In light of the recent flame-war about what is appropriate for this list, I
thought I'd add two qualifiers.
obIDM: I'm sending this to the IDM list because:
1. A number of people on the list asked me for copies when I finished the
next version and I lost their addresses....
2. Jon Drukman almost cried when he heard "Sweet Lullaby" at a rave last
year while he was... oh, nevermind. :-)
________________________________________________________________________
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________________________________________________________________________
_________________________________
D E E P F O R E S T F A Q
_________________________________
version 1.0
"Somewhere, deep in the jungle, are living some little men and women. They
are your past. Maybe... maybe they are your future."
-- Deep Forest
________________________________________________________________________
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________________________________________________________________________
This document would not have been possible without the help of a lot of
people on the Internet. To some, this document may represent an extreme
example of some of the minutiae that gets compiled and transmitted over the
Internet. Here we have this enormous FAQ and Discography for a group that
really only has one album out (which is rather amusing, actually). But
fans of any particular group (or people interested in any subject) can
exchange information in cyberspace to each other's mutual benefit. Now
*that* is putting power into the hands of the people, which is the goal of
personal computing. (can you tell I work in the computer industry? :-)
"OUT OF AFRICANS" by Leslie Sly has been a particularly helpful article,
from the April 1993 Sonic Magazine, and has been used without permission.
Also, "African Pygmy chants go Europop in 'Deep Forest'" by Paul Geitner of
the Associated Press has been excerpted as well, and is also used without
permission.
A special thanks to:
Pete Ashdown
Christian Barthold
<\/>ike Brogdon
David Campbell
Ad Feelders
Daniel M. Greenberg
Joar Grimstvedt
LAURENCE JANUS
Erich W Leonhardt
NEESH Manish
william pabst
Dan Nicholson
Pima Pimenoph
Jay Redd
Gavin Stok
Mathias Thallmayer
David E A Wilson
Eric Zanto
and others as they send in info to be included!
________________________________________________________________________
SUMMARY OF WHAT'S INSIDE
I. Liner Notes
II. Frequently Asked Questions
1. Q: What does Deep Forest sound like?
2. Q: How did the Deep Forest project start?
3. Q: How did Deep Forest write their songs?
4. Q: How did they make the album?
5. Q: Is Deep Forest sensitive to the cultural heritage of the
people that they have sampled in their music?
6. Q: Will there be any more albums?
7. Q: Will Deep Forest ever perform live?
8. Q: Why did it take so long after its initial release to become
popular in the U.S.?
9. Q: What is the background on the "Sweet Lullaby" video?
10. Q: If I like Deep Forest, are there other groups that I might
like?
11. Q: Where do the chants come from?
12. Q: What does the original Baka music that is sampled in Deep
Forest sound like?
13. Q: What equipment does Deep Forest use?
14. Q: How did they use the equipment on the album?
III. Discography
1. Sample Credits
2. Background on the Remixers
________________________________________________________________________
I . L I N E R N O T E S
DEEP FOREST - A Huge Green Brushstroke of Sound!
From a sticker on the cover: "A rare and unusual mix of ambient modern
music and the songs of the Pygmies of the Central African rain forest."
Deep Forest is based on an original idea by Michel Sanchez.
Arranged by Eric Mouquet and Michel Sanchez.
Keyboards and Programming by Eric Mouquet, Michel Sanchez and Cooky Cue
on "Savana Dance".
Additional vocals: Michel Villain
Produced by Dan Lacksman
From the liner notes on the Sweet Lullaby CD5:
"Deep Forest is not a band. Deep Forest is not an artist.
Deep Forest is a concept ... a state of mind.
Deep Forest is music to dance to *and* to listen to.
Deep Forest joins together the hi-tech dance music of modern Europe with
the haunting voices of the rain forest Pygmies of Africa."
From the liner notes on the Deep Forest full-length CD:
"Imprinted with the ancestral wisdom of the African chants, the music of
Deep Forest immediately touches everyone's soul and instinct. The forest
of all civilizations is a mysterious place where the yarn of tales and
legends is woven with images of men, women, children, animals and fairies.
Not only living creatures, but trees steeped in magical powers. Universal
rites and customs have been profoundly marked by the influence of the
forest, a place of power and knowledge passed down from generation to
generation by the oral traditions of primitive societies. The chants of
Deep Forest, Baka chants of Cameroon, of Burundi, of Senegal and of
Pygmies, transmit a part of this important oral tradition gathering all
peoples and joining all continents through the universal language of music.
Deep Forest is the respect of this tradition which humanity should cherish
as a treasure which marries world harmony, a harmony often compromised
today. That's why the musical creation of Deep Forest has received the
support of UNESCO and of two musicologists, Hugo Zempe and Shima Aron, who
collected the original documents."
"The Producers and Musicians on this recording are donating part of their
profit to the Pygmy Fund."
The Pygmy Fund
Attn.:Jean-Pierre Hallet
P.O.Box 277
Malibu, CA 90265
________________________________________________________________________
I I . F R E Q U E N T L Y A S K E D Q U E S T I O N S
________________________________________________________________________
1. Q: What does Deep Forest sound like?
A: Deep Forest is Ambient Electronic Dance music which skillfully combines
centuries-old Baka pygmy chants from central Africa with Europop rhythms
and a synthesized dance beat.
________________________________________________________________________
2. Q: How did the Deep Forest project start?
A: "It was just for our pleasure in the beginning," Eric Mouquet, one of
two French musicians who helped create "Deep Forest," says of the project.
"We just put all the feeling that we wanted into this music, and after we
saw the success, we were very proud."
Mouquet says his partner, Michel Sanchez, found some tapes of Pygmy chant
recorded decades ago and played them after dinner one night.
"It was very quiet, very beautiful," Mouquet said in a telephone interview
from the studio in Brussels, Belgium, where "Deep Forest" was made.
Mouquet then came up with the idea of combining the sounds with their own
music.
They ended up cutting the tapes and mixing them with synthesized music,
drum beats and sound effects, all the while keeping as much of the
original melody and tempo as possible.
Then they took their demos to Lacksman and the songs were entirely
re-worked. "It was the vocals and the emotion of the songs which attracted
me," he says.
They made a deal with Sony France, then sought to secure the rights to all
the vocals. They eventually won the backing of UNESCO, which opened its
extensive library to them, and of two musicologists, Hugo Zempe and Shima
Aron, who collected the original documents.
Dan Lacksman comments, "[Producing the album] has actually been quite a
long process (over a year to complete) and it's been one of the most
enjoyable jobs I've done because we had complete freedom to work on it
until we were happy with it. We didn't have all the time pressures and
frustrations that you usually have in a recording session so we were able
to experiment. We did lots of versions of the tracks to see what worked
best. We did four versions of Sweet Lullaby, for example, to try different
tempos. We did a fast version, but it lost its charm so we went back to the
current (slow) style. While the album, in the end result, might sound
simple, we spent hours or even months on very small details."
-- excerpted from "African Pygmy chants go Europop in 'Deep Forest'" by
Paul Geitner of the Associated Press and "OUT OF AFRICANS" by Leslie Sly
from the April 1993 issue of Sonic Magazine.
________________________________________________________________________
3. Q: How did Deep Forest write their songs?
A: The songwriting process was unusual because they started with the
vocals and built the rhythms and textures around them. First they sampled
all the vocals into an Akai S1000 in small sections, cut them up, and used
its time stretching facility to give them a rhythmic structure that would
work with time code. Lacksman says he didn't know what the lyrics meant in
the first place and, by now, they may be quite meaningless because bits of
songs from different cultures were mixed together to achieve certain
textures and rhythms.
"This is not an ethnic album," he says in defence of his indiscrete
cut-and-pasting. "But, we did absolutely want to respect the soul of the
songs and we hope that our music will inspire people who don't usually
listen to music from other cultures, to seek some out. The funny thing is
a lot of African people have told us they really like the album. Only
academics, purists and musicologists have been negative about it."
The voice samples have been use creatively - the usual cardinal sins of
sampling, like chipmonking and loop glitches, have been used to great
effect. Sometimes, for example, a voice sample breaks briefly at the loop
point into a strange squarewave-type yodel. But Lacksman says very little
was done to them in terms of artificial treatment.
There are no acoustic instruments on the album, some vocals were added.
"We wrote out all the lyrics phonetically for the (session) singers so they
could match with the sampled voices. Then we did a lot of overdubs - 18
tracks bounced down to two, then 16 down to two and so on."
The sampled voices had been mapped out on a keyboard ant then played into
Cubase. "The idea was to enhance the wonderful singing with the latest
technology and to really blend these old and new cultures."
Excerpted from "OUT OF AFRICANS" by Leslie Sly from the April 1993 issue of
Sonic Magazine.
________________________________________________________________________
4. Q: How did they make the album?
A: The making of Deep Forest's debut hit album happened in three stages.
Keyboard player Eric Mouquet got involved duing stage two, after fellow
keyboardist Michel Sanchez had laid the groundwork for some tracks by
putting synth ambience to the tribal tunes. During a brief visit to
Australia, to promote the album and pick up a few didgeridoo samples for
their next project, Eric explained how he got involved and what happened
next.
"One day Michel played me the ambient version of Sweet Lullaby. At that
stage it had no drums, just the vocals and synth pads. I really liked it
because I thought he was trying to enhance the African voices, not just fit
them into his musical ideas."
Excerpted from "OUT OF AFRICANS" by Leslie Sly from the April 1993 issue of
Sonic Magazine.
________________________________________________________________________
5. Q: Is Deep Forest sensitive to the cultural heritage of the people
that they have sampled in their music?
Aware of the charges of cultural exploitation that have been leveled
against similar projects by such artists as Paul Simon and David Byrne,
the "Deep Forest" creators sought advice from experts on African music.
Mouquet says they took the finished album to Francis Bebey, an
internationally renowned journalist, author and musician from Cameroon,
whose 1975 book, "African Music: A People's Art," is considered an
important reference work.
"He said, 'Oh you're right to do something like that, because African
culture is not only for African people. It's a good way to merge all kinds
of music with something new,'" Mouquet says.
[In order to really help the African people, Deep Forest] decided to give a
percentage of the "Deep Forest" royalties to The Pygmy Fund, based in
Malibu, Calif. About $25,000 has been earmarked for the fund so far,
[according to] Golden.
The fund's founder, Jean-Pierre Hallet, was honored in Washington with a
Presidential End Hunger Award in 1987 for his work with the Efe Pygmies of
the Ituri Forest in Zaire. He says he was dubious when first approached
about "Deep Forest."
"When I heard someone had taken their songs and cut them up and added a
disco beat, I said, 'Oh wow, that's terrible to do that to that beautiful
sound.' Then I heard it," he says. "It's almost magical music."
Hallet says he has yet to play the album for his Pygmy friends. His last
trip to Zaire, in May, was cut short by renewed fighting in the country's
civil war.
"I cannot wait to go back and let them hear it," Hallet says. "I'm sure
they will begin dancing -- automatically."
-- excerpted from "African Pygmy chants go Europop in 'Deep Forest'" by
Paul Geitner of the Associated Press.
________________________________________________________________________
6. Q: Will there be any more albums?
A: The band has a contract to do four more albums and Lacksman thinks
they'll work differently next time. They'll build a new studio for a
start. "We'll do a lot of demos but this time they'll be recorded on
digital 8-track, so we can use the elements from them in the final mix. We
want to use sounds from a lot of other countries, too, especially India and
Australia."
Excerpted from "OUT OF AFRICANS" by Leslie Sly from the April 1993 issue of
Sonic Magazine.
________________________________________________________________________
7. Q: Will Deep Forest ever perform live?
A: While this project was studio-driven during the recording process, when
they go on stage they'll have three keyboard players, an African vocal
choir, a drummer, a bassist, percussionist and a troupe of dancers.
They'll use the sequencer only to run in some effects and to run the Roland
RSS with the timecode so they can recreate some of the spatial effects on
the album. "It will be a very high-tech band," says Eric, "but it will be
a real band! Some of the songs may be longer and the dance aspect may be
more prominent, but it will still be ambient.
"We don't know yet if we'll use a straight-forward stereo PA system or
whether we'll also have speakers at the back of the room to enhance the RSS
effects. We've got to work this stuff out."
They will tour Europe and the US, and hit Australia by November 1994.
Excerpted from "OUT OF AFRICANS" by Leslie Sly from the April 1993 issue of
Sonic Magazine.
________________________________________________________________________
8. Q: Why did it take so long after its initial release to become
popular in the U.S.?
A: First released in the United States in April 1992, "Deep Forest"
attracted little mainstream attention, although the single "Sweet Lullaby"
made it onto the modern rock and dance music charts during the summer of
1993.
Still, the album sold about 200,000 copies in the United States, mainly
through word-of-mouth and alternative radio air play, according to "Deep
Forest" publicist Ellen Zoe Golden.
In the fall of 1993, Sony decided to give it a second chance by signing
hotshot director Tarsem to shoot a new video for "Sweet Lullaby."
-- excerpted from "African Pygmy chants go Europop in 'Deep Forest'" by
Paul Geitner of the Associated Press.
________________________________________________________________________
9. Q: What is the background on the "Sweet Lullaby" video?
A: Tarsem (who was born in India and goes by one name) won a Grammy and an
MTV award in 1992 for directing R.E.M.'s "Losing My Religion" video.
Despite a deluge of offers, he has avoided the format since then,
concentrating instead on commercials for the likes of Levi's and Adidas.
"They had done a really bad video for it for Europe," Tarsem said in a
telephone interview from London. "I saw the video and I heard the song
and I thought, 'What a great song -- what a crappy video.'"
Tarsem's version features a little girl (his 4-year-old niece) circling
the globe on a tricycle, searching for the perfect lullaby. The haunting
melody of the Pygmy lullaby is combined with striking scenes shot in
Moscow's Red Square, at the Great Wall of China, in front of the Taj Mahal
and under the Brooklyn Bridge.
MTV latched on to the lush imagery in 1994, putting the video into heavy
rotation and fueling new interest in the album, which finally cracked
Billboard's top 100.
-- excerpted from "African Pygmy chants go Europop in 'Deep Forest'" by
Paul Geitner of the Associated Press.
________________________________________________________________________
10. Q: If I like Deep Forest, are there other groups that I might
like?
- Enigma (generally more dark)
- Dead Can Dance (generally more dark)
- Will (this is more gothic and dark)
- Mouth Music - Mo-Di (doesn't have a dance beat)
- Jean-Michel Jarre - Zoolook
Mathias Thallmayer said, "[Deep Forest] is similar in style and feel to
Enigma. (If you like Enigma, get Deep Forest. If you like Deep Forest, get
Enigma.) I prefer Enigma, but Deep Forest is still very nice. It is not
earth shattering but still worth-while."
Gavin Stok said, "Enigma is VERY different to Deep Forest - I am still to
understand why people say they are so similar... The only similarity is
that they work on the same principle - music layered on top of traditional
sounds.... Enigma is more gothic and traditional than Deep Forest which is
more upbeat and lacking in tradition."
Ad Feelders said, "If you like Deep Forest, I think you should definitely
listen to ZOOLOOK by Jean-Michel Jarre. More creative use of sampled human
voices. I know the DF-guys have listened to it (especially the title
track!)"
________________________________________________________________________
11. Q: Where do the chants come from?
A: The chants chosen come from Pygmies and other ethnic groups in
Cameroon, Burundi and Senegal.
________________________________________________________________________
12. Q: What does the original Baka music that is sampled in Deep
Forest sound like?
A: There are two companion releases produced by Martin Cradick of Outback.
(Released on Hannibal, a division of Rykodisc.)
1. HEART OF THE FOREST
The Music Of The Baka Forest People Of Southeast Cameroon
This is actual field recordings of the Baka people, on-site in Cameroon.
2. BAKA BEYOND
Spirit of the Forest
Mathias Thallmayer said, "This album was recorded approximately a year
after Cradick and his wife returned from living with a Baka family group
for six weeks. "
Comments by Cradick from the liner notes: "Some of these tracks were
inspired by listening to and playing with the Baka. Some are pieces that I
wrote in the forest with them which I have developed further since
returning to England. Others are 'covers' of their songs based on
recordings made after giving them our guitar and jamming with them on
mandolin. I have tried to recreate the spirit of these occasions rather
than copy the music exactly and have included their performances,
especially their percussion, where it helps in this aim."
Mathias Thallmayer comments about the album, "I guess you could say that
this one falls into the World Beat category. (It is not Ambient Dance like
Deep Forest.) The music is sprightly, upbeat, and very enjoyable. The
music is primarily guitar, mandolin, violin, flutes and percussion."
________________________________________________________________________
13. Q: What equipment does Deep Forest use?
A: From Dan Lackman's recording and programming studios, Synsound, In
Brussels, are furnished with a massive array of old and state-of-the-art
gear. These are a few of his favorite things...
RECORDING: DDA DCM 232desk with DDA automation, Mitsubishi X-880 32-track
with Apogee 944 filters; Otari MTR 90 24-track. Both are fully
synchronized with U-matic video recorders for post production. Monitors
are JBL, Dynaudio Acoustics PPM1, and Auratones
EFFECTS: Roland RSS, a range of Lexicon, Yamaha, Eventide and Roland units.
KEYBOARDS: Fairlight CMI Series III with Rev 9 software, 24-channel router,
three hard disk configurations (1.5 Gb in total). Huge library of sounds
on 800Mb WORM optical disks. Fairlight Series II, New England Digital
Synclavier II (pre-Midi and pre-sampling). Roland A50 & MKB1000 master
keyboards, Akai S1000 (6Mb), Yamaha SY99, TX816, TX807, DX7. Roland D50,
MKS20, Super Jupiter, Sequential Circuits Prophet VS, Studio Electronics
Midimoog.
DRUM STUFF: Roland TR505, R8, TR808, TR707, CR78, Octapads, Linndrum V3.1,
Fairlight library, Alesis D4, SDSV Simmons with pads.
THE MUSEUM: EMS VCS3, Polymoog, Multimoog, Oberhelm OBX, Sennheiser VSM201
vocoder, Roland Jupiter 8, Moog IIIP modular with Midi via MPU 101
Interface.
SEQUENCERS: Atari/Cubase, Pro-24, Roland MC4, MSQ700, Linn 9000, Roland
model 104 (analogue sequencer), Fairlight Page R.
PROGRAMMING SUITE: Tascam 320 & 216 consoles, Tascam 80-8 eight-track.
Courtesy of "OUT OF AFRICANS" by Leslie Sly from the April 1993 issue of
Sonic Magazine.
________________________________________________________________________
14. Q: How did they use the equipment on the album?
A: Eric co-wrote most of the tracks and says this was a long process of
experimenting and fine tuning... "because we wanted to keep the same
feeling throughout the record." The initial keyboard parts were mostly
written on a Korg Wavestation because "Michel knows that keyboard very well
and gets good sounds out of it." However, the building of rich
multi-layered pads a lot of vector synthesis via the Prophet VS... "so that
the sounds were constantly moving and we sampled Mini Moog effects and a
lot of our sounds came from the Multi Moog.
"We never used the factory presets and most of the sounds on the records
are combinations. The flutes, for example, are a combination of samples
and Roland pan flutes. We used the internal effects on keyboards,
particularly on the JD800 because they're so important to the actual sound,
together with external effects and the RSS.
"We spent a long time on rhythmic sounds and we often used cheap toy-like
keyboards for the loops. We spent hours adjusting the offsets of the loop
so we could run up to three at once to get a good feel. Then I'd lay out
drum sets on the Wavestation and play in additional parts to get a live and
not too sequenced feel."
Courtesy of "OUT OF AFRICANS" by Leslie Sly from the April 1993 issue of
Sonic Magazine.
________________________________________________________________________
I I I. D I S C O G R A P H Y
________________________________________________________________________
Legend:
US = United States
EU = Europe (specific country not determined)
FR = France
NE = Netherlands
OZ = Australia
CD = Full-length CD
CD5 = 5" CD single
12" = 12" vinyl
________________________________________________________________________
Deep Forest - Deep Forest [1992]
US CD Celine Music/Synsound/EPIC - EK 53747
US CD Sony 550 Music/Epic - BK 57840
NE/OZ CD Dance Pool/Celine Music & Synsound/Columbia - DAN 471976 2
Deep Forest - World Mix [1994]
FR CD Columbia - COL 476589-2 CB 811
5.33 Deep Forest
3.54 Sweet Lullaby
3.27 Hunting
4.18 Night Bird
3.18 The First Twilight
4.26 Savana Dance
5.14 Desert Walk
5.46 White Whisper
3.00 Second Twilight [length is 1:24 on BK 57840]
3.47 Sweet Lullaby (Ambient mix)
6:48 Sweet Lullaby (Round The World Mix) [remixed by Pete Arden,
engineered by Jose "Choco" Reynoso, NYC]
[on COL 476589-2 CB811 only]
7:20 Sweet Lullaby (Apollo Mix) [remix and additional production by
Apollo 440, London] [on COL 476589-2 CB 811 only]
7:07 Deep Forest (Sunrise At Alcatraz) [Part 2] [A LOGICAL REMIX
(R) by Marc Spoon & Daniel Irribaren, Germany]
[on COL 476589-2 CB 811 only]
6:46 Forest Hymn (Apollo Mix) [remix and additional production by
Apollo 440, London] [on COL 476589-2 CB 811 only]
5:48 Forest Hymn [on BK 57840 and COL 476589-2 CB 811 only]
________________________________________________________________________
Deep Forest - Sweet Lullaby [1993]
US CD5 Epic - 49K 74919
3:55 Original Mix
6:10 (remix)
5:57 Q-Bass Mix [Remixed by Tony Garcia & Guido Osorio]
6:58 Round The World Mix [remixed by Pete Arden]
3:08 Bonus A La Efx [remixed by DJ Efx & DJ Digit]
________________________________________________________________________
Deep Forest - Sweet Lullaby [1993]
US 12" Sony/Celine/Epic 49 74919 (pressed on regular black vinyl)
US 12" Sony/Celine/Epic 49 74919 S1 (XSS 74919A) (on green vinyl)
6:58 Round the World Mix [remix by Pete Arden]
4:40 DJ Efx's Tribal as a Mofo Mix [redone and deconstructed by DJ
Efx & DJ Digit]
4:25 Digit's Wet Dream Mix [redone and deconstructed by DJ Efx & DJ
Digit]
5:57 The Downstream Mix [mixed by Joe Giucastro & Touche Moi II
Productions]
________________________________________________________________________
Deep Forest - Sweet Lullaby
FR CD5 Celine Music France - 659924-2
4:00 Radio version
5:58 Nature's Dancin' mix [remix by Jam el Mar]
6:58 Round The World mix [remix by Pete Arden]
7:55 Apollo 440 mix [remix by Apollo 440]
6:36 Filet-o-gang Earth mix [remix by John Davis & Charlie Smith]
4:10 Tribal As A Mofo mix [remix by DJ Digit]
3:47 Ambient mix [remix by Deep Forest]
________________________________________________________________________
Deep Forest - Sweet Lullaby (5 remixes)
FR CD5 Sony/Celine - DAN 658168 5 [1992]
OZ CD5 Columbia/Dance Pool - DAN 658168 5
3:55 Original mix
6:08 Remix
6:01 Nature's Dancing mix [remixed by Jam El Mar]
6:32 Natural Trance mix [remixed by Jam El Mar]
3:47 Ambient mix
________________________________________________________________________
Deep Forest - White Whisper [1992]
OZ CD5 Celine/Synsound/Columbia/Dance Pool/Sony - DAN 659463 2
5:46 White Whisper
3:26 Hunting
3:46 Forest Hymn (Ambient Short Version)
6:49 Sweet Lullaby (Round the World Mix) [remix by Pete Arden]
4:38 Sweet Lullaby (DJ Efx's Tribal As A Mofo Mix) [remix by DJ
Efx]
________________________________________________________________________
Deep Forest - Deep Forest (6 remixes)
FR/OZ CD5 Celine & Sonysound - DAN 658499 2 [1992]
Dance Pool/Celine Music & Synsound/Columbia/Sony
Made in Australia by Disctronics Limited
3:41 Radio mix [remix by Dan Lacksman]
8:06 RLP Deep Soul Remix [remix by Robert Levy Provencal]
8:47 RLP Trance Remix [remix by Robert Levy Provencal]
7:58 RLP Jungle Remix [remix by Robert Levy Provencal]
3:40 Sunrise at Alcatraz Session - Part 1 [A LOGICAL REMIX (R) by
Marc Spoon & Daniel Irribaren]
7:38 Sunrise at Alcatraz Session - Part 2 [A LOGICAL REMIX (R) by
Marc Spoon & Daniel Irribaren]
Tracks 1-2-3-4 mixed at Synsound Studios Brussels.
________________________________________________________________________
Deep Forest - Deep Forest Ambient Part 1 [1994]
EU CD5 Sony - ????
< Track Listing Needed >
________________________________________________________________________
Deep Forest - Deep Forest Ambient Part 2 [1994]
EU CDS Sony - ????
< Track Listing Needed >
________________________________________________________________________
COMPILATIONS
Only the songs by Deep Forest are listed.
Are You Ready To Dance
?? CD ???? - ????
6:32 Sweet Lullaby - Natural Trance mix [remixed by Jam El Mar]
________________________________________________________________________
1. SAMPLE CREDITS
Deep Forest - Contains sample from "Marilli", recorded by Stephen Jay
from the Elektra Nonesuch album "Ghana Ancient Ceremonies, Songs &
Dance Music". Courtesy Elektra Nonesuch Records by arrangement with
Warner Special Products.
Sweet Lullaby - Contains a sample from "Sadeness", the sample being the
drum break that starts the song, after the initial monk singing.
Hunting, Nightbird - Ethnic Sound Series Vol. 4 Polyphony of Deep Rain
Forest track 1 and track 2 courtesy of JVC Musical Industries.
Forest Hymn - Ethnic Sound Series Vol. 4 Polyphony of Deep Rain Forest
track 1 courtesy of JVC Musical Industries.
________________________________________________________________________
2. BACKGROUND ON THE REMIXERS
Tony Garcia works for/with MCT, which is a management company in
New York City. Although it doesn't look like he has any of his own
projects out, he has done remixes for Sven Vath ("L'Esperanza - Raindance
Mix"), Depeche Mode ("Rush - Nitrate Mix" from the "Condemnation" single),
and many other groups. (NEESH)
Tony Garcia and Guido Osorio did the "V.R. Heroin Mix" and "Needle Park
Mix" on Billy Idol's "Heroin" single. (Dan Nicholson)
Jam El Mar and Marc Spoon are the group Jam and Spoon, from Germany. In
addition to doing their own music, they also remix a lot of other group's
songs, including "Carly's Song" by Enigma, "Age of Love - Jam and Spoon
Remixes" by Age of Love, and work for Cosmic Baby among others.
DJ Digit and DJ Efx are San Francisco underground DJs who have recorded
their own music as well as remixed others' music.
________________________________________________________________________
If you can help with any additional information, please e-mail me directly,
and I'll make sure you get credited with helping out.
Thanks,
--
Don
donpierr@netcom.com