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"Oh sh!t!" Ben Westbeech ... [extra]

IMRAN: Hi Ben, I'm Imran, we have an interview scheduled today for 6pm?

BEN: Oh sh!t, I completely forgot!!

Ben Westbeech is a super cool dude, and I'm thankful for the article we got out of him, but it would have been remiss of me not to have included the above highlight from our chat, which makes me smile whenever I think of it.

We had some great feedback from the feature so thanks to all who read it.  Fortunately, there was enough left over though for me to provide you with an aside from the article, so my friends, I hope you enjoy the extra portion below.

LIBERATION FREQUENCY:  I checked out your Dap-Kings remix of 'So Good Today', which is brilliant! Did you guys meet up for that, or was it done via sending files, etc?
BEN WESTBEECH: I recorded new vocals for it and we sent the track over, and didn't meet up.  It's quite strange that a lot of collaborations in this day and age happen like that, because 25 years ago they couldn't have, so it's a bit strange that you don't get to meet them but they're a band who can knock out backing tracks pretty quick, and we just asked them to do it and they were up for it. It's good having a track from those guys because they're quite obviously renowned so that's quite cool.
LF: It's a shame as I think listeners like to romanticise the idea of everyone in the studio together bouncing ideas off each other?
BW: Yeah, the majority of music you hear, it's a funny one when you know how it's made, all the mystery and romance just sort of disappears, which is a real shame, but sometimes it's best to let people think it's made like that.
LF: What are your thoughts on the mp3 generation?
BW: I'm all for it, I think if you're in the industry and you're still hating on it, then it's silly as there's really nothing you can do – you either go with the flow or get stuck in the past. I think it's great, because so many people make music, but that does mean there's a lot of crap about, that's the only problem with it, you have to sift through loads of really dodgy tunes to get a good one, because everyone's making tunes on computers, which in fairness is a really good thing in itself. You get people that make music and they're amazing at it and you think ‘wow’, without this generation then it wouldn't be possible, because some may not be able to afford it or you'd have to get into a studio, but these days it's so quick and easy, anyone could do it, and I'm always uncovering loads of gems from people that are doing it.
LF: As an artist though, does it bug you?
BW: Well, it's easy to be bitter about it but you just have to get on with it and realise ‘this is the reality of it’. This is the music business now so you just have to do what you can to make good music and survive in it.  It doesn't really bother me at all – I think it's more of a positive thing than a negative one. It's so much more power to the people now, you don't need a major record label to succeed anymore which is really wicked. Not for the majors, it's not, but that's why you have so many people setting up record labels and doing really well.

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