NAGAIUTB: McSleazy Interview Pt 3

The final post of these interviews. And the final part of the McSleazy interview. My thanks to Tim fingertrouble for helping with the McSleazy questions and for his support generally with this series. NAGAIUTB? Not As Good As It Used To Be.

14. How did you get the gig on MTV Mash? And how constraining was it working for them? Others have suggested it was the start of the end?

A chap called Howie Jaffe got in touch and asked me to be involved. He was a genuinely nice guy with a passion for music. Howie was the produced of the show and got MTV Mash off the ground. Unfortunately, he left, and the producers that took over didn’t have the same passion for it. They killed it. 

It wasn’t constraining when you compare it to corporate work, but you didn’t have the same freedom as you did when you were just doing it for fun, obviously. If it was something that worked, Howie would fight to get it in the show. Some fights you won, some you lost.

15. You’ve done DJing at T in the Park, toured with The Charlatans and done official remixes. What was your favourite thing that GYBO/bootlegs led you into?

Working on movies and getting the show on XFM, I think. Also, getting to see so much of the world and meeting some very interesting people.

16. Do you think that the bootleg scene of the early 2000s is something significant in the UK’s diverse musical history or just a footnote of the internet music revolution? [Eddy TM goes for paragraph]

It’s significant because it also corresponds with a time when the internet was opening up and free software meant  anybody could make bootlegs. The combination of those two things was pivotal. The effect of this would have been greater had there not been so many bad bootlegs. The good stuff got lost in the shit, and the mundane rap v rap mixes belittled the earlier achievements of the ‘scene’. People got bored, lessening the punch of the good mixes. The reason it might not be significant in the “UK’s diverse musical history” is that the internet was not restricted to one country. I don’t think it’s viable for the UK to claim ownership of tracks that were born online. The only tracks the UK could hold as their own were the crossover tracks and (as Soundhog will remind you) the fact that something is popular doesn’t mean it’s good. 

17. You’ve talked about setting up a new site for original tunes. How close is that and can you give us any details? And what about bootlegs?

It’s about 50% ready. It *will* have a section for bootlegs, but it won’t have embedded players for non-original tunes.

18. You’ve said you’ll work more under the GrantJRobson name than McSleazy. What’s the difference between the two?

McSleazy is mashups and electro. Grant is original, orchestral, soundtrack style music. 

19. Finally, why on earth did you make Churchill a mod?

Heh. I read Churchill’s interview where he said we had a run in. Practically everything I wrote on GYBO was with my tongue firmly in my cheek. The well-established problem is that the written word strips all subtlety from what you write and makes it far more harsh. When we met up, all of that disappeared and we all got on and are still friends. Why did I make Churchill a mod? Because he was a good guy who had been there from the beginning. He knew how it worked and his heart was in the right place. The delay was because he supported such an under-achieving football team. 😉 [Arsenal]

My thanks to Grant for taking the time to answer so many questions. The final word goes to ThriftshopXL, who summed the whole thing up thus “Gybo should go down in pop culture history as the most significant music site in modern pop culture history – it was through GYBO that a handful of (mainly) UK-based bedroom producers got to meet, start nights, invite friends, attract industry interest and shape music and culture throughout the world.

London Olympics 2012 has been the biggest MASHUP event the world has ever seen – from Danny Boyle’s opening ceremony to the way the word ‘mashup’ has been casually dropped by the organiszers and news presenters at every opportunity. Right down to the closing ceremony, described as a musical mashup (and it was). Right down to the fact Earworm created mixes and even DJed at the events and broadcast them to THE WORLD!!!

All of that could not have happened without the connecting force of GYBO.”

http://www.mcsleazy.com/

~ by acidted on November 12, 2012.

2 Responses to “NAGAIUTB: McSleazy Interview Pt 3”

  1. […] Grant McSleazy Pt1, Pt 2 and Pt3 […]

  2. […] himself as a “Scottish composer of electronica and modern orchestral soundtracks and formerly McSleazy“, which is how long-time readers might better remember him. The pop rock mash-ups of yore […]

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