RS: What was your role on those classic records?
Larry Lush: I didn't appear as much as I would have liked to on those early records as I became distracted by a young lady who took my mind off the ball for a while. However I do believe I wrote the main hook to "Salva Mea" quite by accident. Rollo had let me use the studio one evening to work on some of my own projects and I distinctly remember leaving an arrangement open in the C-lab Sequencer. It was very early in the morning and I was very tired and forgot to turn the studio off. About 6 months later, I remember hearing the latest track from Faithless and almost falling out of my chair. There was the self-same riff in all its glory-- CHEEKY BOY! Very good luck to him! I have tons of respect for his creativity.
RS: Sometimes you are listed as a remixer, co-producer or an engineer - what is the difference? What do you do as each title?
Larry Lush: Personally, I don't see much of a distinction between the roles of remixer/co-producer or engineer. However if it makes other people more comfortable, then I'm happy with that. Whenever I work in the studio and unless I'm working specifically with an engineer or programmer of musician, I tend to do most of everything. That is not to say I don't coalesce in the studio environment - on the contrary, I feel it's my duty in any studio session to make it as comfortable for everyone in the room to be as creative as they possibly can. That is the art of being a good producer if you want to know my opinion.
RS: When you work with a DJ like Tall Paul or DJ Fergie - what is their contribution to the production?
Larry Lush: They very much direct the action, much like a film producer would, expressing the mood they want the tone and the pace of the pieces we're working on. They understand the groove, the street, the "punters," what is in, what is out and they stop me from becoming overindulgent. If you are open and listen to your clients, you learn so much from everyone you work with.
RS: How do you change your approach when working with different DJs?
Larry Lush: Each DJ or project requires very similar engineering or production skills, however the people skills required for each job vary as much as the clients. With some people you just have to be submissive and do what you're asked and on other occasions you have to take to mantle and lead from the front. I'm very picky about the clients I choose to work with now as I don't have time to waste on ego battles or power struggles in the studio. I much prefer to work with like minded people who have talent and want to share.
RS: What instruments do you play?
Larry Lush: Like my father before me, I play keys, though unlike my father who was spectacularly talented at it. I'm a better producer than keyboard player, though as you play more live gigs with a band, which I have been doing lately, you do get so much better and more fluid. I have just taken up the Harmonium, an air driven hand organ from India.
RS: I am a huge fan of the Sharp Boys - how did you get involved with them?
Larry Lush: I seem to have been always incredibly lucky with the people that I get to work with on a creative level. Whilst working with Tall Paul and his DutyFree Recordings Label, the Sharp boys and I worked on a track for them under a pseudonym. We got on very well in the studio, both Steven and George Sharp are very creative guys and very good to work with. It's probably one of the most enjoyable jobs I have had. Very fresh very alive and passionate, it's always exciting work. Just image having George Michael and Flawless, Christina Aguilera, Jerry Springer The Opera, etc all on your system at once, all works in progress and all sounding fab, it's a great experience. Plus the boys are a real scream! We've been working with a great bass player too, a guy from New Zealand called Matt Branton - P-FUNK SUPERSTAR!! He has given us a great new sound for the Sharp Boys.
