Simon Dunmore

and his music has been supported by some heavyweights.

The likes of Pete Tongue, Simon Dunmore, Louis Vega, Black Coffee, just to name a few.

His music has travelled all across Europe to places like Tomorrowland, Glastonbury, High Ibiza and just untold areas of the globe.

He's worked alongside talented people like Jeff Molyneux, Robert Owens, What more can I say? He's so good.

And he used to run a record shop in Rainers Lane called Record and Disco Centre, and we used to go there.

I used to work there with Simon Dunmore,

you

know, Simon at The Young Detective, obviously, Rocky and Diesel, Dean Thatcher, Glenn Gunner.

This confirms what we were talking about.

The nearest we've got to this chart before was a March 1989 chart that we did with Simon Dunmore a few episodes back.

And we were talking then about how this...

the initial prime movers behind at his house were moving on precisely to this sort of New Jersey garage sound and the deep house sound.

We're getting it up to 127.

Breakbeats are going to get faster and faster and faster, aren't they? This is nudging us towards breakbeat hardcore.

It links back to what we were saying in the Simon Dunmore episode when we were talking about Long ZD.

Yeah.

And I started trying to learn to DJ when I returned to England at about 24.

I discovered that Simon Dunmore of Defected fame, who's owned the label, I was a rugby fan.

I got to meet him.

We started talking about music and he gave me a DJ lesson and I went there and it was amazing, but I was putting on EDM.

and that's the thing and you know what so what's really interesting about and one of the biggest compliments i get and i had this from a guy called jewel kid the other day i had it from from cash only i've had it from carl cox who who's watched me play and you know the one thing that people forget about a dj is you're there to make people dance you know back in the day the dj wasn't even on stage he was he was by the coat rack and no one no one looked at it now because of the advent of them becoming performers and celebrities but your sole job is to make people dance so i turn up to a gig and I look at the crowd and I watch the DJ before me and I look at the lineup and I go, what do I think this crowd want? And more often than not, particularly some of the gigs I get booked, I don't play my own music because it's not suitable for that, for that venue.

And, um, you know, I I've learned that by looking at crowds, seeing what they're doing, how they do it and becoming a selector as opposed to a DJ, because, you know, I, I very rarely, if ever go into it with a preconceived idea of what do I think, what do I want to play? you know, it doesn't matter what I want to play, it's what I think the crowd will work.

And Simon Dunmore taught me a valuable lesson.

He said, sometimes it's one for you and it's two for them, but you have to build trust.