If you still didn’t  listen ”Papago Morning ”by now,you  just dont know one of the best deep house classics.Joe is a very talented producer and dj.He has been making music since 1999 and a veterand dj who played around U.S and Canada more than 15 years.He has been releasing music since 2006.

Joe has been ripping it up this year with the production & remixes.What keeps him going ? It’s his quest for the perfect beat and bass line, the need to layer the best string, to squeeze the most perfect note from the technology available, to match the best track for the best moment at the right party. And it’s that constant desire for perfection that drives him on and on.

We always tought our site is a platform where djs can freely express their opinions about the hairy and current music business issues.Joe DiPadova took it to next level.Without a doubt this is the best interview we did ! Enjoy !!!!

French lawmakers have approved a provision in the “Creation and Internet Law” that will revoke Internet privileges from alleged downloaders of copyrighted materialIt’s not law yet, but the French Parliament has moved one step closerto adopting harsh penalties for those caught downloading pirated content more than twice. Lawmakers voted Thursday on a provision that would essentially give citizens of France three strikes before their Internet access is cut off entirely for up to one year.

How will the government know what you’re downloading?  That will be possible thanks to a new national surveillance program that enlists Internet service providers to monitor what users are doing. Copyright holders would have access to the surveillance data; if they believed that their copyrights have been violated, they notify the user’s ISP, which first sends an email, then a registered letter, then cuts off net access for 3-12 months.. The UK and New Zealand have attempted to pass similar laws, but those efforts were struck down. The French government, however, has stronger ties to the media industry, and has bowed to a petition in support of the bill signed by more than 10,000 artists, filmmakers, musicians and other industry figures.

Few replies to this article :

‘’This evening I logged into Spotify,selected the new Yeah Yeah Yeah’s album,loved it and using a bit of jiggery pokery, downloaded it onto my iTunes library.I am 55 years old and if I can manage such technological feats then you are surely fucked.All the best Hugh Jones ( record producer )”

”But why should my grand- and great-grand children be paying his and the rest of the bands grand- and great grand children if in the year 2079 to one of them downloads A day without me? (I like the drum break – my grandchildren will too. And they probably wont download, they will probably “intellimorph” or something like that.)”

‘’Thing is all the enterprising torrent user has to do is use a proxy. Voila, no way the French government are going to prove filesharing.This is why their proposal will not work. Geeks are smarter than lawmakers at this moment in time. ”

Do you see a solution in illegal downloadings? Do you think laws will stop people sharing files or the aspects of music will change in the future; i.e. music will be free and musicians will only get money from performing? According to you what will be the future of music business and specially labels?

Well, that’s a great question Burak. In thinking about it, I actually don’t have much of an issue with the french law, as long as the public is clearly educated before penalties are enacted, which of course rarely happens, yeah? But I don’t take issue with database trawling,no one is looking into my personal business directly. The reality is,the traditional business model for house music just has to change.Downloading isn’t going to go away regardless of how much people bitch about it.Labels clearly need to find a way to make money from the confines of today’s existing market demands, as independent house music purveyors, and stop confusing themselves with major labels.

From what I can see, these days successful labels big and small are taking on the role of label, artist management, booking agency,publicist & touring company. They sell an album and hope to minimally recoup cost of production, marketing & distribution. They push and develop the artists and get them on the road, taking a cut of everything they make. To me, that’s a smart model for those with the capability, time and resources, even in the house music world. Through those efforts, the bigger the artist’s name becomes, the more successful all of their subsequent releases, shows, etc, thus the more money the label makes. Many house music labels, because they’re generally small, self-run businesses, don’t have the time or resources to do that. Or, they’re so concerned with their own success that they fail to see the benefit and possible income from pushing their artist roster aside from just themselves. I see Defected do it, I see DFA do it-the big labels who get it really push their shit, and it shows. I hope that when I launch my own label we’re able to design things with this in mind, and bring on the right people for the job., as much as possible and affordable.

Downloading is for sure a major issue, but in house music it seems to have become the thing everyone blames for killing the market.  I believe, with all due respect, that this is short-sighted. I’m probably going to get heat for the things I have to say, but my intention isn’t to slight anyone, just to identify and hopefully begin to solve the issue–and I do believe there’s an elephant in the room.

Thinking about this logically, the reality seems to be that there are more DJs now than ever before, and also much more profit per unit, yet sales and profits have declined immensely. Even with many of those DJs downloading free music, it stands to reason that sales should still be at least relative to what they were. Why is this not the case?

1. House music is pop music that has lost touch with pop music.

2. The largest market for house music was never the DJs, it was the listeners.

3. House music is more freely available now, without file trading,than ever before.

4. House music is, in large part, stuck in a time warp of 10-15 years ago.

The reality is house music has lost touch with the end-market, the listeners. I personally know so many people who have never dj’ed that bought records and cds. Now, people listen to internet radio for free, download free podcasts with the latest music, and are begged to take free dj mixes with every jam they could ever want. The reality is,file trading didn’t kill the market.  It definitely took a big chunk out of already small sales for sure, but what we should be concentrating on is the fact that the market was really killed by focusing on the DJ, and not the listener. There is money to be made,people are just giving away their product without really thinking about smarter ways to make money with it first.  We don’t have to follow the major label model, it doesn’t work anymore. But we can figure out a new one that works for us.

Joe DiPadova feat. Ryan ‘RB’ Brown & Tara Kimes – Papago Morning by Joe DiPadova

House tracks that reached number one in UK singles Top 40 Steive Silk Hurley –Jack your body/M.A.R.R.S-Pump up the volume /Black Box-Ride on time/Madonna-Vogue/Tony Di Bart-The real thing.Where do you think house music is today and why it’s not as popular as it used to be?

So, as I said with my answer to the last question, there’s even more to this puzzle. House music as “househeads” consider house music, has for the most part lost touch with popular music and culture. Did you know there are labels out there right now making what is essentially house music, only it’s packaged for today’s market?  They’re selling so many copies of their releases in the US alone that they dwarf all other house music sales. IT’S TRUE!  House music, and again I say this with all due respect, is by 30-50 year olds, for 30-50 year olds. Not that there’s anything wrong with being 30-50, but house has almost completely lost touch with the younger market, and the younger market is life-blood. Think about it, house is mom and dad’s music now. When was mom and dad’s music what you wanted to party to when you turned 18, or 21? The 1800’s? F that man. I mean, this whole trend now of “classics parties” is just absurd. Now and then it’s a real treat, I love it, but these days it seems like not a week goes by without 10 invitations to another classics party. If people aren’t careful they’re going to be holding classics parties in retirement homes,house music having gone the way of Lawrence Welk and Johnny Carson.

Think about this: as promoters & djs get older, so do the people they promote to. The problem is, it’s a self destructive cycle. The average clubbing generation is 4 years (the people who fill the club, not the people who eat, sleep & breath dance culture), and then they get married, a job, a life, whatever, and it’s over. Many promoters don’t realize they need to consistently cultivate their new clientele. This is where it gets tricky though, especially in the US.  So, get this-major corporations, including fast food, big alcohol & tobacco, major record labels, etc, have all done millions upon millions of dollars in research that show conclusively that people are most susceptible to influence between the ages of 12-18, and secondly 18-21. Be that as it may, and understanding clubbing generations and the aging promotional population, how on earth do we expect to create new heads if we’re not giving ourselves any of the tools we need to make it happen?

Jully Black – 7 Day Fool (Joe DiPadova & Shea Marshall Remix) by Joe DiPadova

The US is the worst!  Hell, we can’t even get at people in a club environment until they’re 21, and by then they’ve fallen in love with something else, and our chance is over. I deeply feel there are many people who would fall in love with our music and culture who simply haven’t been exposed to it yet. Something needs to change.

My idea, and I of course could be wrong, is that we should consider reframing the argument, and with it to a certain extent, the music.We should at least consider that the usual players in what househeads consider to be “house music” may not be the be-all and end-all, that there could be a lot more amazing music that is definitely “house” out there that goes WITH what we love. We should look to the younger generations, we should respect and listen to their music and incorporate what we like and what appeals to our sensibilities into our own, and I’m not talking about hip-hop, because in many ways that’s been over for a long while, and is going back underground to regroup just like house did.

 I’ve been trying to do just what I’m describing this for well over a year now, and the reactions I’ve been getting all over the US & Canada have been astonishing–househeads have been flipping out to the music,and they don’t even realize I’m doing anything dramatically different,they just love all of the new jams they’ve never heard before. Then the younger ones love hearing songs they know, and then are able to appreciate the house stuff they’ve never heard before. I incorporate the new stuff that I see as having the vibe I like to push, along with the stuff I’ve stylistically played forever, minus the shit that sounds like it’s made for old people, no offense to any of the older among us (myself included at this point).

 We also may want to think about throwing parties for all ages & 18+ crowds consistently. We should play raves and underground parties that expose our sound and vibe to the younger generations. Guys and girls,do whatever you have to do, beg, borrow, steal & fuck to get a proper terrestrial radio show, and have some personality once you get it.

The thing is, we always need to stay focused on 16-21, always, and need to reach them however we can, even if it isn’t always in parties.As they then get older, we keep our focus on the same demographic,without growing older with them. We need to stop always having partiesin clubs and start also looking for fun, cool, completely different environments that people will get STOKED to go to, because the venue in of itself is a treat. Once the market grows to a certain point again, the media will start covering us again, and people within our scene will be able to create effective media, because they’ll be financial incentive for them to do so-they need to put food on the table too.

 Most of all, it’s all about my mantra-”No PC, All Party”. It’s not about the latest & the greatest, it’s not about the coolest or the newest. It’s not about unreleased & upfront. It’s not about the most credible or playing it safe. It’s not about the jam that you have but no one else in your town does. It’s all about what the F^CK is gonna rock this party the hardest right now, no boundaries, no bullshit. And remember, “house music all night long” is only cool as long as you remember not that house is a feeling, but that the feeling is house.

Any music with that feeling is house, it’s all about the feeling, not the designation “house” or “house, deep” or “house, vocal” on your favorite download site or in your favorite record store.  You too can push the boundaries, and should feel welcome to do so.To be clear, I don’t feel the music I make has successfully pushed any boundaries yet. I’m not attempting to preach from the pulpit, instead share what’s in my mind, and what I right now am working toward, for better or worse.  Thus far i feel my music is a mirror, like most others, one day soon I hope it becomes more.

Tarantulaz – Handle It (Jojoflores & Joe DiPadova’s Therapy Club Remix) by Joe DiPadova

You recently twitted ‘’I’ve removed myself from all booking agency rosters. Please do not deal with any agency for bookings. New contact info coming soon.’’ Lars Behrenroth was also complaining about booking agencies .Tell us what are the problems you are facing?

Well, because many of the guys out there are so rightfully in need of someone who is willing to dedicate their time to pushing & promoting their brand, they’re willing to take on just about anyone who spits the right game to do the job. I think the people generally mean well and are good people (for the most part, there are some definite horror stories out there, luckily nothing I’ve been affiliated with), but if I don’t agree with the way things are being done or presented, I just choose not to be a part of it. Beyond that, any issues I may have are not a topic for a public forum. That being said, I’m still looking for representation in Europe, Asia & South Africa, and would be stoked to work with good people.

How do you stay true to your art in an industry that so heavily emphasizes commercial success?

I honestly have no issue with commercial success. If music is good, there’s nothing wrong with it being popular. I see so many people wearing “underground” as a badge of honor-I just don’t agree. If no one listens to your music or goes to your parties, then to me something is wrong with the equation.  Great music transcends boundaries, and this is something I’m still working towards, and have in no way achieved yet, in my opinion.  Actually, south africa is a great example of this. Check their Top40 charts, you’ll see a jenerik soulz song, a Frankie Feliciano remix, or a quentin harris song rightnext to kanye and the normal BS.  They’re human just like us, and that means house can be popular just the way we like it.

Mike Monday recently stated us : ”At every point of the process or writing songs I tried to revisit how I write and think about music, which is probably why its ended up sounding so different. This is incredibly exciting for me as I think I’ve found a way of writing music which has the potential to be truly unique and original. Unfortunately in order to this, the other thing that does stand out in my mind is the hard work, because the process I went through in order to write some of it was particularly tortuous and long winded.”

Do you feel your song writing skills have changed during the years?İf so ,in what ways ?

Absolutely, and I think his statement is so very true for many who have developed this skill. I’m not remotely a virtuoso, I haven’t played instruments since I was in diapers, and I’m not naturally the most amazing song writer that’s ever lived. Whatever skill I’ve developed has come through strictly hard work, an openness to learn and willingness to examine myself and my shortcomings, and diligently working to overcome all of them-coupled with a halfway-decent ear. I still work today more than ever and know I have a long way to go, but as long as I keep at it, I feel I’ll get there. 

What are some of the lessons you’ve learned in your years in the label business and as a recording artist specifically?

First and foremost, don’t let your music out unless you’re sure it’s amazing. People will very quickly judge your skills when you’re learning, and it’s hard to climb that mountain once you’ve rolled down it. That being said, once you’re really ready, get your music out

there. Unless people hear your music, no one will know. Sounds simple,but it’s very true-and the 100 friends on your ichat buddy list don’t cut it. People abhor file sharing, but the truth is, file sharing helps break artists. Don’t be afraid to let your music out (if it really is quality) as long as you’ve already tried everything you know to get it out via more conventional methods.Remember, don’t try to push out material just to have material out.It’s all about quality, not quantity. There is a visible lack of quality in a lot of the music coming out today, so much so that the truly amazing tracks really stand out from the crowd. Don’t be the crowd.

Maji & Seraj – Progress (Joe DiPadova & Shea Marshall Remix) by Joe DiPadova

For all of the bedroom producers out there, don’t be afraid to ask for help. 90% of the well known guys use musicians & engineers on tracks-stop playing sh^t yourself if you can’t play. Get someone know knows how to play to work with you. I’ve heard enough off key vocals and keys that sound like a 5 year old played them to last a lifetime. Just remember, if you want to insure you never get anywhere, it’s easy-make bad music.

 Remember, house is supposed to be dance music. Please stop putting people to sleep and make people dance. Oh, and labels, please master your shit. If you want djs to play it, if you want people to buy it,if you want to license it to comps and maybe even TV and film, it ain’t gonna happen if it sounds like it popped out of fruity loops.The money you spend to master now will be recouped in the long term via sales, licensing, and if anything, respect.  Do you think people would play Dennis’ music as much as they do if it sounded like shit?

Think about it.

Who showed you the ropes of production ,did you attend any training or did you learn on your own? Can you please tell us about your musical background?

Much of what I know is self taught. I went to the conservatory of recording arts & sciences in Phoenix, Arizona (one of the reasons I moved to there originally) to learn engineering, and it did help a great deal, but much more had to be learned (and unlearned) on my own.I’ve also been lucky enough to have some good friends help me through the years with tips & tricks that always seem to open up whole new dimensions, my partner Shea Marshall has been a huge help musically, and my buddy Lars in particular-he’s been a big help to me, and I’m very thankful to both of them for that.

What are the toughest aspect of music business?

Branding in a world where everyone is trying to do the same thing. Quality speaks for itself though, and I think once something really hits, there’s no turning back. It’s still to come for me but I get closer every day.

Can you please tell us your relationship with Lars Behrenroth?

Lars is a good friend of mine. We met when a mutual friend, Ian Frost,brought Lars to play in phoenix.  He and I got along immediately. Our relationship? Well, we just talk shit and make music. hahaha-lars is a good dude, and a new father too!  His label ‘Deeper Shades Recordings’ is doing well I think, he’s really pushing it and putting out some great music. I’ll have a new thing coming out sometime in the next few releases by Myself, my partner Shea Marshall and my good friend Matthew Bandy, with remixes by Matt plus my other partner Jojoflores & myself. I think you guys will dig it. Oh, and a remix I did as well of a Sinan Baymak jam from the Space Love ep which I’m totally into.

Please tell us what you are working on and your plans in 2009?

Well, I’ve recently decided to completely shift my life. I’m leaving Phoenix and moving up into the high desert of Taos, New Mexico to relax, reconnect, and focus. I’ll be shedding all distractions, and will focus completely on becoming the best musician, and the most connected, grounded, healthy person I can be. I’ve studied audio engineering and have gotten pretty damn good at production recently,but in my mind, as I stated before, my music still isn’t special. I believe this to be the necessary step to help me get closer, or maybe even all the way there.

Family has also become far more important to me as I get older. As my father lives up there, it’ll give me a chance to spend more time with him, something I haven’t been able to do in years. He’s getting older,I think now is the time. Hell, I was vividly dreaming of snow when I was considering this change, feeling I deeply missed it in a way I can’t even explain, and I can’t stand snow, that’s why I move to Phoenix!  As soon as I made the decision to go the dreams stopped. I think it’s the right decision.  The music I put out in the next 3-5 years and beyond will tell.

Stay tuned for the releases I mentioned on Deeper Shades, as well as a release on Gotsoul, and a remix of some south african heat by Jenerik Soulz called “room service”. Even more is in the pipe.

Download these tracks from Joe DiPadova now!!!

Edits by Joe DiPadova

 Joe DiPadova

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