One of the greatest records in the history of dance music? The first drum’n’bass record? A Detroit classic? Innerzone Orchestra’s ‘Bug in the Bassbin’ is the kind of record that the word ‘seminal’ was made for. Loved by the techno community for its vision and by the likes of Fabio and Grooverider for its beats, ‘Bug in the Bassbin’ is a very important record to a lot of important people. Now Mo’ Wax is re-releasing the 1992 Carl Craig classic with remixes from Peshay, Claude Young, 4hero, Kirk Degiorgio and Craig himself. Joanne Wain speaks to the man who made it and the people that had the difficult (some say impossible) task of remixing it and tries to find out how one record can be so special.

Do you remember when you made ‘Bug in the Bassbin’ and what was the inspiration behind it?

“I made it in 1992. I was working with the drum loop and a bunch of samples that I was working around and it just kind of came. The whole idea with the loop, the organ sound, the synth line and the bass line was something that was taken at random but it was also improvised. I used to live in an apartment that had a view of the river and city and ‘Bug in the Bassbin’ just came out. Okay, someone could give you an idea like: ‘Oh, I was pissed off at the world and I made that as an escape.’ But for me it wasn’t an escape. Maybe I should make up something more interesting. Maybe I should make up a lie. I made it because I saw mass burning of the city. I saw people on the street burning cars and buildings. Ha, ha.

How different was it (technically) from anything else you had done?

“Technically there is a formula for all the music I do or have done, but actually listening to it, there isn’t a formula and that’s the technique. Even though songs are derived in a similar way it’s always a diversion for me. Even if it was dealing with other musicians like with the remix of ‘Bug in the Bassbin’, technically it is the same concept, the formula is the same, but it’s just making it different. For example, with the procedure for a piece of art, you might start off with the same idea but you gotta make a difference because you use different colours, different shades and different figures.”

A lot of people consider ‘Bug in the Bassbin’ a seminal record. Do you understand what all the fuss is about?

“I think that some records end up being timeless. When I did that record I wasn't thinking about making it sound like anything else. I just took some sounds and put them together to make them work. I think that is possibly what makes a lot of things work because you put a bit of the known as well as a lot of the unknown and people can relate to that.”

Do you think ‘Bug in the Bassbin’ was ahead of its time?

“Yes of course. When I put it out only a select amount of people really understood where it was coming from. More or less the people that have always been into my material, but a friend of mine was playing it out and he said that Kerri Chandler heard it and was tripping out over it. So that was a diversion from my regular audience. Also, when you look at people like Fabio and Grooverider and how it developed in that scene. I don’t know whether those guys played a lot of my things in the past other than that, but when it came down to that record I guess it has been a staple to that whole scene. That's the reason why it has been able to come back again, they made it. Whenever J Saul Kane used to do Depth Charge records he never used to put a speed on it because he was like: ‘You can play it at any speed you want.' l really didn't look at it as being something like that, but that concept has come out on ‘Bug in the Bassbin’. I like that whole interactive part… I like it when DJs scratch and do tricks. So being played on 45 gave it a whole new breadth. It's almost like remixing by pressing the 45 button.”

Why did you think the drum’n’bass scene embraced ‘Bug in the Bassbin’ so fervently?

“If you listen to most drum’n’bass records, the hi-hat and the snare lines are very similar. I never really realised, listening to it at 33 how similar the top line and bass was to drum’n’bass. It's basically the whole rhythm line that makes it similar.”

Do you think that breakbeat is the logical progression from Detroit techno?

“No. It's only breakbeat records that are emotional and that have strings and all kinds of progressions to them, that come from a Detroit angle. Actually, you can call Shut Up And Dance breakbeat. right? But they are definitely coming from a Detroit angle. At the same time, they really enjoy the direction that drum’n’bass and jungle have ended up going.”

Your fans see you as a master of the breakbeat. What is it that you do differently?

“I don't know. I live in a different area.”

You seem to get sounds out of machines that no one else does.

“It is just the way I perceive music in comparison to the way other people might perceive it. Most of the time it is your musical background that has a lot to do with where it is going. I studied some music when I was younger, so I come from an aspect of being musical. So, I contrast things that are not musical, like taking loops and sounds and putting them in a musical form while keeping it abstract. For instance, if you listen to a record by some commercial band, they will take a loop and put it in a musical form so that it is perceivable. Whereas I just try to make it sound better, keep it musical and add things on top that are inside myself.”

Did you study music in the traditional sense or just on a personal level?

“What's funny is I studied traditional instruments like guitar, but I was into electronic music. So, I think that the study of it is in both those areas. I was being taught on a traditional level how to play jazz guitar, or how to play whatever, so it's like I was being brain washed by both of them.”

Is it important for people to relate to your music as opposed to being so experimental that few understand it?

“Well, I mean with a million seller you gotta have something that people can relate to, whether it’s ‘The Birdie Song’ or a Rolling Stones record. But in the music we are doing, ‘we’ as in this whole electronic dance music community, what are the possibilities of us selling a million copies? So, you have to come from a different angle and you can put more of yourself into it without being restricted by the verse/chorus bridge or using a piano or organ in a traditional way.”

Why did you agree to have ‘Bug in the Bassbin’ re-released?

“Goldie came to me years ago and said he wanted to remix it and I didn’t really know how to react to it because I had never had anyone remix my shit before, and I never really wanted anybody to remix my shit before. So, it was kind of weird. But once I recognised how it was, being appreciated in the drum’n’bass scene, on a further level than I intended it to be appreciated, then it was something I could relate to and it was cool. I wanted Goldie to do a remix of it and I still would like for him to do a remix of it.”

Why hasn’t he done a remix?

“There was just a lot of underlying situations that made it difficult for him to do it now. Whether it’s with his album or what is just going on in a business sense. There is a lot of things that will make or break the concept of a remix. I do remixes for other people, so I understand it might end up that they never even get to the track because of business dealings, or it could be because of ideas or whatever. Photek was supposed to be doing a remix too, but he had some difficulties as well.” 

How do you feel about people like Photek being unable to remix it?

“I’ve come across things I couldn't put any creative ideas into, because the record was too intimidating or I just didn’t like it. What I know is that for Photek it was an intimidation factor because people take that record seriously. So seriously. Everybody that has come across it that knows about the drum’n’bass scene have looked at it in that way. It’s like, for instance, the guy who missed the penalty (for England): it’s the same thing. He’s going to get caned for the next year and that will be the same thing for anybody who does a remix. It’s like they can do brilliant work all the time but if this wasn’t the most brilliant thing they could have done…” 

It’s interesting that you didn’t want your music remixed before Goldie rang up, but it turned out the drum’n’bass scene, who were supporting the record, had in a way already remixed it at 45.

“Yeah. Well, I prefer an interactive way of doing things live because if you can do it that way then you are showing that you are a bad motherfucker.” 

How did you choose the remixers?

“James Lavelle and I talked about it for a while and we started off with Goldie and Photek and when things didn’t work out with them we went on to the next stop. Kirk Degiorgio is someone I have known for years who I really respect. I really like Jacob’s Optical Stairway so I wanted 4hero to do a mix. I had never heard Peshay’s stuff before he did the mix but I like what he has done. After he did the mix I listened to ‘Logical Progression’ and he has a track on there that is brilliant. I wanted somebody from Detroit to do a mix and Claude Young was a definite for me because we come from a similar idea with our music. Claude is one of those guys who just does what he wants to do, and also because he did a drum’n’bass record. That was a really good concept because if he wanted to do drum’n’bass he could do it, if he wanted to do techno he could do it, if he wanted to do something else he could do it.”

Were you trying to highlight how the two genres are inextricably linked when you chose the remixers?

“Yes. That was definitely the whole idea of using jungle guys in the beginning. You have to keep that aspect of it because people like Grooverider and Fabio have been playing it at 45 for the last few years, they need somethjng new so why not give them something new from guys that they already relate to and like. It’s like a gift almost. Rather than just saying it’s a techno/jazz record so let’s only do a techno version and a jazz version. It’s exploring the whole concept that has made this record happen today.”

Are you happy with the remixes?

“Yes. They are cool.” 

Have you got a favourite?

“My ‘Jazz Mix’ is a favourite one. That’s the one I like the best. Ha, ha. I think that all of them are beautiful. It’s like a project listening to them all the way through. Every one of them I like.” 

Some people will say that because it is a classic it shouldn't have been remixed.

“In some ways I can agree with that. But why not just bring some friends in on it? Do you know what I'm saying? It could make it interesting to a lot of people because of the fact that it was remixed. It might kill the whole feeling of it. But when you listen to the original again, to me, it just brings it all back. It brings me back into that room. It brings me back into seeing the river. It brings me back into what I remember seeing, what I remember I was using, and how I was doing it. It just brings it all back.”

Do you think you would ever make a drum’n’bass record?

“The problem that has happened with me and drum’n’bass is that there are so many things that I like that I have ended up kind of brainwashed. You know, where it sounds like something that is more normal than hearing other things. There are some things that I might do that are relative to what is happening with drum’n’bass, but I don't want to do it. I think that is up to the drum’n’bass guys. I have realised that I need to be true to myself and that is the way that I always was. Just because this record might be an influential record that could sell a pretty substantial amount, that shouldn't make me go: ‘OK I have got to do ‘Bug in the Bassbin Part 2'. Or I've got to do drum’n’bass for the next Innerzone Orchestra record. It's just doing what comes naturally and not be restricted.”

So, about your other music, was co-writing 'Strings of Life' at 17 a big burden to live up to?

“Let's get this right because everybody gets this wrong. I didn't co-write 'Strings of Life'. 'Strings of Life' was co­written by Michael Jay. I did the co-writing of the remix that Derrick and I did in 1990. Everybody thinks that, but I didn't co-write 'Strings of Life'.”

Do you feel that you have helped shape the Detroit sound?

“When techno was making its revolution the people who were making it made it more for the dancefloor. I try to put a little bit more of a twist in. I wanted to make music that you can listen to at home and enjoy, as well as for clubs. Not all of my music has been club music. I listen to ‘Bug in the Bassbin’ and it's one of those records that kind of has a double meaning to it. It's completely wild. So, I wanted to do music that always related to what influences I've had.”

Where does the persistent twist in your music come from?

“It comes from not worrying about having a direction. Being freestyle.”

Jeff Mills bases a lot of his music around concepts, do you have certain aims in your music?

“Sometimes. The majority of the time it's an idea that is twisted and comes out as something else. So, if I come up with a concept of making a song about riding my bike, it would end up being a concept about riding it in an elevator or something. Ha, ha, ha.” 

Do you always try to avoid being pigeonholed or formulaic?

“Yes. But unfortunately, the formula came to pass and it's now time to try and break from the formula. What happens is that when people start digging music on a large level then it takes your whole identity and puts you towards one thing. Like for instance, with the Paperclip People. People expect the Paperclip People to be a dance music act, and that's what I have even expected it to be now! Now it's time to say that wasn't the case. That's why I'm not DJing anymore. It was like: ‘Let me quit this because all I hear when I DJ is 4/4 beats.’ It's like: ‘Let's get out of that and let's just make music and have some fun again’.” 

Why did you call yourself Paperclip People?

“Because it would be funny to see paperclips dancing around. Ha, ha." 

Why do you think Paperclip People has been so commercially successful?

“Because the music has been more acceptable than some other forms that I have done.”

Where do you see Detroit techno going now?

“Everybody is doing music 'round here and they should keep up the good work. There shouldn't be any conflicts. Sometimes there can be. I've heard about things that people might have said about others, about me, about whatever, as well as what I might have said about somebody. We're all in this game together so just do what you gotta do and keep up the good work and shit. For the last year in Detroit people have been going back to the electro sound. You know the Cybotron sound and early Model 500 and that's cool. But it might have to take a couple of steps backwards before it can catapult forward again. Maybe that is what has been happening over the last year. It's been taking steps to make things more futuristic and some of the things have been more futuristic. That's why I like the fact that I have done things like ‘Bug in the Bassbin’ and 'Landcruising'. It's just looking at it from a different angle. And these are my different angles with all these songs. It's like making other forms of music other than just trying to be grilled and set on one style.” 

Why have you moved back to Detroit?

“Because I quit DJing. So why not come back to Detroit?” 

I thought you were moving to England...

“Yes, I was moving to England because I'm getting married, but I'm back here to do music. And I'm back here because my company is here and I need to be around that to make sure everything is cool. Maybe I'll move to England in the future but right now I think that I've been back and forth for six months, and I haven't really done very much music while I was there. So maybe I'll be able to do more while I'm here.” 

Are you perceived differently in the UK than you are in the US?

“They all take it seriously. It is a music that can be considered a serious music but at the same time why not have some fun with it? Some people learn to have fun but it can go to the deepest realms of seriousness.” 

Do you think it can be too serious then?

“Yes. Definitely.” 

Is that healthy?

“It's okay to be serious. I always make comparisons with jazz or classical because that is the way this music is taken. With some songs you can tell it was written to be funny. Other stuff is written to be funny too but sometimes it's just not taken in the context of what it was done.”

You mentioned that you have given up DJing, but you have only just recently contributed to the DJ Kicks series...

“I didn't make my decision until after that album came out. It was just another project After a while DJing became something that takes too much time. So now that I am not DJing it shouldn't be any kind of a hold up for me doing what I need to do musically. I need that time to concentrate on music and if I want to do any gigs in the future I need to be able to do the ones that are relative to what I am doing musically, as well as relative to the kind of time I have.”

Would you have carried on DJing if you had been able to play what you wanted?

“If I were to realise that, maybe I wouldn't have cut it out altogether, because there are some clubs that I really enjoy going to like the Sub Club. Another thing that made me want to quit DJing is that I would get gigs in obscure places where they would be completely wack. It would seem like they were just hiring me and a whole bunch of other people to ensure they were building up their name and I don't like that. I don't like the idea of playing to 30 people so that they can say: ‘Yeah. We had Carl Craig here’. So that they can get bigger names later and build up their reputation in the club. I'd rather play at a club that I enjoy playing at maybe once every blue moon and just work on music. You can make a lot of money DJing right? I have people at Planet E that I employ and DJing really made it possible to do a lot of things with my company. But at the same time, I thought: ‘Why can't I support these people by selling records?’ That's my focus now. It's like: ‘Fuck, we need to be selling records. If we are not selling records then what's the use of having the staff?’ And you do get completely distracted, honestly because of DJing my taste in music had changed because I always listen for a reaction. I listen for something that's going to make me jump for joy when I first hear it but at the same time, I was listening out for that too much and losing focus on what I really wanted to do and hear.”

Other people have said that they may give up DJing such as Jeff Mills and Josh Wink. Why do you think there has been this sudden turn?

“I remember Josh told me something about that before. I don't know whether it's that they feel as though people have taken advantage of them because of their skill or name. Or if it's because after a while you feel like you are whoring yourself out. There just comes a point where you get a little tired. Some people can deal with the jet lag and the jet setting. I love riding on planes and going places even though I'm still kind of nervous about flying. Derrick May told me something a long time ago: ‘We're all jet setters.’ The jet set generation used to be a big thing back in the 60s, only rich boys were able to do it. Now we have this opportunity, and we are jet setters. But at the same time, I just don't want to do it anymore. I'd rather be able to concentrate in a different way. I'd rather produce a record or go to some business meeting about a record that is coming out. But to go over to play a party and only see the place for about five hours and leave...”

What was the last record you played as a DJ?

“Shit that's a good question. I don't remember. Ha, ha. I was at the Sub Club, Glasgow. Let's make up something. DJ Q ‘We Are One’. I played it that night so that could be the last record I played.”