RS: OK, so right now, post Thunderpuss, Queer Eye For The Straight Guy, you've done a few tracks for that. You're DJing a lot right now, is that your main focus?
RS: So you're touring the country, are you working in the studio at all?
RS: No? You're just a DJ on the road.
Barry: Right. You go back and forth, and I always have like a rollercoaster- up, down and sideways and stuff. There's been many times when I didn't do anything in the studio, then all of a sudden I didn't do any DJ work. You get re-inspired and re-motivated in different ways for different reasons, it's hard to explain but that's me. When you're ready to be artistic and creative, you're ready to be artistic and creative, and for me it's difficult because you have to find different reasons to be inspired, motivated and excited. Now and then, you've got to take a break away from it.
RS: Are there any songs that you're hearing right now that are inspiring you to go back into the studio again?
Barry: The whole state of the music business and the dance music business itself, I'm very turned off, maybe call it old and jaded. I don't feel motivated and it doesn't excite me. DJing and playing other peoples' records excites me a lot more. Maybe taking some acapellas that I get and putting them on top of something and being a little bit creative like that on my laptop on the plane, that excites me.
RS: What's your favorite drum machine?
Barry: God, you're asking me that question in 2004? If you asked me that in like 1994 sorry, now I'm insulting you.
RS: Well, no. I will go further then and ask so you don't use drum machines any more in production?
Barry: No. With "All Things," I didn't use any mixing board or any outboard gear at all, it was also an experiment on doing something different. We did it all on Reason, all of it was in the internal computer. For the Billy Squiers mashup, everything was all internal. "We" by the way was Ron Thomas and me.
RS: So going back in time, back in 1994, what was your favorite drum machine?
Barry: I don't know, I'd have to say the Korg, even going back before then. It would be like '87 when all those Korg Procussion and the 707s were new. I always got the 909 and the 808 mixed up (which is which), even to this day. 909 is the one that has been the standard for the high-hat and 808's became the more hip-hop/freestyle ones in the late '80's/early '90's. This is why I'm never like anybody else, I always liked the 707 which I only saw once. I remember the 707 percuission was used on "Music Is The Key" and I think the "Jack Your Body" remix, that Hurley and JM Silk used all the time. I used to love the little cowbell percussion on that, it was very different and unique and I'd never really heard it before or since, and that was and still is a very hard machine to find.
RS: So at least I know what to get you for Christmas now.
RS: What song or track do you bring with you to every DJ gig?
Barry: That would be a bootleg version of "Dancer" by Gina Soccio. I never leave home without that record and I always play it. It's a tribally thing and I don't know what it's called, it was just a green label thing.