It's a good way to get a lot of music to people that might have missed it or not been into House music at the time.

It's true. A lot of people say that the older music is better. There's a lot of music I still play from the '90s. There's so much music that's timeless. I remember doing a gig in England and at some of the venues they try and be so up front with their music. There's a bunch on trainspotters and DJs just sitting by the booth all night writing down every single song you play. It was a bit irritating, everyone asking about every promo you played.

I ended up playing the same club again about six months later. I was still playing mostly records at the time but I recorded a lot of the music to CD and it was all about ten years old. I played my whole set like that. All the DJs there did the same thing and asked about almost every song. They would ask, "Where do I get this?" I would say, "Well, you don't - this is eight years old!" The songs rocked the club just the same. The reason I did it was to prove a point, because half of the crowd were DJs. The point was that good music is good music regardless when it was released.

A couple years ago you remixed Green Velvet's massive "Shake & Pop" track. That was something a bit outside of your regular forte. What was it like for you to do that project?

I heard the track and actually called up Cajmere. He said he was putting out remixes and let me do one. It reminded me of '80s Chicago House. That's a sound that's dear to me so I wanted to do something that had that influence in it. A lot of people heard it and thought it was such a different sound for me. But part of the thing with Pound Boys was we just got so pigeonholed and everyone only wanted to hear that one sound from us - labels, artists, everyone. I don't have that problem now. If I want to do something deep, I do something deep. If I want to do something a bit more jackin', then I do that.

You mentioned earlier you weren't keen on really doing major label projects anymore. How come?

I'm not opposed to it. It's just different now. For one thing, a lot of the people at the majors just don't understand House! They're looking at commercial viability, iTunes sales... They're looking at who's the hot remixer right now and if you've had your big hit. There's nothing wrong with that - it's a business for sure. The other problem is 90% of the time they never even release the music to the masses.

It's something that Maurice Joshua still deals with. No one really knows he does all these great productions because they aren't available at most outlets where people look for this type of music. He's been doing hundreds and hundreds of remixes over all these years. You couldn't buy those remixes in stores on vinyl. It just got pointless. It's almost like it doesn't exist. It's really sad. You put all your time and effort into this. Fair enough - you get a nice check but I still want people to hear my music.

Craig and I would always laugh about the remixes and say if we were doing this in the early '90s it would have been cool to remix artists like Whitney Houston. Somehow, later on in the '90s, remixing mainstream artists lost that cool factor and to a certain degree was even looked down upon!

Out of all the major label artists you remixed what has been your favorite project?

A remix of Daryl Hall, of Hall & Oates fame. Johnny D, who runs or ran Henry Street, was doing A&R at couple major labels as well. He was well connected with both industries. He called me to tell me Daryl Hall had a new album and to pick a song to remix. They sent me acapellas to his album of 14 tracks. I never got hear the music to any of them. We picked this song called "Cab Driver". I remember giving the DATs to Derrick Carter, he would play it all the time. In the meantime Hall & Oates got back together and they scrapped the album and it was never released. I loved Hall & Oates growing up so it was fun to do that project.