<http://schema.org/articleBody>
"While someone like Jack White can&amp;#039;t go five minutes without releasing an album, other artists prefer to take their time. As Utah Saints, Jez Willis and Tim Garbutt first hit the big time back in 1991 with the mega hits &amp;#039;What Can You Do For Me&amp;#039; and &amp;#039;Something Good&amp;#039;. They returned in 2000 with second album Two, which featured among its standouts &amp;#039;Funky Music&amp;#039; featuring the one and only Edwin Starr. After an unexpected return to the top ten four years ago with &amp;#039;Something Good 08&amp;#039;, Jez and Tim are poised to scale the charts again with a new version of &amp;#039;What Can You Do For Me&amp;#039; reworked by Drumsound &amp;amp; Bassline Smith. We at Digital Spy sat down and asked them all about it. How much say do you have in who remixes your stuff? Jez: &amp;quot;We completely control it. We get a couple of remixes in before we deliver anything to the record label. We had a chance train journey with Doorly and by the time we got off the train we had coerced him into remixing &amp;#039;What Can You Do For Me&amp;#039;. And we&amp;#039;ve always been a fan of Drumsound &amp;amp; Bassline Smith.&amp;quot; Tim: &amp;quot;When we went to get the Doorly mix it wasn&amp;#039;t with any intention to release it, it was just for DJ tools for ourselves, and it took on its own life. Doorly was Djing and Annie Mac heard it, and she played it. It was organic. Ministry are then brilliant making the finished thing happen.&amp;quot; How have changes in technology changed how you work? Jez: &amp;quot;It&amp;#039;s changed the game completely really. You can do everything from within one computer. We use to have racks of them. We used to have to programme sounds from scratch.&amp;quot; Tim: &amp;quot;It saves a lot of time now. If you want to make a beat do a stutter effect or a weird reversing thing, back in the day the whole process - recording it, sampling it, putting it up and all that - might take you an hour. You had to be pretty certain in your mind that that&amp;#039;s what you wanted to do. Now, you&amp;#039;d have a plug in and it&amp;#039;d do that straight away in real time and say, &amp;#039;Oh, it doesn&amp;#039;t work, try the next thing&amp;#039;.&amp;quot; Jez: &amp;quot;The flipside of that is there&amp;#039;s so much choice now. There&amp;#039;s so many possibilities for what you can do with a track really quickly, you try every possibility you can to make sure you haven&amp;#039;t missed out on something amazing.&amp;quot; Tim: &amp;quot;If you have a sampler that can only hold 20 seconds of audio to do your track in you end up being more creative with it. We&amp;#039;d record vinyl into the sampler and we&amp;#039;d play the record faster and tune it down - things like that are creative.&amp;quot;      What makes a good or a bad use of a sample in dance music? Jez: &amp;quot;Music is all about opinions, but we always try to do something interesting with a sample and put it in a different context, because that&amp;#039;s what&amp;#039;s interesting to us... people recognise it sonically, but they can&amp;#039;t place it initially.&amp;quot; Tim: &amp;quot;We&amp;#039;ve got these unwritten rules about sampling that we try to apply but equally, if tomorrow we find this amazing hook with someone else&amp;#039;s chorus and this track wasn&amp;#039;t well known and we wanted to make a track out of it, we probably would. But generally we&amp;#039;d take something small and make something new out of it.&amp;quot; Will you ever do another full-length studio album? Tim: &amp;quot;We do wanna do a third album. We&amp;#039;ve only ever done two albums.&amp;quot; Jez: &amp;quot;&amp;#039;Something Good 08&amp;#039; happened at a time where we were just doing battle records to DJ with. By accident it became a hit, and I think at that point our head wasn&amp;#039;t in the album thing - I don&amp;#039;t think many people&amp;#039;s heads were in the album thing. It&amp;#039;s swung back a bit to albums, and also, we&amp;#039;ve had a lot of time since to get our heads back into ideas for tracks. We&amp;#039;ve now got enough tracks to make a body of work, which will become an album. We&amp;#039;re a lot more optimistic about getting an album done in the near future now.&amp;quot; Not another 12 years... Jez: &amp;quot;No, not another 12 years. We&amp;#039;d like to try and get something finished this year. The problem with making music, especially when you&amp;#039;re in a fast-moving thing like electronic dance music, is there&amp;#039;s so much access to good quality music that it can be a little bit intimidating sometimes, because we set out our own standards really high. We&amp;#039;ve always done, which has slowed us down to be honest. We&amp;#039;ve never wanted to put an album out with a couple of singles and a load of filler... I&amp;#039;m hoping that we can really get a move-on soon.&amp;quot;  Why is it that older dance artists play to such young crowds, where older rock people don&amp;#039;t? Jez: &amp;quot;With electronic dance music, people are buying into or following the lifestyle as opposed to a particular artist. And you can go to a place and see Carl Craig and go next door and see Drumsound &amp;amp; Bassline Smith, or Judge Jules, or a happy hardcore DJ. I think with bands people buy into the band. And the bands hold themselves back by not continually reinventing themselves, or falling out all the time.&amp;quot; Tim: &amp;quot;We listen to the same music that the kids coming to our gigs are. We&amp;#039;ll be sat in the studio recording a track and we&amp;#039;ll be comparing it to a Nero thing or a Skrillex thing. Just in terms of production and going, &amp;#039;Does it match that?&amp;#039; and I don&amp;#039;t know if rock people do that against young bands that are coming through.&amp;quot; Jez: &amp;quot;That&amp;#039;s why it&amp;#039;s really interesting when you get a band like Korn doing a track with Skrillex and people like that. It may not always work but its an interesting experiment.&amp;quot; Are you planning any new collaborations? Jez: &amp;quot;We spend a couple of hours a day on MySpace - even though it&amp;#039;s a bit of a ghost town now - Soundcloud, Facebook and a s**tload of blogs, just listening to new music and looking for singers or collaborators... we&amp;#039;ve got a few people in mind but we haven&amp;#039;t approached them yet.&amp;quot; What do you think about where the whole industry is going? Tim: &amp;quot;Watching my daughter on her computer, if she wants to listen to something, she&amp;#039;ll just turn the computer and go on YouTube. It wouldn&amp;#039;t cross her mind in a million years to go and buy it. If she wants to listen to it again she just plays it again. It&amp;#039;s wicked that, you&amp;#039;ve got access to loads more music... It&amp;#039;s harder to earn money directly from just selling records. You&amp;#039;ve got to have your foot in a few different things. Unless you&amp;#039;re top level, [recorded] music is just a promotional thing to go out and do gigs or merchandise or publishing.&amp;quot; Do people value it less? Tim: &amp;quot;I used to go into a record shop once a week and I&amp;#039;d know the people in there and they&amp;#039;d have a bag behind the counter keeping things safe for me - there&amp;#039;d be some rare things in there - only 500 pressed, and I&amp;#039;d like that. Now I still feel special because I&amp;#039;ll search it out on a weird blog in the middle of nowhere and there&amp;#039;ll be this version of a track that no-one else has got. It&amp;#039;s just different.&amp;quot; You were one of the few acts to get the rights to sample Kate Bush, what did you make of Director&amp;#039;s Cut and 50 Words for Snow? Jez: &amp;quot;I think everything she does is amazing, because she is a proper artist. She treats music as an artform and she looks to create something that hasn&amp;#039;t been done before. She dances to her own beat which for any artist is amazing. She could have at any point thought, &amp;#039;I&amp;#039;m gonna sell a million albums and put my feet up&amp;#039;, but she hasn&amp;#039;t. She&amp;#039;s sold a lot of albums, but she&amp;#039;s always done her own thing.&amp;quot; Utah Saints vs Drumsound &amp;amp; Bassline Smith &amp;#039;What Can You Do For Me&amp;#039; is available now. Play the Facebook game for the video here. "^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.digitalspy.com/music/interviews/a368820/utah-saints-interview-we-want-to-finish-our-third-album-this-year/>