Why did it take you so long to come out with your own album? Do you feel more pressure given your status?

It's very challenging to work in the studio when you travel as much as I do. I wanted The Album to be something that you can listen to in your car or while you are at home and enjoy it all the way through, and actually want to hear it again and again. That made me really focus on getting some great songs together, and that takes a lot of time as well.

I probably worked on 50 to 100 songs, then narrowed it down to the 11 songs I felt were the best, and those are the ones that actually made it on The Album.

Tell us about your transition from House to all the different genres you covered after that: techno, electro, hard house, etc. Any chance or desire to come full circle and play more traditional House again?

I like so many styles of music, and I really enjoy playing all the many styles of House. I do change with the times because my tastes change, I mature, sounds and styles change. Also, I change a bit based on the venue, and the crowd. I am usually booked to play a prime time, peak hour slot, and with that comes a responsibility to bring the vibe of the party up. Although I may love a more deeper sound, sometimes the set time and vibe doesn't really allow for it.

Do you ever play old school House sets? Do you follow any traditional House music producers right now and if so who?

I turn down 99% of requests to play old school sets, and mainly for two reasons. First, it's a pain to dig out all my old vinyl. Second, I have to practice for 3-4 days to come up with a set, and figure out where all the breaks are and how to play the songs again because these are records that I haven't DJ'd with in soooo long.

With that being said, I played an old school set twice in Chicago (once at Crobar and once at The Congress Theatre) and just a couple months ago I did an old school set in Germany.

I'm not sure what you mean by traditional House Music producers, but I follow most of the House Music that comes out. Right now that means from around the globe because unlike when I first started and most of the House was only coming out of Chicago, now there are amazing House Music producers from around the globe, and it's very exciting to see and hear everyone's take on our Chicago House sound.

Coming from the point of view of a House Music magazine, we obviously have fond memories of you and the huge impact you had on our scene. Over the years your style has changed to what seems to be whatever was the hot new thing. Why is that and what do you think the pros and cons of that are?

Thank you for that. I have always looked at my time of being a radio mixshow DJ on WBMX, WGCI, and B96 as an honor. I have had the privilege of DJing with what I feel are some of the most amazing DJs in the world here in my hometown, and I still feel that Chicago breeds the best DJs in the world.

I think when you grow up like I did, listening to the radio and hearing the smooth blends of Ralphi Rosario, the scratching of Farley JMF, the edits of Mickey Mixin' Oliver, the turntable tricks of Julian Jumpin' Perez, the production of Steve Silk Hurley, and the overall great programming of Scott Smokin' Silz and Kenny Jammin' Jason, it makes you become a better DJ. My style really is a culmination of everything I have learned from those DJs before me, and everything that I have learned since.