I’m A Boy - Songfacts
(Writer: Pete Townsend     Original performance: The Who) 

Firstly, a big thanks to old friend and fellow musician Glen Vaal for challenging me to have a go at this song. I had a couple of songs by The Who in my last band, and they can be heard on Soundcloud at:

https://soundcloud.com/mobbing_it_up/the-kids-are-alright-pete-townsendthe-who-the-mob

https://soundcloud.com/mobbing_it_up/substitute-pete-townsendthe-mob

Glen heard those and issued his challenge, and I made a start on ‘I’m A Boy’ back in 2020 but then put it to one side as I’d too much other stuff on the go and wasn’t happy with how this one was going.  In January 2023 I dragged it out from hibernation and got to work finishing it off. The Who are always a big challenge for me, working ‘in the box’ so apart from being denied the energy that comes from a time when musicians had to play most of a song together in a recording room, I can’t really get the same sound as you get with amp and cabinet stacks in a real drum kit, all of them mic’d up in a suitably sound treated room. So I have to go my own way and try anyway to capture what I think is the essential feel / appeal of a song.  I had fun trying to put a tuba/French horn/whatever in at the appropriate place and trying to get drum sounds even close to Keith Moon’s original was a challenge. And as I got to know the song, I was struck by how it hinted at the music on ‘Tommy’, the Who’s rock opera that was released three years after ’I’m A Boy’.  And so when I read up on the song for this ‘songfacts’, I wasn’t surprised to read that:

“"I'm a Boy" is a 1966 rock song written by Pete Townshend for the Who. The song was originally intended to be a part of a rock opera called Quads, which was to be set in a future in which parents can choose the sex of their children. The idea was later scrapped, but this song survived and was later released as a single.”

Furthermore (which I would never have guessed in 1966 that the lyric was about) …..

“The song is about a family who "order" four girls, but a mistake is made and three girls and one boy are delivered instead. The boy dreams of partaking in sports and other boy-type activities, but his mother forces him to act like his sisters and refuses to believe the truth ("I'm a boy, I'm a boy, but my Ma won't admit it").”

The track was produced by Kit Lambert at IBC Studios around 31 July–1 August 1966 and released just over three weeks later on 26 August 1966, with "In the City" as the B-side. The single was successful in the British Isles, reaching number 2 in the UK Singles Chart and Number 7 in Ireland. It failed to repeat that success in the US.

Source: Wiki

As ever, I must thank Paul ‘The Ox’ Jennings for his usual fine bass work and for helping me decide when the production was sounding good enough to put out there.  Hope you like it and please ‘Like’ and share it if you do. 

Mike O’Neill, 10th February 2023

I'm A Boy (Pete Townsend, The Who)(The Clana Boys)

Gunnar Nelson gets a break from the fighter hotel. Casey O’Neill goes all out in the gym. Bryan Barberena sightsees. At the presser, things heat up for Leon Edwards and Kamaru Usman’s title threematch; Justin Gaethje and Rafael Fiziev promise a show.

UFC 286 | #UFC #MMA #UFC286

Episode 5 UFC 286 Embedded (AMP'd) | #UFC #UFC286

You've Lost That Lovin' Feeling - Songfacts

Writers: Phil Spector, Barry Mann and Cynthia Weil
Original performance: The Righteous Brothers 

It never occurred to me to attempt this all-time giant of a song…until my lovely partner Trish suggested it as one she liked and thought I should do. I was sceptical, with it being such a classic. But as a challenge in getting alongside Phil Spector's ‘Wall of Sound’ production, I decided it could be fun. The entry for this song in Wikipedia makes fascinating reading. Here are some extracts: 

-------------------------------------------------------------------------------------------
…first recorded in 1964 by the American vocal duo the Righteous Brothers…….cited by some music critics as the ultimate expression and illustration of his Wall of Sound recording technique. The record was a critical and commercial success on its release, reaching number one in early February 1965 in both the United States and the United Kingdom. The single ranked No. 5 in Billboard's year-end Top 100 of 1965 Hot 100 hits – based on combined airplay and sales, and not including three charted weeks in December 1964 – and has entered the UK Top Ten on an unprecedented three occasions.

Various music writers have described the Righteous Brothers version as "one of the best records ever made" and "the ultimate pop record". In 1999 the performing-rights organization Broadcast Music, Inc. (BMI) ranked the song as the most-played song on American radio and television in the 20th century, having accumulated more than 8 million airplays by 1999,[4] and nearly 15 million by 2011.[5] It held the distinction of being the most-played song for 22 years until 2019, when it was overtaken by "Every Breath You Take"

In 2015 the single was inducted into the National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant”.

In 1964, music producer Phil Spector conducted the band at a show in San Francisco where the Righteous Brothers was also appearing, and he was impressed enough with the duo to want them to record for his own label, Philles Records…..the Righteous Brothers would be his first white vocal act

Spector commissioned Barry Mann and Cynthia Weil to write a song for them….[they] Taking a cue from "Baby I Need Your Loving" by The Four Tops, which was then rising in the charts. Mann and Weil had problems writing the bridge and the ending and asked Spector for help. Spector experimented on the piano with a "Hang on Sloopy" riff that they then built on for the bridge
Source: Wiki
-------------------------------------------------------------------------------------------

So, no pressure then ha ha.  The Clana Boys version uses a simple guitar part and 'guide vocal', with the arrangement built around that and referencing the original recording.  I added the harmonies but in the middle section found I could split out the lead vocal/answerback scat part into the two Righteous Brothers parts and then use production techniques to makes their signatures more like two separate singers. It’s amazing what you can get up to in a modern recording studio. This 'guide' vocal was supposed to be redone after finalising the arrangement but (as can often happen) I felt that the original guide vocal had an emotional commitment I was unlikely to match, and it was also surprisingly OK on timing and delivery. 

I’m very pleased with the result. Paul ‘Motown’ Jennings does a great job on bass as ever and Trish Konarski gets joint credits (and thanks) with Paul on co-production as her ear and her patience in listening to the mixes as the song progressed were invaluable.

Hope you like it and please share if you do. I doubt I’ll try and climb production and performance heights like this again for a while!

Mike O’Neill, 18th March 2023

You've Lost That Lovin' Feeling (Spector-Mann-Weil)(The Clana Boys)

Pictures of Lily - Songfacts
(Writer: Pete Townsend     Original performance: The Who) 

Firstly, a big thanks again to fellow musician Glen Vaal for challenging me to have a go at The Who’s ‘I’m A Boy’, which I released on Soundcloud a few weeks ago. This exercise reminded me of what The Who meant to us 1960’s boys and resulted in me rediscovering ‘Pictures of Lily’ and being reminded what a great early ‘rock’ song it was. This is a rollicking good Who number, with Roger Daltrey’s ‘angelic’ vocal bolstered by the brash playing of Pete Townsend, John Entwhistle and Keith Moon, including a tuba solo by bassist Entwhistle that hints at the forbidden topic of the song.  Another gem from the fertile song writing mind of Pete Townsend, it rightly belongs in that collection of quintessentially British (London even) accented ‘cheeky’ songs alongside others by The Kinks, Small Faces, Beatles etc What a great time to be a teenager it was.

---------------------------------------------------------------------------------------
"Pictures of Lily" was released in 1967 as a single, and made the top five in the UK, peaking at number four. Outside the UK, the song failed to break into the top 50 in the United States, peaking at number fifty-one. It was, however, a stronger performer in Continental Europe, where it made number 5 in Germany and the Netherlands, number 9 in Austria, number 12 in Flemish-speaking Belgium and number 6 in French-speaking Belgium.

According to Pete Townshend in the 2006 book Lyrics by Rikky Rooksby, "the idea was inspired by a picture my girlfriend had on her wall of an old Vaudeville star – Lily Bayliss [sic]. It was an old 1920s postcard, and someone had written on it 'Here's another picture of Lily – hope you haven't got this one.' It made me think that everyone has a pin-up period."

However, in his 2012 memoir Who I Am, Townshend mentioned Lillie Langtry, the music hall star and mistress of Edward VII as the inspiration for the tune. She died in the year 1929 as mentioned in the lyrics of the tune.

Source: Wiki
---------------------------------------------------------------------------------------

Turning to The Clana Boys recording, Moonies drums were (as usual) the most challenging part to play: you definitely can’t just set up a pattern with his drumming – you have to try and get inside his head, watch how he plays, notice how he puts hits exactly where a vocal line might want it etc.  And then you must play the notes. Townsend also needs careful listening to as he doesn’t just bash the guitar as the videos of him playing might suggest: his strikes are thoughtfully placed in order not to drown the vocal. And Entwhistle’s bass playing is a huge driving force: I handed that job over to Paul ‘The Ox’ Jennings as he loves this kind of challenge and always delivers. The tuba playing is courtesy of the BBC Symphony Orchestra, who probably never imagined their tuba would be so abused when they allowed themselves to participate in the creation of a virtual orchestra plugin.

Anyhoos, hope you like it and give it a Like and Share if you do. I think it might be the best Who reimagining we’ve done to date (but then I’m biased 😉 )

Mike O’Neill, 7th April 2023

Pictures of Lily (Pete Townsend, The Who)(The Clana Boys)

Same Thing Happened To Me - Songfacts 

(Writers: John Prine, Gary Nicholson         Original performance: John Prine) 

There’s not a lot to be found about the background to this song except that Gary Nicholson appears to have collaborated with John Prine to write six numbers (including this one) for John Prine’s album ‘Lost Dogs and Mixed Blessing’. Of the album itself, Wiki says:

“Lost Dogs and Mixed Blessings was produced by Tom Petty and the Heartbreakers bassist Howie Epstein, who produced Prine's 1991 Grammy Winning comeback album The Missing Years. The album features several songs Prine co-wrote with Nashville veteran Gary Nicholson and includes contributions from guitarist Waddy Wachtel and Marianne Faithfull.”

The reason I came to do this song was that my brother Kevin over on Vancouver Island has been a lifelong fan of John Prine and had the idea that that he and me and our other two musical brothers might make a record together and that this song could be a fun and light hearted one to do. So around 3 years ago I laid down a basic backing track for us to build the various performances around, and it never got any further than that. And then we lost the most wonderful John Prine to Covid19. So I always knew I’d do something with it one day and here we are.  Brother Kev did lay down an acoustic guitar part way back then and I’ve manage to weave that into the mix. And I invited an old friend (Amanda O) who had never done any recording work before to sing the harmony parts with me in verses 2 & 4. She did a fab job despite this being a first for her. And as ever, my regular musical collaborator Paul ‘Country Boy’ Jennings brings his special magic to the bass playing. For the rest I wanted the arrangement/production to be light hearted and quirky (the clues are there anyway on the original John Prine recording). So, we’ve got rhythm guitar licks, lead guitar solo, wah wah stuff weaving in and out, acoustic slide guitar, and a Hammond organ. The ping-pong guitar synched to the beat was done much as I suspect the original was: you add a delay bus and route to it from the guitar track. You sync the delay with the beat and set it to full wet and no dry signal. And then you pan the dry guitar track fully one way (left I think) and the delay bus fully the other. Simples 😉 

Right, that’s enough of that, hope you like the track, God bless you John Prine and may you look down with approval on this modest offering, a BIG thanks to brother Kev for gifting us the idea of this song, hope listeners enjoy it and please share if you do. TTFN.

Mike O’Neill
12th May 2023

Same Thing Happened To Me (John Prine; Gary Nicholson)(The Clana Boys)

The Wreck of the Edmund Fitzgerald - Songfacts 
(Writer: Gordon Lightfoot         Original performance: Gordon Lightfoot) 
Gordon Lightfoot, one of Canada’s greatest songwriters, passed away on 1st May 2023. 

Where do I start with this song. I first heard it when it was released as a single in the UK in 1976. Although it was a No.1 hit in Canada and No.2 in the USA, it only made No.40 in the UK singles charts (shame on you UK, although perhaps the subject was much more in the consciousness of Canada and the USA as the Edmund Fitzgerald disaster had only happened in November 1975 and, for both countries, the Great Lakes are a major feature).  My antennae had tuned in to Gordon Lightfoot in 1974 with the release of his single ‘Sundown’, though even that had only reached No.33 in the UK charts. ‘The Wreck of the Edmund Fitzgerald’ though has no equal for me in the history of my chart listening life: it is not so much a song, or a piece of music, as the telling of a haunting tale, in a musical setting, and done so well that any listener worth their salt cannot help but be spellbound by it. That is how it was for me anyway: I never forgot it and it was irrelevant to me whether it charted well or not. I attempted to sing it (or as many of the words as I could remember) to myself and my children over the years.  And now that I am making music in a recording studio, I decided I must try and do a version of this song. I had started work on it (and indeed did an earlier simpler version back in 2018) before the death of Gordon Lightfoot was announced on 1st May 2023, but I put it out now as my tribute to a most wonderful songwriter and soul, whose work I think ought to be more widely known and appreciated worldwide than it perhaps is. For Canada, where I have many relatives, Gordon Lightfoot was (and will always be I think) a national treasure whom they regarded as capturing better than almost anyone the spirit of his countryfolk in his songs. 
 
I found this song perhaps more challenging than any I have recorded to date:  the music doesn’t really go anywhere, there’s no verse/chorus tension, no ‘middle 8’, no instrument solo etc., and there are only four chords in the song.  What any arrangement must do then to avoid being dull, is to try and support the telling of the tale as it progresses: the tale teller strums his guitar as he narrates the lyric, and the other instruments are there to embroider and add tension. The other big challenge is the absence of Gordon Lightfoot. On the original, and even though he works with great musicians, it is the unique ‘angsty’ character of his voice that strikes me as driving the telling of the tale home. The timing of his delivery is also fascinating – sort of missing the beat while being perfect for the song. As an alternative, I’ve worked on the  drama of the song, with a preface where she ship’s propellor is heard from beneath the waves as her ships horn sounds out in distress above them. 

Paul ‘Midshipman’ Jennings ably assisted on bass as usual, and I playing several guitar / slide guitar parts through various distortion and effects pedals. The 12-string acoustic guitar was given to me by an old friend whose family wanted to find a good home for it. I’m pleased it has at last found its place in this very special song.

The Edmund Fitzgerald was an ore carrier that disappeared without trace or notice with the loss of all 29 lives on 10th November 1975 in a storm on Lake Superior. Gordon Lightfoot made it the subject of his song after reading an article, "The Cruellest Month", in the November 24, 1975, issue of Newsweek.  The full story can be read here:

https://en.wikipedia.org/wiki/SS_Edmund_Fitzgerald

Anyhoos, hope you like it and please share if you do. Rest in peace Gordon Lightfoot, who wrote what many songwriters consider some of the finest songs they’d ever heard. 

Mike O’Neill
16th June 2023

The Wreck of the Edmund Fitzgerald (G Lightfoot)(The Clana Boys)

The Pretender -  Songfacts 

(Writer: Jackson Browne         Original performance: Jackson Browne) 

Jackson Browne is I think one of the most significant songwriters of my generation. I read once that he is of the ‘confessional’ school of songwriters. Whatever! I have loved his stuff for more years than I care to remember. As well as being a great lyric writer, I love the way he delivers his songs, his distinctive voice and piano and guitar playing. He’s known by many for writing ‘Take It Easy’, a big hit for The Eagles. A few of his other songs have been covered by other artists, but in the main he delivers his songs himself, with the help of some of the best studio/session musicians in the business. And he doesn’t seek pop stardom.

‘The Pretender’ is one of JB’s  best known songs, and one I’ve played for many years just using an acoustic guitar. I set out to record it in that style but when I tried that, it just didn’t sound right and I began to feel that the playing and the arrangement on the original was part of what gave it its impact. To recreate that arrangement in the detail required was no mean feat and I abandoned my original attempt, started in 2020, only returning to it in 2023. I found also that the original key of G left me straining a bit on some of the high notes (age has taken its toll ha ha) and so I lowered the song a tone to the key of F.  Wiki has this to say of the original song:

‘In answering the question of who The Pretender is, Browne said - "...it's anybody that's sort of lost sight of some of their dreams...and is going through the motions and trying to make a stab at a certain way of life that he sees other people succeeding at. So maybe it's a lot of people of a certain generation who sort of embraced a very material lifestyle in place of dreams that they had that sort of disintegrated at some point."

Piano is in the forefront, played by Craig Doerge. Drums are played by Jeff Porcaro, bass by Leland Sklar, acoustic guitar and electric guitar are played by Fred Tackett, harmony vocals performed by David Crosby and Graham Nash and the string section was arranged by David Campbell.

"The Pretender" was only a minor hit single, reaching #58 on the Billboard Hot 100, spending 5 weeks on the chart in 1977. However, it gained substantial progressive rock radio and album-oriented rock airplay and has since become a staple on many classic rock formats. It has been one of Browne's most often performed songs during his concert tours. As a result, it is one of Browne's best-known works. ‘

On The Clana Boys version, Paul ‘Session Man’ Jennings had the unenviable task of trying to walk in the footsteps of Leland Sklar, one of the best session bass players out there, and he’s pulled it off admirably. He also critiques the work and helps it to get on the right track before it gets committed to Soundcloud. So a big thumbs up as ever to him.

Anyhoos, this one was a LOT of work and I hope you like it. Please share it if you do. Jackson Browne is a song lovers’ songwriter. This is the second song of his I’ve covered, and I suspect there may be others to come.  I'd like also to dedicate this song to a friend of mine who passed away this week. He always enjoyed listening to the songs I covered and I hope he may be listening still.

Mike O’Neill
24th November 2023

The Pretender (Jackson Browne)(The Clana Boys)

Glen Hansard and Lisa O’Neill perform Fairytale of New York at Shane MacGowan’s funeral in Nenagh. I thought this was a fantastic tribute and I'm uploading the audio from the shared video online. Not my usual upload but I though this was a superb send off for Shane!
I will be removing the link in a couple of days I just thought some of you would like to keep the track or play it at party over the Christmas. 
Ive tried to master this as best I can from the audio, hope it sounds ok for you!

RIP Sir

Fairytale of New York at Shane MacGowan’s funeral

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While his ground game is still a question mark, getting him down now looks harder than ever, and on the feet, his left hook is as deadly a weapon as any in the promotion.

That is the highest rate in the promotion's history and more than two knockdowns more than the next fighter. Drew McFedries has the second-best knockdown rate at 4.27. Aspinall has the fifth-best rate at 2.78.

"It's what we talked about before, skills and experience. He has high-level experience in kickboxing," Prochazka told CBS Sports. "The specialty is that he turns his kickboxing to an MMA style. He found a way to do that. Everybody has some style that they fight with. I have my style. For this fight with Alex, I had to change a little bit. Especially after my last fight with Glover. There were a lot of mistakes that I had to change."

Prochazka, the UFC’s first ever Czech champion, had to relinquish the title due to injury in 2022, and he will bid to regain it here. Meanwhile, Pereira is going for two-weight-champion status, having held the middleweight title from November 2022 until this April.

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However, Aspinall might prove a trickier target than brawlers like Tuivasa and Lewis, and we’ve never really seen him caught yet, as his lone loss came when he blew his knee out in a clash with Blaydes.

Therefore, given that he has more tools in his arsenal, and is more proven as a fight goes deeper, the pick is Aspinall, assuming he can avoid that brutal punching power, of course. The Brit should win this one via TKO, becoming just the third British champion in UFC history.

The 31-year-old native of Russia has certainly looked the part over his last six fights, all of which Pavlovich won via first-round knockout. The win streak has been a far cry from the disastrous UFC debut for Pavlovich when he suffered his lone MMA defeat via first-round TKO to Alistair Overeem.

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Ain't Hurtin Nobody - Songfacts 
(Writer: John Prine         Original performance: John Prine) 
John Prine was one of the best songwriters of my generation, sadly taken from us in 2020 due to complications from catching Covid during the pandemic. For some years before that he had had health problems that had probably left him especially vulnerable.

I must give credit to my daughter Lucy for first persuading me to find out more about John Prine and his music. She had recorded a BBC ‘Songwriters’ compilation of sessions done for ‘The Old Grey Whistle Test’ , made before she was born and when I ought to have been watching OGWT more! John Prine was one of the songwriters and performed ‘Dear Abby’. Once I’d heard a couple more John Prine songs, I was hooked.

Ain’t Hurtin’ Nobody was released as one of the songs on the album Lost Dogs and Mixed Blessings, produced by Tom Petty and the Heartbreakers bassist Howie Epstein and released in 1995. The song was inspired by one of the singer's childhood trips to the beach and would be chosen to be Prine's second music video (the first having been "Picture Show") [source: Wiki]. For the rest, there’s not much to say about the song except it’s the second one from the album Lost Dogs and Mixed Blessings that I have covered (the first being ‘Same Thing Happened To Me’). I saw John Prine on a Youtube recording of a live performance of the song introducing it by saying that he was awake at 4am and was expected to have a song ready to record at noon that day. Not wanting to be late delivering, he quickly wrote this song.

I recorded my version of it because Prine is just fun to do, I like the wit in songs like this, and it is not especially taxing from an arrangement and production point of view (though I will admit that getting the ‘mojo’ I was after into the song took longer than it should have – I hope I have managed it).

Fab bass work is again down to Paul ‘Family Man’ Jennings, so a big thanks to him. Hope you enjoy this simple foot tapper and please share it with others if you do.

Mike O’Neill
5th April 2024

Ain't Hurtin' Nobody (John Prine)(The Clana Boys)

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The Last Time - Songfacts 
(Writers: Mick Jagger/Keith Richards         Original performance: The Rolling Stones) 
I was always going to have a go at a Rolling Stones song at some point, just for the fun of it although I wasn’t keen to try and be a Mick Jagger singalike. But they did some great singles in the 1960s and amongst them, my personal favourite was ‘The Last Time’, because the guitar riff was just so cooool.  From Wiki:

"The Last Time" was written by Mick Jagger and Keith Richards, and recorded at RCA Studios in Hollywood, California in January 1965. It was their third UK single to reach number one on the UK Singles Chart, spending three weeks at the top in March and early April 1965. It reached number two in the Irish Singles Chart in March 1965, and was released on the US version of the album Out of Our Heads on 30 July 1965. 

Wiki also reveals some interesting facts about this song and the original recording:

•	Although "The Last Time" is credited to Jagger/Richards, the song's chorus is identical, in melody and lyrics, to "This May Be the Last Time", a traditional gospel song recorded in 1954 by the Staple Singers. In 2003, Richards acknowledged this, saying, "We came up with 'The Last Time', which was basically re-adapting a traditional gospel song that had been sung by the Staple Singers, but luckily the song itself goes back into the mists of time." 
•	Phil Spector, whose "Wall of Sound" approach can be heard on the recording, assisted with the production.
•	The rhythm chords and guitar solo were played by Keith Richards, while the song's distinctive hook was played by Brian Jones. 

It is a major challenge to try and capture the full sound of the original recording when you don’t have either the playing, amplification or recording equipment the Stones had back then. So I didn’t take up that challenge but just enjoyed doing it to be best ‘feel’ I could get with the equipment I had at hand. It was a lot of fun to do, and I hope the listener will think it stands up well enough against the original. This will probably be ‘the last time’ I tackle a Rolling Stones song as, overall, their songs are about being them and not trying to reinterpret them, I think. But, never say never…….

Fab bass work and sympathetic producer’s ear is as usual down to Paul ‘Why Man’ Jennings, so a big thanks to him. Hope you enjoy this simple foot tapper and please share it with others if you do.

Emeralds & Pearls

The Last Time (Jagger-Richards)(The Clana Boys)

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AMP Radio presents several podcasts with some of the biggest names in MMA Junkie Radio.  Smack My Picks Up goes over some of MMA’s biggest cards with the likes of UFC, Bellator, Invicta FC, LFA, PFL & Titan.  Another MMA Podcast interviews some of the industry’s biggest journalists & insiders, TV personalities, MMA fighters and artists.  Our hosts Prodeus, Pam, Marco from Waco, Lerone & DJ Tony attempt to give their takes on the world of mixed martial arts with a sense of humor.  We are fans who love the sport giving their take of fans and not of lead reporters of staff writers who go behind the scenes of one of the fastest-growing sport .  With the MMA Minute we go over MMA news and headlines about the biggest names in MMA in about a minute.  We know your busy and need to consume top MMA headline news quickly.  @KNICKsKICKZnMMA  @Proados  @maldomarco @ImDJTony @pamdoraboxx @AnotherMMACast

I've been djing for over 30 years, collecting, borrowing, recording, losing, scratching, spinning, queuing, starting, stopping, lending, taking, buying, editing, mastering, music has made Discolandia what it is today, and that's only the start of it! 

Budweiser Bud Thud All Ireland Dj Competition Winner 1999. Movida Corona Dj Competition Republic Of Ireland Winner 2004, 2008, 2010. 
I've had the chance to play at some fantastic venue's over the year's. Ministry Of Sound London, Pacha Ibiza, Mandara Acapulco, China Lounge Berlin, Prater Dome Vienna to name a few. 

I've also Dj'd along side some names like Dj Falcon (Daft Punk Crew) Sebastian Leger, Gary Dedman (HoxtonWhores), Martin Solveig, Andry Nalin (Nalin & Kane) Mark Archer (Altern 8)again just a few names but each Dj needing a different sound for there warm up's and I'l alway's change direction when needed to play support. 
Music and Dj'n has changed since I started and I like to think I've moved with the times as best I can without losing the feel for it. 
 
I've worked in 4 different record shops in the early days and still love to blow the dust of some rare 12's knowing some track's never get old means they can still stand the test of time. 
Discolandia is a project I started in 2010, I do my best to get everybody into what I do live. Sometimes kicking things off at around 90bpm working towards the 122bpm zone I like to blend long mixes chucking in loops minimal efx and the occasionally scratch to show off when there's a place for it in my sets. 

I play everything from deep funky balearic right through to tech house, even getting the odd classic house track in there for nostalgia every now and then. 
I like to keep things as familiar to the ear as I can while still maintaining a sense of underground to my set's. 

It's tough industry we work in full of high and lows and if I've learned anything over the years it's work hard, rise above the negativity, pay for your tracks, and enjoy dj'n for what it's all about 'the music'...!!!

JH X

New tracks tagged #O’Neill