There are few producers who made their mark in the first flush of house still working today, but Lee is among them. He has continued to thrive and change in a climate clouded in uncertainties and, somehow, has always managed to pull of the tricky balancing act of underground don and pop maven. We asked him about his career, the various scams he's pulled and how to make a hit.
Do you regard yourself firstly as a DJ or a producer? Firstly I suppose I would say record collector because that’s what I am. I started off as a record collector and a record collector often wants to DJ, as we discussed before, and also wants to make music. I’m a music enthusiast. But out of those two, I’d probably say a DJ but after DJing for a while everyone calls themselves a DJ. It’s not that difficult in lots of ways… I’ll have gigs where I’m pretty good and other gigs where I’ll be crap. Sometimes it’s the crowd and sometimes it’s…. Nah, it’s always the crowd, they’re arseholes.
[Laughs] Do you know what I mean? It’s everything: it’s the mood you’re in, it’s the records that are out at that given time, what’s going through your head when you’re DJing; if the equipment’s working properly and also if you’ve got some idiot going, “Mate, play it harder” in front of you. All those things do contribute to what sort of set you play. But everything I do stems from my love of buying records and also liking music and wanting to create music but also most of the musos I know aren’t record collectors. There definitely seems to be either a record collector or a muso. There’s not really many of the guys I know, the keyboard players or whatever.