years. dj deep got his own radioshow on fg.

dj deep was on radio fg, he invited me a couple of times to play in his radio show. one day, we were drinking a coffee and he said 'fg give me the slot from monday to saturday from 12pm to 14pm' a midday mix, like did john robinson on wbls in nyc in the 90’s,

very good slot ! matt >> that’s impossible to get now. gregory >> no we can’t. so he said that he didn’t to do it alone, we were surprisingly looking at him he said : 'if you want we do it all together we do some days in common, some days alone, a kind of mixed djs.' so we said yes of course, awesome,

he said that we had to find a name, so i answer the name is easy to find, we will call it ‘a deep groove’ he said why a deep groove ? i said alex, deep and gregory, adg. how long did you do it ? if i remember well, it lasted two years, one year and half or two years. alex went back to japan…

matt >> only live show ? gregory >> yes of course ! so alex went back to japan, dj deep moved to radio nova, so i kept on different slot the show on radio fg during 13 years. matt >> 13 years ? i still not believe it ! matt>> congrats

gregory >> even i was living in nyc, i sent the show every weeks. when you have a radioshow, we was not a lot to do it, i mean to play this garage sound from new york, chicago. matt >> remind me what was the year ? gregory >> the show started in 1994. matt >> it was the beginning of the house or garage in france gregory >> no the garage has always had an echo in france,

a lot in the gay scene, there were legendary djs, unfortunately one of them passed away few days ago, we were the second wave. so obviously you meet people, you have gigs… matt >> exactly, from dj gregory at the radio how did you come from there to music producer ? gregory >> are we talking about producing ? now ?

matt >> and particularly about this famous cheek remix and meetings that you’ve done and helped you to do it. gregory >> with the radio show i’ve met people, i’ll do it very quickly… matt >> we have time gregory >> there was a tall guy who did skateboard with long hair, very cool, we saw him turn around the offices and one day he came to me and he said

‘i will do a party at the folies pigalle club, i want you to be resident we will do guests, dj deep, alex, dimitri from paris…’ matt >> you talk about pedro winter ? gregory >> yes it’s pedro winter at the beginning, i did the party with pedro at the folies pigalle club, we did a few but it wasn’t so good with the club. david guetta took control of the palace at that time, pedro has this funky thing that brings people together,

so david told him : ‘you’ll take the bar of the palace club’ matt >> so it’s your first gig gregory >> not at all ! matt >> you told me your first gig you had a special name. gregory >> let me finish first, i told you about the first gig after. donc il a dã©placã© ses soirã©es hype au bar du palace, that was the moment where the french touch started. we all played there we’ve bring our k7, dat…

it was the period the most… crazy ! it was before the respect party at queen club. so now about my first gig, it was at the rex club, i was bad. i don’t remember for who it was, my nickname was captain d, i did only one.

but after that i learned and did it better, so i used dj gregory. pedro introduced me to syvlie chataigner with who i was resident dj during 15/10 years for her famous tgv parties, the only party where you can see 1500 peoples dancing on garage music. you know, you was here.

so dj deep is very close to laurent garnier, laurent has a label called fcom, first it was called fnac with eric morand but then he called it fcom with laurent garnier, he spends a lot of time with ludovic navarre aka st germain and shazz, so we’ve became friends all together, alex and me, we saw the music they did,

at this time was huge, necessarily, it gives motivation dj deep was producing a little bit of music ludovic navarre helped him a lot, at one point you want to start. so you start to buy a drum machine, a keyboard… you start to produce you can’t do it,

it was difficult we were on atari 1040 st, i think it had 2 mo… matt >> there were no digital software at the time gregory >> no we were on solid gear so it was difficult so at that moment as i was going to nyc, i bought an sp1200

the two main gear for hip hop and house at that time, this sound and groove was the sp1200 and mpc3000, mpc3000 that i will buy later, i started to do beats, try to, but anyway as i was, i’m and i’ll be always a big fan of the masters at work, fascinated by kenny dope’s rhythmic i tried to do what i could,

at that moment came the disco filtered it came from chicago with dance mania, relief, this kind of things, and all the guys from nyc like henry street. dj deep is on radio nova, the main radio hosts are edouard baer and ariel wizman the music programmers are loic duris

and gilb'r, dj gilb'r. as dj deep is at radio nova i play a lot on the radio, and i meet all these guys, we all become friends, after a while gilb'r will... we were on the beginning of the french touch, he left radio nova

for launch a music label called versatile records which still exists today. for it first release, he sign a young producer called nicolas chaix whose artist's name is i:cube, besides he will release a new album in few time. as they are emergents,

we are at the beginning of the buzz he will ask daft punk to do a remix. matt >> they were not well known at this time. gregory >> no but the buzz has just started. matt >> they just started. gregory >> the release is a hit, the daft punk's remix is incredible. for the second release,

gilb'r did a track, i don't remember the sample he used he re-use same formula, he wanted to use a formula that win and asked for a remix. he ask philippe zdar from motorbass & cassius, he ask him to do a remix but philippe was going to new york

and said he can't do it. so gilb'r called me and said it's your time, i said why my time, he said you will remix my track, 'i'm going in three weeks to new york for the summer...' to be honest i was a bit tetanized. he gave me the musical tracks, i can't do it. one week before i go to nyc i go to his home, and i tell him i can't do it,

i will not do it. at this moment he... it's his force... he put his fist on the table and told me you will do it, you will do it ! i was ok but... i took a... bunch of records, just with the hand,

maybe an idea will get out. this is the truth, i go home, i take a record, i put it on the turntable, we like the hazard, i put the cartridge on it, and i heard 'sunshine people sunshine people we are' i think yes, sunshine people it's me i say it again

we are in 96 or 97 at the time where there are no digital things, you do it on analog mixer it's laborious. so i do this track sunshine people i do it to the cleat. it's a mix of boldness and beginner's chance.

i don't know why, i don't wanted to see the vu meter move, i don't wanted to have dynamics, i wanted all on your face, full scale. i wanted a loud beat, a loud bass, everything to be loud. two days before leaving,

i bring him the dat, i didn't do your remix but i did an original track, take it as a remix. he said 'ok, so what do we do ?' i answered ' you write cheek it was his nickname,

venus dj gregory sunshine people remix we will do it like this. after the summer, i go back to paris... matt >> did you have the feeling that it was a hit ? or not at all ? gregory >> i have the feeling of nothing ! so i go back to paris

gilb'r told me 'i go to london' i think i was already in london, he said we will do acetate, at the time it was test pressing that you can play only 30 times, i said cool, we go to this records store, vinyl junkies there were most of the uk scene gilb'r go behind the dj booth,

i'll make you listen to something, and he play the track, honestly they didn't react. i think it's not good. the track comes out, since that time he comes out every three years, it became one of the hit of the french touch i was not alone, we talk about the first wave

i mean... matt >> a primer the primer just before the majors get into the business, for doing tacks, video clip, put into tv. where are we ? matt >> .g is creating at this moment ? gregory >> so... there are these beats i do on my sp1200,

all these vibes, i did every times these... these beats, these vibes, it was the beginning of kot on blackwiz records, there was 'the bounce' by kenlou, what's else to say ? you felt that in the house music, this tracky style but this abstract style

i don't know how to say it. i have made tons of this, but i never release it. matt >> you kept them aside gregory >> yes...but... with sunshine people and fantom with julien jabre i think we will talk about it later matt >> it was not the same register gregory >> no it was not the same register,

it was on the source lab compilation and get a very good feedback. i didn't know how to do with these tracks now it's time to see the video tape. matt >> yes about .g i met him at the middle of the 90's, we were all going to a record store, a store on bastille place called rough trade

we met all at the middle of the week during one or two hours, this is how we slowly... at the beginning we took a coffee, then we were interested to each other, one thing leading to another we became friends. we had a little office yellow productions, he came one times, two times, then he came regularly every weeks.

we can almost say that at the beginning i don't wanted to touch at his dj gregory's project which was already known, which even have a success. our friendship was almost new and i was scared that he saw me as a profiteer. i asked him to make me listen his unreleased stuff and one day he make me listen this stuff .g,

these tracks a bit raw, slightly dirty. i felt strange because it don't sound like a gregory's track. so i told him 'you will not release it under gregory ? what is this ?' from there he started to say 'i don't know what i will do with this i didn't expect to do anything about it'

i told him that interested me. the creation of .g nickname has started from there, neither him nor me we didn't wanted to touch to gregory's name first because we didn't wanted to... i won't say broke a friendship but take the risk of jeopardizing a friendship which was strong at the time.

and on his side as it was new for him and for the period, he didn't wanted to browbeat the people regarding what he do under dj gregory from there he said give me few days to create a nickname, he came back with .g that i found super fun, that represent him well...

musically... with all the phantasms that goes around .g. .g this .g project would not exist without alain. that is. it's entirely alain's initiative matt >> he is the one who brings you to this,

give you the idea. gregory >> he is the one who choose the tracks, he has the cover art concept, basic and raw. matt >> so you released this first ep under .g gregory >> at this time, the funny thing was that the played tracks was not the same as the ones played today. today chicken coma is a classic

but at the time, djs like joe claussell played jean claude against all expectations. it was another scene that has monopolized this release. matt >> it's interesting for young people watching us to know that .g it's not something new but something that you have matured, created before,

you maybe put it in sleep, but you created it long time ago gregory >> of course we are in 97, matt >> yes in 97. gregory >> there are two, three releases in 97, there are some without .g mention, the bno beat, some odds like this. underwater that i've done in 98 in new york

we will talk about it later, that's it. then the return of point g since four years and half. matt >> let's talk about the continuation... of your story. at this moment you meet julien jabre and you create the duet soha. gregory >> hold on ! matt >> there are something before !

we forgot something. gregory >> at the time we have our radio show with dj deep, he is my friend, dj deep and alex from tokyo. one day... you have to understand, it's a time where we don't have internet neither cell phones, a radio show

is sacred, the laurent garnier's radio shows on radio nova, i recorded them, i cherished them. the lord zeljko's radio shows, it was another musical style, dub and reggae on radio alligre, i mean it was...

i don't talk about the radio shows in nyc, the number of k7 that i have, it's just whatsoever. so... one day julien came with a friend... called lionel riley, and he told me that 'he come to see dj deep' but it was not the day of dj deep, so i said : 'he is not here but...'

there is a video tape ? do you want me to talk about it notwithstanding ? so i said 'he is not here, stay, we are going to pass the radio show together, you like music...' matt >> so you got to know this guy who was not coming for you. gregory >> slowly, we know each other softly,

he still studying, he play tennis, very well indeed ! we drew him into the music, we literally... even him has... he will have to talk about it one day ! matt >> i think he will talk about it. gregory >> not about it, but the way

how he... it was my case but... how you was studying and you switch. he did an engineer school, i remember why he switch ! we became friends, it was an era

where this music was underground. the door is open for everybody, but not everyone will go inside, today it's popular, it's trendy. matt >> the social media make it trendy gregory >> today you can have something pop or underground,

at the time the things were more... you was waiting for a release during one year, you played it during one year, we were on lengths, we had more time. matt >> let's listen to julien jabre gregory >> yes ! let's try to not repeat the storytelling we met in paris in 96,

or 95, even 94. we met in radio fg, i listened everyday the show of dj deep, i wanted to meet dj deep, i had managed with a friend to come during midday, that was the time slot of dj deep,

we came and we saw dj gregory, we stayed during all his radio show, we was friendly and sympathetic, few month after we met, he went to nyc for holidays during 2 or 3 weeks, he asked me to replace him at the radio show. leading to another we started spending time together, i spent time at his home, he already had some musical gear,

he was beginning to do his first tracks. so we started to tinker the gear together, it happened by chance, nothing was planned, it was more for fun. so he opened me the door, we started to do music together, and we did our first track,

under the nickname fantom. we didn't sign it under our name, because it was very filtered disco, even though we loved a lot it was not into the spirit of we wanted to do and produce, we prefered the deep house. so we... started with fantom

'faithfull' and at the same time we did some tracks more deep, and to do what we liked to hear from the americans producers. one year and half or two years after we met, we only did fantom and tried to do some tracks but nothing really serious, he went to live in nyc during two years,

one day he called me and said 'i am installed, do you want to come at home ? we start something together' so soha is born i think that year i stayed three month two times two weeks, and two month during the summer, we didn't stop,

we were into the effervescency of new york, we spent our time to work all day long, we didn't go out too much. our soha duet started in nyc, and we continued it after when he went back home two years later, in 99. matt >> we are still with our guest dj gregory,

you can ask your questions and react, we will check it later during the interview, gregory >> are we good in the live ? sorry if there is a time lag on the live, we try to fix it. matt >> we were talking about fantom. gregory >> yes fantom. matt >> also soha with julien. so we became friend with julien,

i think i came back from nyc with a tr 909, and for try it i took some loops, i did something quick, julien came at home one day, he listened it and we finished it, for fun, and we suggested it for the source lab compilation, so as he said we took

the nickname fantom... matt >> this disco sample. gregory >> yes this disco sample that had a good feedback, matt >> you was in new york. gregory >> no i was still in paris, so we were in 98, many radio shows, many parties in paris, my residency at the tgv party,

but my fascination for new york, and my friend who lives there, i went there every summer for many years, i know a lot of people, so i think myself i will try it. i moved for nyc in 98, my friend mandrax, a swiss dj,

he had a label called liquid groove, found me an apartment in his building, we were neighbours, he had a room in northcott, northcott productions ltd. northcott was a music distributor and a recording studio with many rooms. the boss was tommy musto, he had his great era with frankie bones

on the musto & bones project, so he did his own studio and created his legendary label with victor simonelli, the label sub-urban. he signed osunlade, that's funny because he made me listen his demo and aksed me 'what do you think of this young guy' to play in a few parties

that became vinyl after, and he still continued to produce. the respect parties at ps1, a lot of things like this, at the twilo. so i called julien he had almost finished his collaboration with dj deep, they did a project called the deep

with this famous track 'dom dom jump', gregory >> yes i think so i told him 'i'm there, there is everything, come' he came, and we started slowly to... do somethings, not really slowly, and we created this soha project.

they have a project called next evidence, we maybe can... release these soha tracks on their label.' all the first soha are on basic recordings. we released soha... with a good feedback if i remember well number one on radio fg. we worked a lot, the business is in europe,

at this time in united states matt >> that's when you come back from nyc that's true... as always i did some remixes some for peppermint jam, i did two or three tracks but it was not you felt that it was not yet in, regarding what i wanted to do.

everyone who have gear today or a laptop knows that we spend time to do some beats and try ideas, and i did a track a bit freaky, the delay so that gave something wobbly. you want to open your own studio. i made it listen to michael and maxime as we released some soha on basic recordings,

i did two other tracks, in 98 on basic recordings. i went back to paris in 2000, for record musicians. michael and maxime got a deal for release an album of next evidence, they needed a studio for doing it, they had a budget given by the record company,

i don't exactly remember how it happened but i proposed to them to share the studio with me, the recording booth, and me in an another room with julien who were here all time. before that there were eight month of works.

so i had a problem and i thought 'what can i do during eight month?'. with a real recording booth so as they are my friends alain ho and chris mainly chris, chris partner of alain ho at yellow productions. matt >> chris known as bob sinclar gregory >> he did bob sinclar after sunshine people,

i was close to alain he was fascinated by sunshine people he asked me how you this or that, he was doing trip hop, he had the mighty bop project but he saw there was something to do in house music, that's how he did his first bob sinclar's release he was saying it was just for fun,

we have to build the studio, then he released paradise there was the office of the label he said 'there is a table here, put your mpc and all your stuff, i work on my album you give me a helping hand' with a lot of people on beats and other ideas. he said 'you're there and do your stuff,

i spent eight month in his studio, we started to discuss and i said 'we will never be american and we will never do their music, we don't have same soundsystem, same culture, nor same sensibility or food. so we have to find at one moment our touch,

during christmas at fort-de-france. where i heard a caribbean sound, that's crazy' that did something in my head i went to crocodisque and i bought i don't know how many caribbean release tons of caribbean music.

i started to do somethings, chris had a radio show on radio fg and salomã© de bahia was doing voice over on the show, one day i had something with a sample with a caribbean rhythm house, something hybrid. there were many versions on this track we played the track, she started to speak

then she said 'we can record now' we answered 'no it's good and it will be fine'. i thought it's good. i think fifteen days after again that's something crazy, i go downstairs, chris was not here, everyday i had two hours alone, i took one of his record,

he had a lot of records for take sample and ideas, he was turning around a record since a long time, i took the records i putted it, like sunshine people and i listened a brass riff alone, without rhythm, bass or other,

it was doing : i tought 'it's brutal there is a puerto rican vibe, i started to do the track very excited. at the time, there was a hit from masters at work and todd terry 'sume sigh say' toddy terry remixed by the masters at work,

a classic of classics, i went upstairs and i said 'i have something crazy, just huge' he said 'ok don't disturb me give me time to arrive' 'make me listen your track' everything in the mpc i played the track 'block party',

then he looked at me with wide opened eyes, and he said 'wouah it's brutal' he told me 'we need to do something' i said 'yes but...' without promotion, we will release the record for us, to play in parties, we will ask our friends

for the club, on the mode of what you said for months, that is something around the perscussion. it's exactly that' he said 'we are all together,

we will i said 'ok nice' when you know the story of the label, they have even been visionary and who knows what else, it's just completely crazy, 'we will call it africanism' i said 'why ?'

he said 'because...' i think it was a track of cerrone where you have some percussions. by the way the first track i did under the name of cheezy d in 96. i think we can play the video tape, he went downstairs,

i said 'yes it's brutal' he said 'listen you give me an idea, we will do a project, to do what you did, basic tracks i said 'my friend, here we are' listen to each other, we will do this project' matt >> this project is...

gregory >> this project is... the crazy thing with yellow productions, between alain and chris on so many projects from dimitri from paris in terms of promotion, marketing, i told him 'how do you want to call it' he answered me

if i don't do a mistake was with a sample of cerrone, anyways ! i think we can play the video tape. matt >> let's play the video tape on africanism. the label is installed, practically everything we did worked, we had succeeded in creating a real team around us with martin solveig, gregory...

and a lot of french producer that became our friends. it's an idea that came from chris known as bob sinclar, he had the idea of the project, and we developed it together. we had a lot of french talented producers, so we thought it was not necessary

to ask anyone to send us demo. instead of received something done by someone else where you have maybe two or three change to do, we prefered to do it in the opposite direction, we explained the project to the artists and the theme, a bit of artistic direction but trying to keep a large part of creativity on their side, but still with a frame

for stay into the theme. it worked immediately, i remember crazy numbers, we did around 20 000 / 25 000 sales by vinyls, crazy sales. that gave us the opportunity to shine into the world, i remember that with gregory and a large part of the africanism crew, we did 4 years of gigs without stops,

100 to 150 gigs per years, it was crazy. matt >> we are still with dj gregory if you want to ask questions to dj gregory or point g, whatever his name, he is here to answer you, do it into the commentary feed on facebook, don't hesitate ask your questions, we will select some of them

and we will share them with him. we were talking about... gregory >> we were talking about africanism because the studio was under construction. matt >> the studio you built legendre street in paris. gregory >> exactly, legendre street. alain ho said it the project... matt >> ...was a huge success.

gregory >> the funny thing... matt >> that's crazy when he talk about the sales, today it's insane gregory >> yes we are on... the first album i speak about the first album because from the second album i did... two tracks, one with julien and one alone,

then i don't work on the third album because we no longer had the same vision on this project. on the first album we did around 25 000 vinyls sales, and at the end with a final cd album at more than 450 000 sales. matt >> four years of tour dates. gregory >> yes it was insane. arrives the moment when,

the vinyl are released, we are inside the buzz, the studio is ready, michael and maxime were about to start their album, there were this recording booth, the first day, i said to julien 'let's try this booth, let's see how it sounds' meanwhile we were not anymore on atari 1040 st,

we are on the first release of logic, we have the digital audio, the things are more easy. but we still work with analogic keyboard, effects or mixing table. julien went into the recording booth, he started to do anything, he slapped anywhere... he yelled.

to feel the acoustic. i recorded everything. i had a loop into the mpc very short, i can say it today from gainsbourg, a short extract from an interlude, it has been sampled many times since that times, but there was this thing... that we never heard,

i don't know what, finally i remember it, it was a loop of sly & robbie on the album 'aux armes et caetera'. there was this dub mystic thing i was thinking that would be great to do something with it on a percussion mode with spirit, a little less goes inside.

the loop was doing : a loop that will be sampled so many times after that will become a sign of... how to say... a south african touch, because a lot of south african producers, south africa where i went a lot at this time, cause of these releases. matt >> we speak about 'les enfants du bled'

gregory >> yes 'les enfants du bled' the funny thing julien asked me 'what are you doing ?' i answered 'let me do' i putted his voice when he yelled into a reverb, i had a strong reverb, i took some parts and the track was on the way, matt >> first track released from the studio gregory >> yes first day, first release,

we made it during the night. i make it listen to chris & alain. the said it's top, finish it and mix it. we mixed it 'les enfants du bled'. then winter music conference in miami this conference was huge at the time there were no cellphones or internet... you had to go there.

matt >> and mp3 gregory >> neither cd. you had to go there to pick up some promo vinyl. everybody was there, and meet each other, before miami it was in new york, i did it first in new york, later it was in miami, with all the parties we know the famous masters at work party

where you needed to get the promo bag with the unreleased that were released one year after, if you were in the chosen few people... apart from the fact that... kenny dope and louie vega, the masters at work played a lot 'tourment d'amour' and block party, they had an eye opened on soha, when we released 'les enfants du bled'

at the masters at work party louie vega did a mix with it, i think julien and me cried ont this mix, all the main djs were here, and the crowd was high on that track, the track is still play today. the studio, 'les enfants du bled' so maybe we can watch your video tape.

matt >> the video tape of michael who explain how you did this studio together. i was a fan of gregory i discovered him when he did sunshine people, the first .g on yellow. it was maxime who knew him, maxime was my partner in next evidence. first time we met him, maxime talked to him, i was too shy,

i think we exchange two words. at the time, we just did our first release on straight up, he came like a grand brother give us some tips, i wouldn't say coach us because the word was not used like this. we really started to work together when we created the studio at legendre street. gregory just went back from nyc,

he wanted to create a studio, with maxime he had just signed a deal with emi, to do an album, and we needed to do a real studio, better than an home studio. he came with the project, so we wanted to do it with him, from that moment we started to work each other, we lived everyday with him and we became friends,

very good friends. this type of mutualisation and fraternal in work, everybody helped each other project. i was working on my album with maxime, as we had the neighboring booth, i spent a lot of time in gregory's booth to work on his tracks, i play keayboard so i helped him a lot. there was a real emulation,

some very benevolent things. i was great. matt >> so... gregory >> wait ! are we back live ? matt >> of course we are back live, so after that you created your own label faya combo. gregory >> so what's happen ? in fact,

i was fine, with chris and alain. matt >> yes, so why create your label ? you didn't really need it. gregory >> yes why create it ? i didn't wanted to create a label, not at all. after africanism i wanted... that yellow productions release an album from dj gregory

and against all expectations, today i still don't know why, i know alain would have been happy to release it but chris... there was something maybe he was focused on bob sinclar he didn't feel like it,

we couldn't find an agreement. that's funny to see that everything can happen in same time, so i met... let's talk about mandrax who had returned to switzerland, i mett a friend of him who worked at sony music in paris, at epic, sub label of sony music,

who makes management. he came to me and said 'i think there are a lot of things to do with you, i think you are not into the perfect setup, i would like to help you.' i said yes top. he asked me what i wanted to do. i said i want to do music in a big studio,

i want to work on a ssl, i want a sound awesome. so he suggested me to create a label, he told me he will introduce me to an sound engineer and that i had 15 days to do two tracks. i said yes. the sound engineer is philippe weiss,

who mixed from nougaro to ntm... that i had met, i said a mistake because i had already met him but he introduced me again with him. i have already met him beacuse he is from switzerland and he's friend with mandrax, we was working with tony smalios the a tribe called quest's sound engineer.

we met in new york i was very impressed. so i have 15 days to do two tracks and go to studio davout, that sadly closed few weeks ago, in the studio b to mix the tracks on a ssl 4000 with philippe weiss. matt >> what was the two tracks ? gregory >> wait !

i told myself what am i going to do? i did a b side, in the spirit of what we was doing at the time, a latin spirit, swing... kenny dope style, called damelo. sympathetic. the track sounded huge, there were something, but we needed an a side.

if there is something to remember, i told you, if there is only one thing to remember it's definitely not the percussions, that's the mix of gender and texture, which are not supposed to live together, that's what i'm most interested in. at one point

we are at the beginning of... aaliyah ? what was her name ? this female r'n'b singer which is dead. matt >> aaliyah gregory >> so the big time of timbaland, so i was thinking that would be fun to add a bass like timbaland. i have an antillean record with a psychopath guitar riff

but at 155 bpm. so i was thinking that will not be possible to sample it. i don't remember who put me in touch with... maybe through chris or patrick david, in short, i end up with tony allen's guitarist i asked him to play this riff. try to play it, the guy was very good,

i had a rhythm that was playing huge, guitar, i was thinking of a bass like... timbaland... something weird, i was thinking that i needed to find... a hook on the top. i don't know why i had two tracks in mind.

listen to the buddha from ozo, this paradise garage classic, at this time there were a track of murk , a killing track, that i forget the name, where you had tenebrous voice that did... that was very... i loved it. that was what i wanted to do.

so i asked julien, he sing very well, 'can you help me to do somehting like this ?' it started with... we finally arrived on... a bit with a western spirit. that's tropical soundclash. i mixed it in the studio, i'm like a crazy, the sound,

finally have a crazy stereo image. i play the test pressing, it goes with a bang. first release on my new label faya combo, what does faya combo means ? it just people around the fire, it's just that. the start was... in fact it's simple,

i was in miami with alain, at the time you had the test pressing, the promos that you gave to mains djs. we were with louie vega, we gave him a copy, he said 'ok...' he listened to us after 'les enfants du bled', we were in good grace, we were beginning to be known.

the maw were about to call us for doing a remix of 'work'. there is a soha remix of their track 'work'. i remember that alain said to louie 'the track with the guitar', louie said ok the track with the guitar. the start of the label... is just... huge !

huge so from there once again i tell you because everybody talk about the percussions, i say it, i wanted... i don't remember if it's the two or three, i wanted to nofity people that i wanted to do something... do we have a video tape ?

matt >> we have a question. go ahead. talk us about "elle", this track give me goosebumps every time i listen it. gregory >> of course i will talk about it, and i talk a lot ! because there is... matt >> we were going to come to 'elle' gregory >> before that, once again,

in that desire to be in that kind of mix, i was thinking i would like to do something... you have to know there was not yet the electro clash, all its horrors, all this shit, but i would like to do somehting tropic tweaky. i put bass sound into distortion machine,

you have to know, julien help me and michael help me a lot i think that's a guy with who i... there is an alchemy inexplicable in terms of... max have an idea about reverse guitar, we talked about the movie with louis de funã¨s

and soundtrack by polnareff, 'la folie des grandeurs' where polnareff played crazy violon, i tell myself i will put violon on the break, in a psycho western spirit, a little hybrid. that couldn't be a dj gregory's track because the track is a bit edgy. then he will be happy

because he's waiting since an hour i know you waiting for it. so i've taken a nickname : prassay who is one of my best friends, with whom i was at school his name is so crazy, i told myself that will be my hybrid strange project, i called it krusin. the track

explodes, we are on... others scene. at this time pete tong is the boss on bbc radio 1 with phone interviews... we talk about it after there were the english licenses about africanism, i did some compilation for defected. the english people are crazy on me,

pete tong, asked me when do we have the next prassay ? i gave a license of prassay to wall of sound, they invited me to jamaica, to work on jacques lu cont's project. there will be new prassay coming soon. i haven't done prassay's release until today. still in this mind, a bit balearic...

what there is to know 'e2-e4' of manuel gã¶ttsching and 'code 718' of equinox danny tenaglia at his beginning, are for me personal anthem, there is something hypnotic, contemplation, very solar, very hot,

very copper. that talking to me completely. at the time at chris' studio i started on the mpc to do a rhode loop a small thing with a chord change and drums, it was going nowhere but it was done. i released a faya combo cuts

with a track called triby, we mixed it on ssl, immediately the tracks get a huge sound. michael and maxime during their album production will do two or three release, including an ep on ibadan. jerome sydenham's label, the track is called body. we all participated,

i gave a beat, julien did the mix, some musicians came. one night, one of them, recommended by i don't know who i think a guy from emi, someone told us it's a protege of pat metheny,

it's a genius, brazilian. he came and he played, i heard that he had a big level, i heard that... the guy played without guitar picker, only with his nail. michael came to me and asked if i need something.

i said 'listen... i have something now, i would like to do a vibe with arpeggio, something solar, spanish style. the guy came and asked me what i wanted i answered that i wanted to have arpeggio and a solo. he said go ahead, i played it and he said ok,

go ahead and record. i have a guitar session on a brazilian and mystical style by a cador, the guy can play arpeggio and do overtone with the other fingers. we are in a high level. but we had to do the bass on the track of... michael and maxime for ibadan,

they called a guy that i forget the name a huge bass player that play on a six strings bass with a big arms. same story it was an evening, michael proposed me to do a bass session, i said yes for the same track. the guy listened the track and said ok, what do you want ?

i want this. i love bass line sound, especially double bass. i asked him to do a solo, he started to play, fantastic. so i had something a rhythm with rhodes, a guitar and bass.

i will spend three years to change the rhythmic that will goes from something tropical and peacefull, to something disco, then disco tight, and finally something house, then nothing, with avalanches... of analog synthesizers

according to the evolution of the track over three years. but... nothing concrete. which is great at the beginning of the studio with this manager, and his partner yamina. i don't know how, but yamina told me there is this guy gildas will run a new label called kitsunã©.

he wants you to do a track, i said yes... it's not the samed color, i don't see how... i don't see the link. he said 'do him a track'. during the day, i had voice tips from salomã©, she had a lot of character

and at one moment she said 'attend' attend, i found it very funny like the amour on soha. it was very funny. i did a rhythmic, with some rhodes and i had bought a kurzweil expander in which you had a pizzicato

with a crazy tessitura. i started to play a hook and i gave the track. the track is attend which is in the essential berghain playlist which is still played, a classic for many djs. which is the best selling of the compilation, the first kitsunã© compilation,

at the middle of tracks that have nothing to do, it's something against all odds but it was here. attend was the premises of elle so there remained fifteen days before... the studio was already booked to mix elle. it was from 9 am to 7 am the day after,

it was a lockout, the number of pass that i did, it was... hot, very intense. but i was not in because it was very musical and i went slowly into a period where i'll be fed up by musical, by things too elaborate,

we were not yet in but i felt it was coming, i didn't want that, i wanted something timeless. i wanted something that catch you, that makes you drop for a while. i did a rhythmic of percussions not crazy, it was a little tight. i used the guitar for an intro to go somewhere else,

like code 718 with the intro with the piano and then it goes somewhere, it was on the same spirit. i needed to change something, i didn't wanted to have a bass line too groovy, i wanted something more carl craig style more detroit, a little more mental.

the bass loop, the piano hook, i did it two days before the mix, i didn't know where i was going. matt >> so you didn't keep all what you have recorded with the musicians. gregory >> i just kept a loop, a loop from the bass player, i didn't use all the guitar recording

i just kept a part of the intro, there were a few reminders, a bass change. at one moment because we are on a big mixing desk, there are always a lot of gears plug in, and it record, i like to record tessitura, texture, background noise... create ambiance,

i don't know how my hand... it happened to me many times, my hand slips and a sound went into a delay four times too loud. i was lucky because it recorded. like in the 'les enfants du bled' it was a midi error which was going into a preamp that we have forgotten, when we listened it we thought it rocks !

it is not calculated. there were the solina, and the polymoog at the end, sublime. so after 3 years of work of course i worked also on other projets, but after 3 years of work one evening, all my close friends... when did you listen it ?

matt >> i listened it when you worked on it. gregory >> so there were michael, maxime and julien, on the sofa at the bottom, and i told them that i will play it with a quick balanced mix. i played it. we are in 2003, the track is 12 minutes, at the time we are on strong tracks,

so doing 12 minutes is the most daring thing, but the fantastic thing i never did this track for... i did it for me, only for me. it's a personal track in which i gave all my emotion all that represent me, everything is here.

a big part of my psychology goes into this track, it's perfectly clear. i make them listen, i'm back to them, they are in the background light off. i press on the stop button, i turn around i see maxime

freeze, freeze like this i see michael discomfited, and i see julien crying. julien told me matt >> don't touch it's good gregory >> it's the best track you ever done. and i believe

he said that will be the best track you will do in your life. he said since i know you, since 1994, we only arrive today, more than 10 years after, at what you wanted to do. now we are here.

i will spend one night in studio with philippe weiss magic ! matt >> to mix the track that is to say that there... at the time we did a lot of recording on tape, i'm not sure if this one was on tape, but...

the level of excitation was such... philippe... gave an energy, an enthusiasm he wanted it to works, to talk, he wanted to... the mix and many pass with alternate mixes. matt >> i remember that you release it into a pack,

a double pack with many mixes... gregory >> exactly many mixes. i asked frankie feliciano to do a remix, he told me why you need a remix ? so i asked him to do and edit or whatever, i liked him and wanted him to do something. matt >> was it the biggest success of faya combo? gregory >> listen... probably,

tropical soundclash was big, but elle... matt >> elle was played by everybody as much in underground parties like cheers or to big club like l'enfer or redlight... in different kind of scene. gregory >> especially abroad on all kind of scene.

so we are in.. because that's the barometer... we have remixed 'work' with julien, it was the time of the cds, we can burn cds, that will start to break the whole dynamic but this will we lightened don't forget we were going into parties with 2 boxes of records.

matt >> the first cdj1000. gregory >> so what did i do ? i burned 'elle' on a cd i sent it to louie vega because maw was doing the weather at the time at the wmc. louie went to play in many parties but the main parties are the maw afternoon

and magic session party during the evening with tony humphries, louie vega and tedd patterson. there were everybody, you had the dj booth and behind you had a space with a bar and 300 vips where you couldn't go in. lil louis, murk, mood ii swing... you had all the best of the scene,

carl craig, thingy, what's-its-name... everybody ! kenny dope, todd terry... deep dish... everydoby ! if you are ! you are. if not... we were in a time

where i had access to this stuff. louie was about to play i was hoping... maybe he will play it, if yes that would be huge. i had some test pressing on vinyl, i have passed the vinyl with the faya combo stamp, behind the record bag of louie

even if he had already the cd. he looked at me and asked me if it was... the promo was a double pack. louie was about to play, he will play a track from the first second to the last one. opening set, he played 'elle'. i saw people

who were in a kind of vortex, they came to ask him what it was. i saw something and i said myself 'fuck crazy'! matt >> the track ! gregory >> it was the track of the wmc that year. franã§ois k called alain for ask him to the promo it was a crazy thing !

in addition i had blurred the tracks, it was funny, i had other new releases so i gave to some people there were one release produced by the next evidence, on faya combo i only released my stuff except for one next evidence ep. so there were one next evidence and another one that i don't remember.

so sometimes i gave that sometimes it was 'elle' but not to same people, they were crazy. we arrived at one point where that will be 4 or 5 years gig tours in japan... matt >> the other releases like 'solaris'...

gregory >> and 'don't know malendro' that i like, i wanted to do a porn disco 70's style. it's incredible because the martinez brothers charted it 1 or 2 month ago, i have hallucinated do we have a video tape ? matt >> not yet later but not yet.

let's talk about the end of faya combo, the license sale to defected. gregory >> there were some defected compilations, tour dates, remixes... a lot of projects that we don't talk about. it was the beginning of the minimal working in a studio in the basement without sunlight, isolated, focused,

hysteric, years after years, it tires. the next evidence's album was out, maxime stop making music and goes to london. julien goes back home, he will come back after but i'm alone with michael. michael is fed up,

i'm tired, very tired. julien will come back and take the recording booth, we will help him to finish swimming places, his hit. i did another compilation with defected, not crazy i thought it was the moment to make a pause, i needed to stop because i was so tired.

there were two solutions berlin, everybody was moving to berlin or amsterdam, why amsterdam ? because it was more easy in amsterdam they have never finished with this africanism spirit they have modernized it year after year, you could see that the music was not the same,

what did afrojack and others came from the same spirit. when you went in this big parties in the netherlands you were on this tropical beats. strong suriname's community... matt >> berlin was more minimal... gregory >> exactly, i was a bit lost so i said to myself

i had few friends in amsterdam so i've chosen amsterdam. i've done 2 or 3 things and what's great in the netherland you can do 2 or 3 gigs during the same night because the set are so hard you play only one hour and half, you can do 2 or 3 towns and it's a small country. i've worked well and stayed 3 years there.

everything arrive in same times. i received a call from an old friend that i know since the beginning, he worked on the laurent garnier's label he is called frã©dã©ric galliano and he always travel to africa and etc... i don't know why he called me, he sais 'i wanted to take news' i'm still curious about his music,

he explained me what he did, and asked me to come. ah ok ! he said 'i go to rio 15 days, do you want ? we will record' i said yes. the popular sound in rio is baile funk,

the idea was to go recording some baile funk players, we were doing the tracks on the morning then we recorded them. i did it once, i went back to amsterdam, one month after he said 'i go back to rio do you want to come ?' i said 'yes that's cool'

weather is good, you have the beach, caipirinha... so... lots of recording session, i bought some records, i found a record store with hard to find vinyls in an apartment, i spent days... then a month and half after he called me back 'we did two times the brazil , let's go to africa now'

i said 'serious ?' he said 'yes i go to angola do you wanna come ?' i don't know if you heard about angola, it's a psychopath things. so i went two times in angola, i did few tracks with friends from there in amsterdam. there was this track that i signed on defected, that's funny because it's this kind of track

you do in one afternoon, i found a record... matt >> it's 'canoa' ? gregory >> yes it is. so here we go again for tour, gigs... matt >> then you did 'vem rebola' gregory >> yes also 'dama s salon', all these things... matt >> now we arrive to you come back with point g so i did a party in paris,

at djoon club, as dj gregory matt >> maybe a the 5 beats party ? gregory >> yes maybe for franck roger, i think there was d'julz... at the dinner before, maybe loco dice too. matt >> we have a video tape about this come back with dan ghenacia.

gregory >> does he explain how i came back ? matt >> he explain how you released again point g gregory >> wait... matt >> during a dinner. gregory >> wait not during this dinner, i was still living in amsterdam, so there d'julz told me 'do you remember the track you did chicken coma on the raw ep ?'

i said 'yes it was my "kids" productions' he said 'yes do you have the license ? i said 'yes i recovered the license' he asked me 'do you want me the release it again ?' i said 'no, why ? are you sure ? why do you ask me ?' he said 'we play it a lot right now, loco dice... nina kraviz...

at her beginning because now she is in another way, many people. and i heard this kind of feedback many times. then i went back to paris. i felt that i've done all i had to do in amsterdam, i didn't wanted to produce under gregory, i think about it now, i need to think about it. i was surprised to see all of them talking about point g,

i think we can watch the video tape the first time i met gregory was at the batofar during the afterparty kwality, i booked him there, he had released a track underwater that became an anthem for us it was out of bound,

that fitted to our spirit and vibe. in the discogs description of the track it's write dan ghenacia's anthem at the afterparty kwality at batofar. three or four years ago at the beginning of apollonia, my label and crew with dyed soundorom and shonky. i was at a dinner at sylvie chataigner and amnaye place gregory was there, we talk each other and he told me that he want to restart his career

under point g. there were point g and dj gregory, i didn't know much about dj gregory i knew about faya combo, i was not really interested by this profile even if it's well produced. i told him that i've launched a label where i do some reissue of tracks that fit

to our story and music that we supported and we still play. there is a huge story with this track that was very hard to find, his rating on discogs had risen so much. gregory told me ok let's go you have it. we released it on vinyl, we pressed it on both sides

because we play and use it and a lot. matt >> the following about point g and his come back. we released underwater, a kind of second life, i received a lot of calls, many djs play it, people asked me to do some things so now i have to do it.

the idea was to do a point g record label. i tried to do it simple, and do some beats, do some basic tracks, a bit hypnotic, ruff, not sound too much digital and we will see. so there were braka,

the funny thing with the web, images and videos are shared, villalobos played a lot braka and other point g stuff so since four years, robert johnson, fabric, glastonbury... pretty much everywhere... in another mode. i know you will asked me for that,

so on this live thing... matt >> yes gregory was doing dj set, and i wanted to know why point g is only live show ? gregory >> maybe because... matt >> people maybe don't know but you only do live shows when it's point g. gregory >> i needed an argument there are a lot of djs now i wanted an idea...

something special. you have to know with this live, as i have a lot of sample, i'm not with a lot of gear, i'm more on a live mixing spirit. more about fader where i will trigg stems of tracks,

i will mix it with other things that give us a kind of mix... matt >> you feel more free to mix tracks in live. gregory >> yes the funny thing is as point g is more hypnotic basic you can take time, there are no real arrangement, you can only move effects,

this kind of things. matt >> it's not only play records. gregory >> but now i will do again... dj set under point g, i never do it, it's a pity. matt >> we have a question from theo co's he want you to talk about balea' story that give hime goose bumps. gregory >> the funny thing with balea...

it's... the entire track, i don't talk about the drums, i did it in 2000. i used something i did in 2000 but i never released it, beacause i have accumulated for years tracks, beats, ideas... i listened it again and i liked it i just made a rhythm and mixed it,

and by the way... by the way... at the time around 2000, end of 2001, at the studio we had a lot of space and analog synth, i still have a lot but we had some for only play one kind of sound, many different synth, we had space

so we could put a lot. the sound of the organ that have his specific personality have been done with a farfisa from the 60's, it was the one sergio mendes used. that's why you have this personality on the riff, the sound is crazy.

matt >> i think you answer to the questions. another one from dimitri moraglia. who ask... informations about an unreleased track you played at your boiler room closing set, which for him equals emotionally to 'elle'. do you remember this track ? gregory >> of course and i'm completely agree with him,

this track don't exist. it's a mix of the drum of... of a track i did called 'you' and small voice sample of the track i did with the martinez brothers released on the uk label with their tour manager filsonik

that talk, the track is called 'what's the point' we did it four years ago. the drum, the voice, all the musical part that i did in 2004. matt >> will you release it ? gregory >> i don't know, i feel this track have this emotion and energy because

i did it live and very punchy i don't know if on a record... matt >> it will be the same ? gregory >> and also if that will be play a lot. that's the problem when you... tell your story, that's your story, you love or not but it's your story, now another guy

think i will play it. he prefers that it is like this or that now it's more precise with the years, people are more hard to please on what they want to play or not, sometimes the difference is on nothing, now we give less chance to.... to the story.

somehting like this. matt >> we will watch a video tape but before i will ask you same question as we asked to all the people that they kindly participate to this show. what is the difference between gregory and point g ? gregory >> don't you want me to answer after the video tape ? matt >> yes if you want.

there are two point g on this project there is the point g from the 90's he was in a pure experimentation he was doing music... almost... instantly. and the point g from today. it's a project that have been resurrected,

more thoughtful. for me point g was funny moments doing some grooves behind the mpc. like did james brown in the funk something minimal even if there were copper, there were two sequences not ten. that's this for me point g it's repetitive.

that's the soud of afterparty, strong rhythm from gregory bass even more strong and a lot of emotions, lot of emotions in the melodies. we are not into the solar and colored side of dj gregory even in africanism it was colored and large. the dj gregory project... was more sophisticated, rich and more thoughtful.

concretely i think point g is his side more minimalist schizophrenic, and dj gregory is his side more female and baelaric. matt >> female and baelaric. gregory >> i think... that's top ! awesome answer, what can i say more ? it's exactly that !

matt >> that's it gregory >> that's it ! that's really that. matt >> what are you next project ? matt >> you make me listen new tracks, you have news for point g but what about dj gregory ? gregory >> regarding point g, there is a new serie called point g and the 300,

it will be series limited to 300 copies. there is one end of may and another one beginning of june. at the beginning point g records is a project exclusively vinyl not digital, there was only one digital compilation out last year, where there were few tracks but not all, end of may you'll have a new compilation called

the point g experience that is a premise of a project coming after the summer which will be called the point g experience where i'll mix stuff from point g with other stuff and i'll try to do... a kind of couscous, i'm working on it. so the compilation will be release end of may,

where you'll have one mix recorded live and tracks separated for djs. other project coming in june, i'll have a remix done for josh wink i'm finishing an ep for one record and for d'julz' label bass culture. they will be released in october

or novembre matt >> big news gregory >> yes i'm working on dj gregory tracks and i will probaby... do again some gigs under dj gregory. matt >> when is your next point g gig ? gregory >> it will be... in copenhagen saturday night.

matt >> about a question someone asked i lost his name. gregory >> do we have a video tape ? matt >> no, so the last question is only few people know that you're a painter and you did your artwork, especially point g face and vinyl artwork same for faya combo. i will show some artworks.

gregory >> it's not paint but posca yes i do my artworks, i always do it. matt >> is it a feedback of your art studies ? it never left you. gregory >> it never left me, i always love to do it, the funny thing

is that the face of point g i draw it in 1991, and this is little news but i... i need to call him. i came up with the idea to nick v from mona parties to...

for once... that the music serve the artists instead of not the reverse, that is to say think about an exhibition with artist that doing record artworks. try to gather all of them around music, try to a double networking for an event where you can buy artworks

and take a drink. matt >> so if nick watch us. gregory >> he know about this idea, i think it's a very good idea, we need something like this where we can meet each others matt >> no it's done we don't have anymore video and that's the end. gregory >> it's amazing...

matt >> we talk during what ? 1h30 ? 2h ? 1h50 thank you and also... gregory >> i thank you matt >> thanks to all the technical crew polem, orel and christian from raw stories crew, i want to thank

artists and djs that took time to talk on the video tape, that's kind, julien jabre, alain ho, dan ghenacia and michael tordjman, thank you all it was cool. no more video tape let finish with music. thank you gregory to welcome us at your home gregory >>thank you to come. matt >> see you soon for another raw stories

on another artist... another trip. gregory >> and other video tapes ! matt >> more video tapes. bye !

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