![newcleus jam on it beat sample packs newcleus jam on it beat sample packs](https://m.media-amazon.com/images/I/51R3k5I2qXL.jpg)
A lot of time, you use a sample and it's already out of tune, it's already drifting. I like things that are in tune too, obviously, but I like to mess with the sonics. I remember the challenges of going through that sometimes, because I'm not musically trained in any way, I don't have any boundaries, I like things that are discordant. Whenever they tried to do anything funky or soulful, they kind of do it wrong, but that's what makes it quirky and interesting. There's a lot of stuff like that from the 70s, especially the big band stuff.
![newcleus jam on it beat sample packs newcleus jam on it beat sample packs](https://i1.wp.com/theprofanesaintblog.files.wordpress.com/2018/07/img_20180709_0004.jpg)
I remember saying to him, "Yeah, that's it!" and his face is all screwed up and he's like, "Yeah, I get what you mean: it's wrong, but it's right". In order for my guitarist Chris Hawkins to play it, he had to play it wrong. Now the playing on the original song is so terrible, it's really, really bad.
![newcleus jam on it beat sample packs newcleus jam on it beat sample packs](https://cdn.dancemidisamples.com/wp-content/uploads/2017/10/nudiscoanthems-vol-01-wav-sample-pack-rex2-ableton-live-pack-reason-refill.jpg)
Say for example 'Ethnic Majority', on that song I used a James Last sample, 'Washington Square'. With Carboot Soul, now we're bringing in an orchestra and some of the players that I'd been touring with and bringing in vocalists, digging deeper into the live element of things. Smokers consisted of bass guitar and keys, and the odd vocal sample of my own voice or my friend's voice, and that's kind of it. There's more musicianship on Carboot Soul than I would say there is on Smokers. But when I listen back to the song now, I realise it's not just about me, it's actually about everybody. I'd messed about with the sample and written this piece when I was pissed off. The song meant a lot to me at the time as I was going through a lot of stuff, being misunderstood by certain friends, which is kind of what the song's about. I brought in Robin Taylor-Firth to do the keys and write the strings with me, I brought in Mozez to do the vocals, and then took a local drummer from Leeds, a guy called Isaac Heywood on drums, Chris Hawkins on guitar. I had a vision of this epic, gospel-sounding song, but then it breaking down and disappearing off into these toms, and just using the filtered bassline that I had. I remember with that song, I had this little eight bar bass filter loop and I had written the lyrics myself. Still flirting with the orchestration, with songs like 'I Am You'. I was more digging into my roots and sound system side, the culture that I grew up on, the more bass heavy and dubby side of me, digging into my record collection, digging into my reggae collection, going into my sevens and collaborating with people like Ricky Rankin. With this album, I kind of stripped back to the essence of sampling. I think there's a freedom there, because as a producer, you can be a bit of a perfectionist, but some things you can just do because you're not in your own way. 'You Wish' is just one of those tracks that I wouldn't say was deeply thought about at all, but it's been taken on this amazing journey. I've said this before in other interviews and podcasts and stuff: I believe that songs are like little babies with their own little spirit, and once you let them out there, they take on their own life. I'm like, "But it's eight years old now? Where were you lot then!". And then I think it was eight years later, the Gorillaz used it on one of their mixes for Pandora, and the track ended up being number one in the Beatport Chillout chart for two years in a row. The album comes out, I get really nice feedback, we do the tour. That's something for me that never happens. I went to work on it and it took me two hours. So Robin did these three different takes, and that was it. I'm just going to chop it up and do something with it, use it as an interlude or something like that". I decided to sack all the stuff I did with Mozez, and I think it was towards the end of recording the other stuff on the album that I said to Robin Taylor-Firth, "I want you to rephrase what's in the guitar loop, but I want you to jam around it. Fast forward, and I'm still looking at this sample going, "There's something I want to do with this". The interesting thing about 'You Wish', was I'd written a song for Mozez, for his album So Still, which used the Judy Clay sample 'Private Number' before I'd taken it out again.