Something about Stacey Pullen: His first DJing gig came in May 1985. It was also his first high school party and his first ever drink of beer. Stacey doesn't remember much about the music, but he certainly does remember the experience: “It was that gig that let me know how tough it was to be a DJ. We set up the whole thing, brought the sound system, rented the hall, loaded in, loaded out and went home with 20 bucks a piece in our pocket. But it was more than money, to have that outlet - to have that power and make people respond to the music that we played.”Stacey graduated and went to university in Tennessee, which was devoid of the progressive sounds of Detroit, and artists like MC Hammer reigned. He DJed at a few gigs, playing Model 500 and Rhythm is Rhythm and clearing the floor. He would make the eight-hour trip home at weekends to go to legendary Detroit club 'The Music Institute', and get his fix during the week with tapes he would share with fellow Chicago and Detroit students also left high and dry in Tennessee. In 1989, while still at university, Stacey bought his first drum machine – a Yamaha RX7, he thinks. Between the excitement he felt playing and the experiences he was having on the weekends, Stacey was left wanting more than he could fit into his university life. He decided to quit school and return home to Detroit and make a life of music. His parents, with his father's own musical history, supported Stacey's decision and he returned home, moved back in with his parents, and quickly started to develop his musical ambitions.Almost living at the Music Institute, Stacey quickly got to know the leading lights of Detroit's underground: Alton Miller, Chez Damier, Derrick May. Alton was living in the same building as the club, and showed Stacey a lot of the background activity, including watching Derrick May making his tapes for his weekly radio show. Stacey approached Derrick, and told him that he made music - Derrick invited him to play some to him. From here, Stacey started hanging out at the Transmat studios and became friends with Jay Denham, who was recording on Transmat sub label Fragile as 'Fade to Black'. Jay was the main studio engineer for Transmat, and had full access while Derrick May was away. Stacey watched Jay work, and absorbed a lot of knowledge. Stacey started putting more sophisticated beats together, making his first real tracks. He played some to Derrick who told him “ it's cool but you need to work harder”. This pushed Stacey to become more thorough, to understand music better. He says:“It was a good thing. It made me work harder, it made me realise that it's not just about making music. It's more than that: the passion you needed to have, the innovation we needed to have, what it is to be an artist.”A couple of years later, in 1992, Derrick suggested that a good way to develop his skills would be for Stacey to do some remix work with Kevin Saunderson. Stacey began to work with Kevin on remixes including one for Karen White - 'The Way I Feel About You' and some which never made it to print, including one for the Prodigy. While Kevin was originally commissioned, he asked Stacey to do his own remix. The Prodigy liked it, but their label didn't. Stacey kept the backing track without the Prodigy samples, and turned it into his first track which was later released through a subsidiary of KMS in 1993.After some more time perfecting his craft Stacey again played some original sounds to Derrick, who agreed to release his first Silent Phase track 'Wave the Rave Goodbye' as the 'Bango EP' on Fragile, which was Derrick's experimental label. Stacey was also invited to submit this track to a compilation of new Detroit artists on KMS. At this point Stacey truly became part of the Transmat/Metroplex/KMS team – the three studios worked very closely together, and were housed on different floors of the same building in downtown Detroit. Stacey now felt he had truly arrived as an artist:“It made me feel really well, once we released Silent Phase I felt I was part of the crew. I had respect amongst my peers, so I didn’t care how much money it made. That record introduced Stacey Pullen to the world.”
Artist: Stacey Pullen
Tittle: Electronic Groove Podcast #328Rls date: 20-08-2012
Genre: Techno
Source: WEB
Type: Set
Tracklist:
01. Francisco Allendes & Felipe Venegas - Socrates Beats (Tool Mix) - Aurora Indigo
02. Miguel Lobo & Larry Peters - State of Mind (original mix) - Moan
03. Alex Tepper - Breathe In (Vocal) - Saved Records
04. Ramon Tapia - Vagabonds - Say What?
05. Israel Vich & Ernesto Cabrera - To Wedding_(Maximiljan_Remix) - Natural Rhythm
06. Darlyn Vlys The Black Wire - (Original Mix) - Rawthentic Music
07. Mono Dos - Quartier Latin (Original Mix) - Definitive Recordings
08. Danilo Cardace & Elia Perazzini - Nafta Boy - Armonia
09. Melohman & amp - Javi Bora Jazz Extender (Metodi Hristov & Pavel Petrov Remix) - Suara
10. Mar-T - Siete_Momentos_(Original_Mix) - DJ Center Records
11. Ecco - Talk To Me (Original Mix) - Push It Records
12. Sante - Pound (The Junkies Remix- Local Music
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