Oliver $ Explains Doin’ Ya Thang To LWE

Oliver $’s “Doin’ Ya Thang,” with its generous samples of Moodymann’s signature patter, has caused quite a stir since being released in April on Play It Down. While club audiences, Beatport shoppers and RA charters ate it up, many (including our own reviewer) felt the track exploited Kenny Dixon Jr.’s bountiful personality without giving him any credit. So when LWE was offered the opportunity to interview Oliver “$” Siebert by his management, we knew it was important to ask the man responsible about the arrangements, motivations, and ethical quandaries behind one of 2011’s most notorious records.

I only have a few questions, and I actually primarily wanted to focus on your track “Doin’ Ya Thang.” Because I know that’s been a really big track for you, and it’s the one that’s of the most interest to us. I wanted to start by asking you what your thinking was behind the track when you were making it?

Oliver Siebert: To be honest with you, it was that kind of, like, quick ones. I mean, I basically heard that vocal and I thought, “Well, I have to use that.” I tried to produce a really nice DJ tool. It was not really, like, where I thought, “It’s my next single,” or something really big. I just made it like my other records.

So you would say it was pretty similar in the way that you made it to your other tracks, then?

Yeah, most of my stuff are DJ tools, and this one is a tool as well so.

Were you intending to release it, or was it originally something you were just going to originally save for your own sets?

First I just had it in my own sets, and then I showed it to Jesse [Rose, of Play It Down] because I just thought maybe it’s a nice bootleg idea or something. But that was like the very first version, and there was a lot of more talking in there. So I basically cut it down to the max. [laughs]

I see. So I was curious, did you ask Kenny Dixon Jr. or the promoters that the vocal was sampled from to use the — did you ask their permission to use the recording?

Not really. [laughs] To be honest, they’re clearing it right now — and the thing is in the beginning we thought, “OK, that’s a little thing for us to play out,” but nobody thought [about] it getting that intense, you know?

Yes, I understand. That being said, the track has caused a little bit of an uproar, especially among our readers, mostly because of the extensive use of Kenny Dixon Jr.’s vocals. And some people thought — and I know you weren’t thinking, necessarily, that it was going to be a track you were planning on releasing — but you took advantage of his live performance for your own benefit. And I was curious what you thought about that sort of reaction to your track.

Um, yeah, to be honest, man — I don’t know why it blew that crazy up, but in the end of the day it was just a quick idea, and Jesse liked it very much, and, yeah, that’s basically it.

I can understand that. Even still, though, after you and Jesse talked about it, obviously it became commercially available, and it did quite well on Beatport. And I think maybe the reason why some people have been maybe a little upset by it is because it’s mostly his vocals — with your beat — but it’s mostly his vocals that sell the track. When you were working on it and when you were deciding on whether or not to release it, did you feel any ethical concerns about whether or not to put out a track that was based mostly on Moodymann’s vocals?

Yeah, I mean you’re right — it’s definitely living out of the vocal, that’s for sure. But I never thought it’d go that big, and I thought, like, “Well, maybe we sell our 200 vinyl copies, and then maybe just a few digital things. [laughs] It’s quite crazy how that track blew up, I know exactly what you mean. That track is living out of the vocal and it’s basically my beat, and yeah, it’s really hard to say like– I mean, the vocal is definitely 60 percent, I would say, of the whole production. Yeah.

Would you say that when you’re producing, or when anyone’s producing, do you believe that anything is fair game for sampling, whether it’s someone else’s performance or someone else’s beat or –

To be honest, look at Kenny Dixon Jr.’s productions, you know what I mean. So he’s basically living that what I’m doing, you know.

Yeah, that’s true.

He sampled Chic, he sampled basically everything; and I guess that’s kind of an art, to grab samples from everywhere and just create something new out of it. That was basically my style back in the days when we started with that fidget house thing, and basically we grabbed samples from everywhere, and tried to make them a bit fresher, cut them up just a bit, and twist them, and — yeah.

That’s understandable. I guess the distinction some people would draw between some of Moodymann’s productions is that although a lot of them had identifiable samples — especially his Chic samples and stuff like that — a lot of them weren’t played out, you know? It wasn’t like a long sample that just played out; it tended to be something he’d cut up real fine and then added his own things to it. So that’s sort of the distinction I think some people would see. I wondered how would you react if someone were to have a big sample of one of your tracks for their own record and then became successful?

To be honest, I would be honored, man.


I mean, so many people took my bass drums, my hi-hats, you know. On the other side it’s like when they’d be creative and do something out of it then it makes totally sense, but when they’re doing like a complete four-bar loop, then it’s maybe a bit boring. And I also cut a lot of his vocals together from different sessions, and I don’t know if you heard the DJ set of him.

I can’t say I’ve heard the whole thing, no, actually. So was it a pretty long set?

OK, so it’s basically like cut together here just a bit out of it, and yeah, I had to take out some other crazy words he said in the set. It’s not really like I took, like, a five-minute sample of him and — you know what I mean?

Yeah. I guess it’s sort of hard for listeners to tell, I guess. For people to think, you know, ‘Is this all one long thing or is this — ‘

Yeah, yeah, yeah.

I guess that’s a credit to the way that you arranged it because it sounds like it’s, like, one long piece of a set, you know?

Yeah, yeah, yeah, yeah, I totally understand what you mean. The people on YouTube, they are also commenting, “Wow, he put some crowd noise in the back, and –” you know what I mean? It’s like they’re talking all good. [laughs]

Yeah, I understand.

So it basically wasn’t one sample like the crowd in the back. I mean, it’s basically like a live DJ thing.

One of the reasons why that song caught my attention is because it sort of takes the DJ set out of the DJ’s hands and gives it over to Kenny Dixon Jr. and lets him sort of play for the period of time. I wonder what that says about modern DJing and about the tools that we make for DJs to play when we’re sort of saying, “I’m going to use a track that sounds like someone else’s DJ set.” I wonder what you think about the idea of literally using someone else’s DJ set for your own DJ set, basically. ‘Cause that’s kind of sort of what this track is. And obviously it’s been arranged, it’s been changed, and I won’t say it’s the same thing. But it does have that sort of vibe, and I was curious of your thoughts about that.

Yeah, you’re right. It’s a bit of the DJ set, right? Like, that kind of live thing, and there were so many people [with], like, crazy reactions when I played it out, and people thought, like, ‘Wow, shit, put the microphone down,’ but it was basically in the track. And I think that makes it so real, you know? So it’s not really like [I] cut out some bad parts or something so it’s like, I think, raw shit.

Were you actually at the set that that was recorded at?

No. No. No, no, no.

So someone gave you the recording, and you were just really enamored with it.

Yeah, basically everybody in the world had the chance to do that.

Oh, OK. I saw someone on Twitter, one of the promoters who was put on that Moodymann night, and he said that no one had asked to record that, and it was sort of like a bootleg recording. And so he was almost a little surprised that it was available for people to, you know go ahead and make into other tracks.

Basically I’m never sampling out something out of DJ sets, but I thought that was too perfect, you know? I mean just check the DJ set out. Listen to it, and then you’ll know exactly what I mean.

Nick  on August 17, 2011 at 11:05 AM

Ouch. Oliver did well not to lose his temper there.

nate  on August 17, 2011 at 11:41 AM



kristan caryl  on August 17, 2011 at 11:59 AM

yeah kudos to steve for asking the questions that needed asking, but also some respect to oliver for not plain hanging up… many would have!

Per Bojsen-Moller  on August 17, 2011 at 12:14 PM

Really good read and props to Oliver for doing this where so many producers would have run and hidden after a track of theirs being met with that amount of backlash

cz  on August 17, 2011 at 12:28 PM

I could not possibly have been as kind as Steve was if I had had a chance to talk to mister dollars.

Dave  on August 17, 2011 at 1:11 PM

I don’t see anything wrong with “DJ Tools” and the DJ’s who use them. And yes, props to him for stepping up and answering the questions when it would be easier to cash a check and lay low.

That being said, in a scene where the line between paying homage and ripping off is constantly blurred, this release could not be more clearly over that line Given his inability to give truly insightful answers to these questions (beyond “we wanted to make some quick cash”) i think its pretty obvious this is just what he says it is: a personal DJ Tool that should never have been released. 60% the vocals??? ;)

John  on August 17, 2011 at 1:34 PM

I was optimistic that the guy who made such a crap track was a little more profound than his musical output. Heartbreaks by the number today

tom/pipecock  on August 17, 2011 at 2:02 PM


This guy wins the internets. I LOLed quite loudly.

TheSystemite  on August 17, 2011 at 4:07 PM

I’m sorry but this is a tight track, I don’t care who you sampled, we have all been gifted with a brilliant piece of work, Moodyman will get his cut.. its a fantastic beat i’d like to hear anyone make a beat as tight as Oliver $.

To the interviewer we sample in house music.. get over it. its a style, its straight for the floor its RAW its powerful, would you grill Todd Terry, MAW, DJ Sneak for sampling ? I can only hope not, because its an artform, and I for one cant get enough!

Anton  on August 17, 2011 at 4:34 PM


It seems you’ve missed the point of this interview and LWE’s criticism of the track and its lazy use of samples (check the review and its comments for more on that). If we can’t call out a (very popular) track for making a hash of someone else’s live performance, then there’s no point in being a critic. Frankly, I believe LWE would take on anyone if they turned out shit like this, especially if everyone else was lapping it up.

jakk  on August 17, 2011 at 4:47 PM

Fucking wanker. Sampling was fine back in the day when the tools to make electronic music were expensive and hard to come by. It’s 2011, and in today’s age of cheap technology and free information its about time we raise the bar and expect producers to actually create the music we love. Take the time and learn to play an instrument or two (or record one of the many musicians out there). Learn to write music instead of just recording a chuck of it and claiming it as your own. With the overabundance of cookie cutter tracks being released by the 1000’s every month its about fucking time producers show they have the patience and respect for the past with the desire to create something new.
And if you do feel the need to make an edit using a recording of someone else’s vocal or music HAVE THE GOD DAMN RESPECT to give the credit where credit is due!

pipecock  on August 17, 2011 at 6:23 PM

People thinking this “beat” is “tight” is the true crime. Had the track been dope, no one would care who he sampled or how. Instead, it’s a lazy piece of shit made interesting ONLY because of KDJ (60% LOL) and that is what is offensive.

Aditya I.P.  on August 17, 2011 at 6:33 PM

Oh my, I appreciate his willingness to do the interview but his answers are purely lame cop outs. I mean, really:

“Yeah, I mean you’re right — it’s definitely living out of the vocal, that’s for sure. But I never thought it’d go that big, and I thought, like, ‘Well, maybe we sell our 200 vinyl copies, and then maybe just a few digital things.'”

absolutemoron  on August 17, 2011 at 7:01 PM

I’m ambivalent about the track. I feel that LWE has blown it out of proportion somewhat, and somewhat contributed to the controversy (thereby aiding its success through notoriety).

littlewhiteearbuds  on August 17, 2011 at 7:05 PM

It’s had two weeks atop the Beatport charts, two months at the top of RA’s charts, an overwhelmingly positive review on RA, and tons of club play. If we’re pushing hard it’s because we’re trying to present the counterweight to all that. Being the only screaming voice makes that voice seem especially shrill.

just put his name on it  on August 17, 2011 at 8:23 PM

Ummm… if Oliver $ acknowledges that it’s misleading why didn’t he give moodymann a credit on the release?

DirtyD  on August 17, 2011 at 10:33 PM

First off let me say 1) haven’t heard the track in question, & 2) I’m a major KDJ fan from back in the mid-late 90s.

It’s par for the course in post 1980s electronic music scenes, people sampling other artists in whatever form that may take, then releasing it to make cash for themselves, and usually without props to the original artist. We all agree KDJ based his career on this.

This has only blown up as it is KDJ whom is sampled and some people see him as the ‘holy-grail’ of quality, underground music. His popularity since the mid 2005s has blown out ridiculously. only matched by the price of his official releases.

I don’t see anything as untouchable (i.e. unsample-able) in this post-modern world. If the derivative art it is a good track and people buy it then good on the artist, if it is a sh#t track and people buy it then good on the businessman.

Stop being so precious about an artist – especially one that originally was definitely openly racist but has seen the $$$ that could be made if he suppressed these views.

All I see happening on the back of this is the younger music buyers (if they do in fact buy stuff) will discover the track on their RA or Beatport, find out that the track is basically a ‘Moodymann’ track and then start looking into KDJ’s output. Thereby pushing the price higher for all his hard to find gems and future output.

It’s music people, if you don’t like it change the radio station, there is plenty out there.

dumafuji  on August 17, 2011 at 10:36 PM

sampling, or creativity,or “the legacy of a sample” as RA fed this would have made for an interesting article. i call bullshit.

why couch your opinions as an interview?

nobody, including the revered kdj, would have given two shits except money was being made.

cited from http://www.gerardkeegan.co.uk/glossary/gloss_i.htm

Interviewer bias
Interviewer bias describes a situation where the interviewer influences responses from participants. The interviewer may subtly communicate expected answers in the same way as an experimenter might with experimenter bias.

Interviewer bias can be illustrated in terms of leading questions. The language used in questions can affect the answer given. Loftus and Zanni demonstrated this in 1975 where they showed two groups of participants the same film about a car accident. One group were asked the question ‘Did you see the broken headlight? ‘, which assumes there was a broken headlight in the film. The second group were asked ‘Did you see a broken headlight? ‘, which is more open ended. There was however no broken headlight shown in the film the participants saw.

Of the group asked about ‘the broken headlight ‘ 17% responded that they had seen it; while in the ‘a broken headlight ‘ group 7% replied they had seen it. It did not however exist in either case!

littlewhiteearbuds  on August 17, 2011 at 10:41 PM

Good Googling, dumafuji. Now where in the piece does that happen?

For what it’s worth, Oliver $’s people came to LWE asking if we wanted an interview. The only time we’d written about him was negatively and about “Doin’ Ya Thang,” so it wasn’t like our stance wasn’t clear well in advance.

dumafuji  on August 17, 2011 at 11:34 PM

i guess that’s my point, lwe. your stance was clear. we’ve read the review, and it’s the perfectly appropriate forum to put that opinion out there. so, why do an interview to only reiterate your opinion? every question was biased in that way.

i’m not writing in support or in opposition to oliver $ here. i think lwe missed an opportunity to further what could have been a real dialogue about creativity in electronic music 2011. was the bootleg he used copyrighted material? do i have intellectual property rights to whatever comes out of my mouth if i record it? or if you record it, do you have the rights? this is not “u can’t touch this” but…how is it different? is it really ok for kdj to sample since when he does it it isn’t “played out”? so is it the played out/not played out bit of all this?

all right, who cares, that’s a bunch of my own personal interest and baggage on sampling, not yours. it’s your interview. but even you say his people came to you to do an interview. you weren’t looking to take this further until he got in touch with you. so why rehash the same hate?

i dunno. maybe just come out first question and say – “dude, you suck. why did you not credit kdj?” seems like it might have been more interesting. just my two cents. peace.

littlewhiteearbuds  on August 17, 2011 at 11:40 PM

We saw the opportunity to let Oliver have his say after we did, but an interview involves asking questions from our view. That was our goal, letting him have his 2 cents in all this.

zeeteshnoz  on August 17, 2011 at 11:55 PM

While I didn’t care for this track, and thought it was a rather lazy sample session, I think LWE is jumping the shark a bit here.

Moody’s been infringing copyrights just as blatantly for yeeeeears. I like the guy’s music and performances, but really…get over it.

Copyright law, as-is, is horseshit. It’s design to fuck you, me, Oliver $, and Moody out of money, and put it all in the hands of big ass corporations for centuries.

You guys can debate the artistic merits all day long, but really, this one’s a lost cause and the least of our musical worries. Talk it up for 5 min with a friend and move on. Ricardo’s “Cafe Del Mar” was at least as “bad.”

But I guess this is just how music *journalists* work. Perhaps a bigger waste than lawyers.

(Nah, I’m just giving you guys shit, love the interviews and histories you fuckers do. Ace work!)

zeeteshnoz  on August 17, 2011 at 11:58 PM

Also, DrtyD – great response. Kudos for talking real shit. Had I seen your message before I posted I wouldn’t have bothered.

Adam  on August 18, 2011 at 12:11 AM

I think the point here is obviously that he just took a straight recording and slapped it on top of a beat (a pretty decent one). Is there any creativity in that? no. Is it effective? In this case, fucking right it is. And don’t forget guys, on LWE everyone’s a nerd, but most DJ’s in the world just care about their track being effective on the dance floor without giving any consideration to quality and originality. Oliver S doesn’t seem like a man of very high intellect, so I’d imagine he’d be that type of DJ. And don’t forget, they did only press 200 copies of this on vinyl and I don’t doubt when he said they didn’t think it would blow out like this. Is the track kind of a joke? Yea, I guess. Is it despicable? Come on, man. I think in the end that spends time arguing against Oliver S and this track and stuff like this in general needs to get a fucking life and move on to other things. It’s not like he took somebody else’s track and put his name on it ffs.

ripa  on August 18, 2011 at 2:19 AM


Who’s sampling who?
Finally if they were solding 20 copies nobody will care of this tune (and this article). Hey guys its just music… think the whole market in releasing low level music and i can’t count how many tracks with Nina Simone i heard on beatport but no article here… it should be because she’s dead. Moodymann stole music, someone did the same with him, fair deal. (http://www.whosampled.com/artist/Moodymann/) Even if i don’t really understand that way of making shit, I have to say that Oliver gots cold blood and he’s quite honest in his answer. That respectable. At least.

DirtyD  on August 18, 2011 at 4:05 AM

Thought after commenting I would listen to the track in question.

Not to my taste, in my opinion an uninspiring, very lazy remix/edit. What is obvious to me is that Oliver has taken the essence of KDJ’s dj performance and attempted to make a ‘cool/underground’ track from it through assocation. KDJ isn’t known for his technical DJing skill, but he is a great selector and entertainer with his ranting and ‘mystique’. I can’t imagine playing a recording of KDJ ranting is going to come anywhere near producing the same response from a crowd and can’t imagine this ever working. (Unless you were on some 60s type LSD and actually thought you were at a Moodymann gig)

But having read some other reviews and comments on the web it sounds like it is getting played around the globe at some big parties. I don’t really get it, but then again I don’t get Deadmaus either.

different strokes for different blokes

DirtyD  on August 18, 2011 at 4:15 AM

one last thing, any inspiring Oliver $ out there, why not try to make something really interesting with something a little less obvious.

try http://www.wordjazz.com/

JustSayin  on August 18, 2011 at 6:08 AM

It could be worth bearing in mind that english is not actually Oliver $’s first language before people start making definitive judgements about whether he’s ‘profound’ (or not) or is able/unable to provide ‘truly insightful answers’… not to say one way or another but it’s something to consider, eh?

i think dumafuji hit the nail on the head. There is a bigger discussion to be had about the borrowing/stealing of intellectual property in creative industries, more specifically house music in this case. And equally as importantly also what constitutes ‘intellectual property’. Then there’s the debate whether sampling the manifestations of someone’s own original creative visions (i.e., music) is more ‘right’ (or ‘acceptable’) than using a recording of someone’s chat, which is personal to the originator in an entirely different way.

and everything else that falls between these major talking points are – let’s be honest here – purely subjective. which means that one person’s ‘rudimentary house beat’ is another person’s ‘massive tune’. I know we all like to feel we have the edge when it comes to being an authority of taste and knowledge but really? let’s get over ourselves enough to have a proper debate yeah?

pipecock  on August 18, 2011 at 6:44 AM

Ken Nordine was pillaged in the mid-late 90s, hardly an original idea for sampling.

I love sampling and sample based music, I feel like most people are okay with that in this day and age. I have no problem with illegal samples or edits as long as something interesting is done with it. The problem arises when someone is lazy and boring. This track is bad like Puff Daddy using the Police or Led Zepplin, but with the added irritation of either an attempt to gain legitimacy from using KDJ (assuming people know who he is upon hearing it) or appropriating the performance of one of the few truly talented and original house producers of the last 15 years (assuming most people WON’T know who he is upon hearing the track. I happen to believe this…). Either which way, it’s not a good look.

ChoobbyJam  on August 18, 2011 at 7:30 AM

Dudes, in the 1st place the recordings of that MM DJ set where available. To me and in the digital age this is the main issue. No recordings, no track… So don’t blame people for using these recordings, at least it’s not another lame loopmasters demo track as beatport is submerged by…

jay  on August 18, 2011 at 8:55 AM

load of BS, how many uncredited vocal samples have been used in house and techno, joy orbison just did it with ellipsis where he samples a bit of source direct speaking. As long as people dance who cares.

jason  on August 18, 2011 at 9:17 AM

so is everyone going to jump on Blawan now for sampling him as well?


Anton  on August 18, 2011 at 9:24 AM

That’s a good point, ChoobbyJam. Artists need to be aware if their sets are being recorded and what the promoter intends to do with them. It doesn’t let samplers off the hook if they make bad music with it, but it does make it harder to argue against sampling these sorts of things.

Regie  on August 18, 2011 at 12:18 PM

What a stupid interview.

The track is rubbish but that’s all it is, Oliver $ actually comes across as quite reasonable

If he sampled Britney would LWE say anything?

The track’s crap but so are loads of other tracks, does it really need to be taken to such lengths just to prove it’s rubbish?

blub  on August 18, 2011 at 4:14 PM

Well now I really want to see LWE grill Thomas Melchior for sampling Pink on “Coming Up” from No Disco Future.

littlewhiteearbuds  on August 18, 2011 at 6:46 PM

Except that Melchior did a fantastic job incorporating that sample. Again, the issue is how the sample material is used, not just what’s sampled.

CasualObserver  on August 18, 2011 at 9:06 PM

I generally enjoy the interviews and articles on LWE but to say this piece had any journalistic integrity would be a lie. There was an agenda, to make Oliver look bad to your viewership and good on Oliver for being unwavering in his answers. Not every track made has to be thought provoking and a true piece of art. Sometimes tracks are made to work a room, make people dance. That’s all Oliver ever set out to do. He continues to get “slammed” by many yet don’t you find it ironic he was the first one clever enough to use a Moodyman recording and incorporate it into a track? Moodyman is no God, that’s a pedestal most of you so-called “purists” have put him on. Is he a talented, creative artist? Sure he is. There are many others like him. The guy is paid thousands to play records, literally ONLY play records, not mix them, in countries all over the world that many a record collector could do and educate a crowd in the same way possibly even minus the uber-ego. But go ahead and keep buying every one of his releases, be it good or bad, because you think it may be worth $100 on discogs one day. The man himself puts out as many misses as he does hits, fact.,How many other articles have you written in an attempt to railroad an artist? That’s what I thought….

littlewhiteearbuds  on August 18, 2011 at 11:43 PM

When did allowing an artist to respond to criticisms against them become railroading?

Ewan  on August 19, 2011 at 4:29 AM

LWE – it seems like you’re relating quality to ethics here, which is dubious. As others have mentioned, the really interesting thing here is whether sampling of someone’s live performance as a DJ should be viewed equally as sampling music. I think the issue is clouded by the fact that sampling someone who is still making music within (roughly) the same scene seems qualitatively different from, say, UK garage producers sampling r&b or house producers sampling soul and disco. This is only exacerbated by the deification of Moodymann which seems to have become particularly extreme in the past couple of years. I understand why these factors make people angry, but if you’re going to make an ethical argument against this track I don’t think quality or lack thereof can really come into the question.

The sampling I don’t care about; the wider issue of European producers lazily and dubiously appropriating different cultures as just ‘a sound’, offends me more.

YouWut?!  on August 19, 2011 at 4:41 AM

“Except that Melchior did a fantastic job incorporating that sample. Again, the issue is how the sample material is used, not just what’s sampled.”

So I guess the crux of the interview was to call someone out for them not using sampled material in a fashion that was not to your (personal) taste/standard.

Basically, it’s ok to use sampled material (with permission or without) if it’s good (in your opinion) but if it’s used in effect that is deemed not good (in your opinion) then you find absolute justification in the manner in which you carried out this particular interview…

I’m not a fan of this track but if you don’t like a track, you are perfectly entitled to not like it and say so but why be a hater. You have some really valid points of discussion but the focus has been shifted away through the drama – and that is a shame man.

littlewhiteearbuds  on August 19, 2011 at 8:15 AM


“So I guess the crux of the interview was to call someone out for them not using sampled material in a fashion that was not to your (personal) taste/standard.”

You took a quote from the comments about a different track entirely and applied it to the whole interview. So no, I would say that’s not the crux of anything.

rekid  on August 19, 2011 at 8:39 AM

If you’re gonna interview artist then make you get your facts straight…

“— a lot of them weren’t played out, you know? It wasn’t like a long sample that just played out; it tended to be something he’d cut up real fine and then added his own things to it. So that’s sort of the distinction I think some people would see.”

Has he heard “Black Mahogani”…That track is basically Walter Murphy’s “Afternoon of a Faun”…
Do u think Walter got paid ?

and also it’s a good thing that Jesse Rose is now speaking to the relevant peeps about the sample..
Nearly 99% of labels wouldn’t even bother !

Full props to Oliver $ !

Derp de Derp  on August 19, 2011 at 8:59 AM

Waaaa Waaaaaaaaaaaaaaaaaaaa!

dean muhsin  on August 19, 2011 at 12:03 PM

gone well Daily Mail here… and on RA

jesse  on August 19, 2011 at 7:48 PM

You fuckheads are all ignoring the elephant in the room… cuz the elephant is meant to be ignored.

the true distressing reality is how fucking boring most djs are. Moodymann breaks that trend. Most djs just channel the music, and I have a deep appreciation for the few true creative mixing masters out there, but FOR FUCKSAKE,, even most “live” sets are akward and the party people carry the performance instead of the performer carrying the weight and possibly inserting some charisma and totally fucking owning the synthesis of the party.

The same old routine “party people take your places and everyone play their scripted part” gets old, which is why disco burned out so fast, an why flash in the pan lame novelty shit rules the charts.

I still am in love with how tightly wound and powerful of a spirit can be unleashed by a true visionary with only two turntables, but things generally only get better if you even just add a sampler into the setup and take legitimate risks. That being said, the extrinsic motivation just isn’t there cuz most people in the crowd are ignorant or get ignorant stat.

The line is drawn and has been fairly static since the burnout of the laptop promise, and was really the same line as the sampler limit, the mid 90’s was really the peak and it has all been tweak since then to tailor the music to the crowd and hit that high point. But now the boundary needs to be violated before our ignorance consumes us as we actively consume it.

Doesn’t anyone else out there long for some dude spazzing to his artistic partner’s electron channeling ala british murder boys or SUICIDE? (i have experienced neither in the flesh) I hate to say it but Skrillex makes the entire electronic/dance scene single performer cadre look like scaredy shits. That kid owns the stage and crowd, though he has already pretty much gone full cycle.

A unified headspace that runs all night is still my favorite, but performers need to terrorize and mystify their scene if they want anything beyond fans just cycling through.

Enough reasonably numbing and time killing/filling dross.
EVOLUTION MIND CONTROL HEADFUCK COMMUNAL MELTING PLEASE! and hearing live human voice only makes the music more intriguing :) But yeah, I selfishly just want that next big fix to come while I still have the patience to search it out…

Thanks to LWE to fostering the environment that will lead to the mental flowering that I think is not far off. Meanwhile you guys are presenting the cream of the crop.

ideas for potential mining: more surround sound stuff(can’t fucking believe something that is a fixture in many suburban homes is near non-existent in the most avant garde circles), more visual/environmental synchronization, more tangible performances and truly mastering live music synthesis manipulation.

kudzu is coming for you…

nick  on August 24, 2011 at 3:49 AM

what a pointless interview and a missed opportunity here . the track is one piece of garbage plus i had a low opinion of the person behind the track and now my opinion of him is even lower after reading this crap .
the point of the matter here is not the sampling . it’s the exploitative nature of this track . why are you not sampling germans why are you sampling black folk ? because him and other cynical people think it’s cool to do this crap . exploiting black folk for their own material gain . as if by some associations they themselves become cool and sadly a lot of fools like him by into this crap . this fool also says that yes people also sample his beats and stuff . i’m howling at that sentence and this just shows just what a terrible state music is in right now .

paul  on August 25, 2011 at 2:09 AM

How are the promoters surprised about the recording ??? It was available on their homepage …

Dave  on August 26, 2011 at 10:19 AM

Looks like Downtown304 has a new KDJ record available that has this track on it. The retailer claims they got copies of this from Kenny himself? It also has his remix for the L.A. Noire game and I Got Werk.

nick  on August 27, 2011 at 10:03 AM

good on you kdj – payback time !!!!!!!!!!!!

Si  on August 27, 2011 at 11:12 PM

Got this through in our recommendations system from one of the big record stores – £15 if bought from Juno!!


what ever  on August 30, 2011 at 11:32 AM

No, I haven’t heard Oliver $’s track yet but I find this discussion absolutely pathetic.
Mr. Dixon Jr. himself steals(!) from other artists as well and NEVER mention the origin of the samples. So why can other people not do just the same? Just because KDJ is a self-proclaimed “God”? F*** that and wake up people, HE ISN’T !

keepdoingyathing  on September 11, 2011 at 10:40 AM

ridiculously funny how annoyed all of you real house music heads get, when one of your gods is sampled by someone not THAT underground..

tiddlerz  on September 15, 2011 at 11:05 AM

just to throw my 2 cents in

first time i heard this track sven weisemann played it and i though ‘whoa (not wow ye yanks) wtf is this’

the penultimate time i heard it, it was rocking the fuck out of the berghain garten after being dropped by the drumpoet boys

and then a (good) few hours later i heard it in the new bar 25 place with the oliver himself there on the dancefloor. good fuckin fun. what a nice, friendly, genuine and humble chap he is.

and that is my 2 mf cents bitches.

cha cha  on September 19, 2011 at 3:31 PM

I thought it was a crappy interview. Dude asks the same question over and over expecting to squeeze a different answer out. And Oliver politely tells the guy to listen to the original track. Interviewer seemed unprepared with only one question to ask. Oliver isn’t hiding, and I liked the track. My head bobs, and my body sways. Music is about the feeling, not about who sampled what and who should get paid.

littlewhiteearbuds  on September 19, 2011 at 3:33 PM

Congratulations, you don’t know how to read.

Luke S  on September 26, 2011 at 5:31 PM

I hope all you guys complaining pay for ALL your music ;)

keep it real  on October 6, 2011 at 3:51 AM

oliver $ – a brag with lack of respect.
why not using your own f..king voice?!?! “but his voice is so damn cool!” – yes indeed.
there’s a difference in quoting someone’s sample and put it in a new and individual way and plain “lets put this on my boring beats”.

Nick  on November 8, 2011 at 9:23 PM

I love LWE, but reading this interview is just painful on all ends.

Nil Rodgers  on November 30, 2011 at 10:49 AM

Ok, so it’s basically down to these simpla questions: did moodymann pay for via samples? Or Theo Parrish for that matter if the answer is no, than there really isn’t that much more to say. Yeah O you might not like it, but who cares? A lot of other people apparently did and so the track did pretty good. End of story.

Patrik  on December 16, 2011 at 10:16 AM

the exact same thing with this track. moodymann sampled and pretty much imo makes the track. not sure how I feel about it… sample is from red bull music academy’s interview with moodymann.



Dean  on December 16, 2011 at 4:26 PM

All you peeps pissing and moaning about Oliver $ sampling Moodyman like it’s a bad thing are nuts! Every single Kenny Dixon track contains samples! How many of them are credited to the original artist???

Get a grip and move the f**k on…

Sampling is one of the foundations of house music, always has been, always will be.

Anton  on December 16, 2011 at 4:29 PM

It’s incredible that commenters are still treating this interview as if it was strictly about the fact that Oliver $ uses samples. Not all sampling is equal or ethical.

rob  on December 17, 2011 at 11:33 AM

don’t mind the song, and can see both sides to the argument…. but the interview was maaaaassivly biased. you basically asked the same question 10 times trying to put words in his mouth… no originality or and poor homework done for the interview before hand.

first time ive been to this site and looks like it’ll be my last.

Granny Peace Brigade  on December 26, 2011 at 1:55 AM

@ anton. to you,
what kind of sampling is ethical, and what kind of sampling is unethical?

Anton  on December 26, 2011 at 2:01 AM

As stated in my review, “Doin’ Ya Thang” is a perfect example of unethical sampling. Taking a recording of a STILL FULLY ACTIVE DJ’S SET and turning into the basis of a track is beyond the pale. Most sampling is fine, and most “bad” samples come down to how they’re used. This is on shaky ethical grounds AND it sucks.

Granny Peace Brigade  on December 26, 2011 at 4:23 AM

i understand your opinion anton, and i just read your review – well written and somehow emotional. great that you feel passionate about this.

My two cents about all this –
(whether i like the track or not doesn’t matter at this point)
I might seem to be biased, because I know oli dollar a little (we have proudly exchanged our first vinyl records in a shop in berlin 6 years ago and played a few times together on the same nights since then) – but this is not about me defending him or whatever. I can’t hear the track anymore myself and am not a fan of his follow up on playitdown!
Nonetheless – i am glad this oli dollar track “doin your thang” exists .

i’m glad because it’s a truly “modern” (aka 2011) example of how a piece of music gets created and travels the world, what part the internet plays in the way people can access music & sounds nowadays, how put their own touch to it by remixing / reediting, how the “old” gets recycled into something “new” younger people or people new to dance or house music might not have heard before, how these people might be turned on to the “old” by this creative recycling and remixing process and rediscover it, how the boundaries between edits, remixes and original tracks seem to blur more and more the older dance music grows and the more it gets sampled and resampled and rereresampled, and finally: what kind of debates might arise between those who get offended by the use of material from their heroes – and those who have a little bit of a “lighter” perspective on this whole dance music “scene”…
(a “scene” which to be honest is among the most luxury first world things out there, and the first thing that will be gone once after the next meteorite falls on this planet.)
In this case oli had a short moment of creativity and fun making a track / edit / bootleg which finally ended up in many djs’ record bags (or rather, on computers and CDs in fact) and got played all over the world. I’m respecting your opinion anton, i’m respecting that people have a personal taste and think a track is good or bad. but personally i think an artist should not be discredited for something one might cathegorise as “unethical” sampling – after all it was not oli who bootlegged the vocals from the moodymann gig himself, no it was out there in cyberspace. It was not him who released it, but a label. owned by a total house music freak and probably a moodymann megafan. charted by the “tastemakers” of the “scene”. pushed by beatport. bought and downloaded and shared and charted by djs. written about on blogs and magazines. we are all adding to the fame / infamy of this track!

All i’m trying to say is, i think the “scene ” is taking itself (way) too seriously. I find it very sad that once a track gets successful, the hating starts, the shitstorm spreads, the holder of the holy grail of ethical sampling embark on a bit of a crusade. There is a lot of bad music out there, and definitely far worse than “doin ya thang”. Why spend so much time on negative thoughts about it?
I’m a KDJ fan myself, but i don’t mind the vox being sampled this way. As I said I might appear a little biased -> I witnessed how oli played a tryout version of the track out on a berlin dancefloor and what an amazing impact it had that night six months before it came out. After i got the playitdown promo I played the oli track out exactly twice pre release and then never again because I got tired of the vocals pretty quick.. it worked well though. Peeps came up and were like “wow what is this”. Not random people – house music lovers with knowledge, Moodymann lovers. i play a lot of Moodymann tracks myself! Don’t get tired of them. But that’s not my point..
Nowadays everyone can make and release a track in no time, that’s why there is so much crap out there and that’s why people think of a track that’s a month old as an OLD track. (which is terrible in my opinion). The competition between djs slash producers is huge. The more there are djs slash producers out there, the more there will be sampling and resampling from old sound sources. Music and genres have become like fashion, like the fall / winter collection from 2002 is totally different than the summer collection of 2003.. dancemusically speaking, a few years ago minimal was popular, then came sth like new rave, dubstep, 90s, 80s, trumpets, tropical, blah blah. Now it’s down to slower house that sounds like it has been produced 15 years ago, music which gets produced by the SAME djs slash producers who made new rave 3 years ago. In 2012 hell knows what’s going to be popular, Happy Hardcore? But I guarantee you -> you will have slow house music producers from this year making Happy Hardcore and telling you how incredibly real and true to this style they are and always have been. You will have journalists who LOVED slow house music in 2011 absolutely hating it in 2012.

I totally get lost in all these fashions, that’s why i rarely read any reviews or magazines or blogs or check their top tracks. In some cases I follow debates, like in the case of this oli track, because i think it’s an interesting one (and because I witnessed everything from the creation of it to it being in the RA top 50 of the year).
I can only explain that to myself this way:
As boundaries between genres blur, as there is so much music out there and copyright in dancemusic is more and more loosely defined, as producers and labels see less and less of a need to pay sampled artists or their publishers money to clear samples for (mostly) digital tracks (which will in most cases sell a max of 100-200 units on beatport IF LUCKY!), the “old” and “credible” and “proven” values tend to get held onto and ideologically protected moreso.. (like in this case: KDJ). The definition of “value” of music shifts..

Mind you, it’s great to have people who do debate and think about things like ethical or unethical sampling and quality control, it’s great that there is writing and journalism about music.
(that’s why i am writing here in the first place -> I just checked out the RA top 50 2011 tracks and clicked on the LWE link @ oliver dollars track.)
On that note: reading the RA top 50, I thought that there are a lot of tracks in there i didn’t think of as meaningful as RA did.. at least to my sets.

I’m going to stop now because my plane is leaving in a couple of hours –
I had to smile after reading the last sentence of your review on LWE Anton…
because I thought to myself, that nowadays you don’t even have to save your money to go to see moodymann live, by not buying the oliver dollar track .. you can do both -> just download “doin ya thing” on zippyshare AND go and see moodymann live. ;) full circle.

Happy 2012 :) I probably won’t check this thread anymore as i’m off to do some highly unethical sampling in the next few weeks. ;) Thanks for this interview LWE and thanks for your review and thoughts anton. Greetings from Brooklyn

Levi Herpel  on January 14, 2012 at 2:41 PM

Wow good for Oliver $ to not lose his cool… who is this guy who has never made a track in his life to call out Oliver $… Critics are snobs

littlewhiteearbuds  on January 14, 2012 at 4:53 PM

You must really know the guy who did the interview! Oh wait, you have no idea what you’re talking about.

Max Tkacz  on February 9, 2012 at 3:14 PM

Oh the irony of the song title “Do Ya Thang,” but actually Mr $, do your own thang..

mdot  on March 1, 2012 at 7:24 AM

Why don’t you guy stop for a minute and look at the history of dance music. It started with drum machines and sampling. its a hot ass sample wtf do you want this guy to do chop it up like it’s a dj premiere hip hop beat? fuck you guys are waisting your time crying about bullshit, sampling is an art in which you should all respect becasue without it “house” music wouldn’t be here today. DO YOUR HOMEWORK BEFORE YOU TALK SHIT. House music came from sampling records just like hip hop.
I think that he should’ve cleared the sample before releasing it for sale and mentioning Kenny Dixon on the release. Other than that , I’d rather hear dope house with samples that this fucking over synthesized garbage that you have to drop pills to enjoy.

anon  on March 18, 2012 at 8:22 PM

i am a founding member of the band chic and would like you all to forget about oliver $ for a moment and interview kenny dixon jr about his unethical sampling of he’s the greatest dancer in his single one night at the disco….i never got paid,he didnt do anything creative with the sample and most comments on here are basically a load of shit wrapped up in fake pseudo intellectual blankets……house music has always sampled other forms of music and sounds so there’s not much room for debate on the matter really.

littlewhiteearbuds  on March 18, 2012 at 8:27 PM


Your email address indicates you were definitely not in Chic. You can state your opinions without lying about your identity.

Gare du nord  on April 5, 2012 at 11:40 AM

Lol – I thought the subject of the interview was supposed to do more talking than the interviewer … Oliver did well not to call out the obvious agenda, the interviewer comes off like a wanker and just another hater

If people put as much effort Into making their own art as they do into criticizing other’s, we’d still have too many critics… Those who can, do – those who can’t, bitch about those who do haha.

None of this would have been an issue if Oliver hadn’t made money off the track, so clearly it’s not an ethical issue. It’s a commercial one – all’s well until you profit, then everyone has their hand out for a taste.

makeitgood  on August 2, 2012 at 4:20 PM

i also got the feeling that the interviewer was totally biased.. the interview was not even live, it was on the phone, so of course oliver’s answers don’t look so collected when he can’t even see the face of the person who’s attacking him. you could re-write the answers if you had a bit more sympathy or make the interview via email but of course you didn’t… also a) you say that moodyman was not ok with recording being available when someone here points out otherwise b) you say he doesnt take long cuts of samples but good example of “black mahogani” will prove you wrong… i don’t think interviews like this should even be published-its like propaganda. :/
anyway, i heard the live set and there’s A LOT of talking there. i think it takes some skill to take out the best shit and put it together like that. and the beat and chords, everything is really together, it’s a perfect puzzle. sampling has been there and will always be there. at least oliver’s honest – he makes dj tools. he is a great samples selector. he doesnt claim all parts to be his. and im cool with that. the track saved many parties for me when i played it out so for that, i’d like to thank him! and moody man is just moody. he should also be grateful for bringing a bit of hype back to him on this occasion.

Max  on September 11, 2012 at 10:54 AM

Good interview, but it was unnecessary to try so hard to make Oliver look bad. I mean, honestly! Oliver, big respect to ya!
-Max (Bali, Indonesia)

Fire  on January 1, 2013 at 10:37 PM

If u dont like the track dont listen to it. Stop crying like little school girls, ur not in north corea where ur forced to listn selected music, i would of never heard about moodyman if it wasnt for this song

Kappy  on January 2, 2013 at 9:32 PM

Used correctly as a DJ tool: http://soundcloud.com/jnglhaus/pacifico

Mariano  on June 24, 2013 at 1:32 PM

Hey, nobody hear that the vocal is not the only thing he sampled??
The bassline and everything else (almost everything) you hear in the track is made with Wahoo – Don’t make it personal, the last minute you can hear.


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