Interview with Denny Tsettos

DMA: Most DJ's who do mixes try to work them in the way their DJing style is -- why are you going about it differently?
TSETTOS: I would love to and will make a remix that is more progressive but you have to get the right song first. It's very difficult to make an underground anthem from N-Sync or Le Click. When I do these mixes I have the artist In mind and want to be able the give the artist the most exposure possible.

DMA: How come your mix of N'Sync wasn't on the commercial CD-5 when it was the version most DJs played?
TSETTOS: My mix of N-Sync was not on the CD-5 because of a "executive decision". That really bothered me because I think that mix came out great.

DMA: In fact, most of your mixes have not managed to make the CD-5 versions? Is this daunting to you?
TSETTOS: Yes a little bit, but I guess this is paying your dues!!

DMA: So what do you have in store? Original productions? More remixes?
TSETTOS: I'm now starting this project for Mercury. This new artist by the name of Laila called "Here We Go" -- very poppy oriented; much like Robyn. She too Is from Sweden.

DMA: (Gotta love copycat A+R's). What do you have planned for it?
TSETTOS: Very much like what I did with the N-Sync, only this time I'm gonna provide them with a killer dub that works me and my style..

DMA: I've noticed you don’t do dubs.
TSETTOS: Dubs don't help the artist or the label much

DMA: Why do labels stress them so much then?
TSETTOS: people don't remember beats and basslines, they remember lyrics and hooks! The only reason they stress them is for chart positions.

DMA: Do you follow this rule of thumb when spinning?
TSETTOS: I try to build my night around my big vocals. But I create my energy with my tracks. See there is nothing wrong with a killer track or instrumental because that is what they are. A dub doesn't do anything really positive for the artist. It only helps the DJ.

DMA: Being someone who has worked the Billboard Chart, does it help sell records?
TSETTOS: Not at all.

DMA: Why is this?
TSETTOS: I look at that chart and say 'what is that record? I never heard of it!' and I'm a DJ. Can you imagine what the average music buyer thinks??

TSETTOS: That chart used to make a big impact. Now the only thing It's good for Is licensing overseas. It's only good for visibility not sales.

DMA: But that's because there's very little follow through from the Billboard Dance Chart to radio promotion. A project is usually dead after it charts.
TSETTOS: Most of the time when you see a number one record you say to yourself 'Yo, that records sucks how can it be the number one record in the country?' Radio programmers know this, that's why they don't take that chart seriously. Instead, they look at the sales chart and the Hot 100.

DMA: I can agree with that. So if Ultra Nate does three weeks at #1 on the chart, do they see this differently then the usual revolving door policy of the club play chart #1's?
TSETTOS: You always have exceptions to the rule and that is one of them. But now radio is not supporting this single meanwhile It is a legitimate number one. Go Figure.

DMA: Now that Popular Records is history, do you have any future plans to work in the music industry?
TSETTOS: Absolutely, I'm going to be working for a different label doing promotions as well as having my own imprint with that company. I will be doing A&R and everything.

DMA: Wanna let us know about it right now?
TSETTOS: I guess it's safe to say now. I will be doing radio mixshow and club promotions for Metropolitan and will as start my own label through them. They want to get credibility back In the clubs and that Is what they want me to do for them. They believe in my ear based on what I do in the clubs

Written 5/28/98
Originally posted by Jennifer Warner, reposted with permission.