He’s DJed for a Stella McCartney birthday party, got drunk with Robbie Williams, and lived in New York. As half of Brothers In Rhythm, he produced for Kylie Minogue & the Pet Shop Boys, remixed U2, Michael Jackson and Dido. He was the defining first editor of Mixmag and a resident DJ at Shelley’s, the legendary acid house club that launched the career of Sasha. He was there at the beginning of the British dance music revolution and he’s still one of its leading proponents today, his contagious enthusiasm unabated despite this glittering career.
Today Dave Seaman is more energized than ever - because he recognizes that British dance music, having gone back to its underground roots after a period of upheaval, is entering a renaissance. Outside of the mainstream, away from the UK’s transient pop-culture fashions, cool new scenes are forming in cities all over the UK. “We’re entering a new phase. Dance music in the UK needed to implode - the great acid house detox,” Seaman says. “We shed all the dead wood and hangers on. I feel like I’m starting again almost. It’s very exciting.”
Consequently Dave has spent the last year in a creative whirlwind. He’s about to release the second volume of his Audio Therapy mix series, with Luke Chable, for Renaissance. His Group Therapy production alias with studio legend Chad Jackson has produced barnstorming remixes for the Scissor Sisters, Tears For Fears and Starsailor. Group Therapy aren’t just about remixes, either. Their singles ‘My Own Worst Enemy’ and upcoming release ‘Something To Believe In’ pitch singer Natalie Leonard’s hypnotizing vocals over sleekly funky melodies and pumping club beats. Group Therapy’s high-octane fusion of vocals and strong-arm licks with pumping dance beats neatly updates Brothers In Rhythm’s club-anthem sound. “We've been working with a lot of vocals - and that live rocky sound. Lots of guitars, but quite bleepy as well,” says Dave. “The idea is to make it accessible to More than just the underground. If you can give things mass appeal, but with more depth when you look beneath the surface, then there’s more substance.”
Born and bred in Leeds, Dave famously won his first career break in a competition. He was a member of the groundbreaking DJ organization DMC when he won a trip to the New Music Seminar – then the world’s leading music conference, held in New York. DMC bosses were unsuccessfully queuing at the door for Nell’s - at the time NYC’s hottest club – when the cheeky Leeds teenager, who’d befriended a bouncer, popped out to lead them past a throng of irate clubbers, industry big-wigs, and hot-shots into the venue. They were impressed enough to offer him a job as editor of their in-house magazine, Mixmag. Dave’s early work helped establish the magazine as the world’s leading dance music title - a role it still occupies today. And he used the magazine as a springboard to his DJing career. So when Mixmag photographer Gary McLarnen opened a club in Stoke-On-Trent called Shelley’s, Dave found himself warming up for Sasha. Shelley’s quickly became legendary in early 90s clubland – and Dave’s DJing career was up and running.
Seaman is unique among leading DJs for his versatility: his ability to work within different genres without compromising his distinct musical identity. He is world-renowned as an underground dance DJ, yet as half of Brothers In Rhythm with production genius Steve Anderson he worked with some of the biggest names in mainstream pop. In the early 90s Brothers In Rhythm created classic club anthems like ‘Such A Good Feeling’ and ‘Peace And Harmony’ – not to mention an unforgettable remix of Sabrina Johnston’s ‘Peace In The Valley’ - that soldered euphoric soul vocals to blistering house beats. These were tracks that helped define a golden age for British dance music, and which quickly brought Brothers In Rhythm to the attention of the Pet Shop Boys. ‘Such A Good Feeling’ was Chris Lowe’s favourite record of 1990: Brothers In Rhythm suddenly found themselves chucked in at the deep end, producing ‘Go West’, ‘Was It Worth It’ and ‘DJ Culture’ with the Pet Shop Boys at some of London’s plushest studios.
Brothers In Rhythm worked on Kylie Minogue’s ‘Impossible Princess’ and ‘Kylie Minogue’ albums, writing tracks like ‘Did It Again’ and the beguiling, atmospheric ‘Confide In Me’. “Probably the song we’ve made I’m most proud of,” Dave says now. They were in the middle of the fan frenzy that surrounded Take That!, one of the 90s biggest pop bands, producing the ‘Nobody Else’ album and tracks like ‘Never Forget’ and ‘Sure’ while fans tried to scale studio walls and Dave enjoyed wild nights out with one of the band’s most charismatic members: Robbie Williams.
In the early 90s, so-called ‘progressive house’ emerged: the UK’s first distinctively British, house music style. At DMC, Dave and his former Mixmag Deputy Editor Nick Gordon Brown started Stress Records, releasing early productions from Sasha, Andy Cato from Groove Armada, and John Digweed. Brothers In Rhythm embraced the new genre’s fusing of American grooves, British dub and European techno sensibilities, producing progressive house classics like ‘The Mighty Ming’ as Brothers Love Dubs and ‘Nasty Rhythm’ as Creative Thieves. They went on to remix David Bowie, Placebo, U2 , Alanis Morrisette, New Order, Blur and Sting. It’s fair to say that no other British dance production team has made such an impact on mainstream pop and rock acts.
In 1998 Dave moved to New York’s East Village for a while. Back in the UK in 1999 he started Audio Therapy with a gang of like-minded music lovers – and the company has since become home to an A-list team of DJs and producers. Dave’s links with Melbourne’s vibrant club scene has brought in key talent like the innovative DJs and producers Phil K and Luke Chable and hotly-rated live electronic act Infusion, alongside leading UK names like Lexicon Avenue, Jonathan Lisle and Pete Gooding. The company has also worked with international DJs like James Holden, Timo Maas and Anthony Pappa as well as groups like Slacker, Evolution and The Light.
Audio Therapy is also a leading independent label – home to Dave’s Group Therapy project, as well as a roster of diverse talent that covers all bases from progressive through to breakbeat and the funkier styles of French house. It’s an imprint that’s kick-started the recording careers of Infusion, Habersham, Ernest Saint Laurent and Stel. With a set up like this behind him, it’s no surprise that Dave is now tailoring back his international DJ commitments to focus more attention on his recording career.
But he remains a star DJ with an enviable, international reputation, and his disarming Northern humour means this never goes to his head. On his website, he presents a cheeky snapshot of himself with a more famous namesake: former England goalkeeper Dave Seaman. It’s typical of an approach to music and business that have kept DJ Dave Seaman’s feet on the ground and his audience’s hands in the air.
“It’s about having fun, but understanding that the music has got depth as an art form. Finding that balance. I try to put that ethos into the records that we make and into the DJing that I do,” he says, “trying to give dance music an identity beyond the underground.” This instinctive understanding of what clubbing is really about means Dave Seaman is perfectly placed to enjoy dance music’s creative revival. “Acid house is dead,” he enthuses, “long live acid house. Here we go again!
From biography at http://www.djdaveseaman.com
Humanity
Dave Seaman Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I'm wasting my time
On all the little things
That shouldn't concern me
Weighing my heart
With such confused emotion
Letting anxiousness in
It's just my humanity
Getting the better of me
It's just my humanity
Getting the better, getting the better of me
I've been working on it
Just trying and working on it
Knowing the soul to be lighter
If I could just shed this weight
Or just carry this weight
Without objection
So weight become lightness
And light becomes weightless
It's just my humanity
Getting the better of me
It's just my humanity
Getting the better, getting the better of me
I'm lifting
The lid off
Eventually
Holding my head up
And clarity
Where once there was proud
I know this place
And smile inside
Ooooh it's just my humanity
Getting the better of me
It's just my humanity
Getting the better, getting the better of me
It's just my humanity
Getting the better, getting the better of me
Getting the better, getting the better (getting the better), getting the better of me
It's just my humanity
Getting the better, getting the better of me
Dave Seaman's song Humanity is a powerful reflection on the struggle of being human. The lyrics speak to the common experience of feeling overwhelmed by the weight of our own emotions, and the constant battle between our rational minds and the illogical impulses of our hearts. The opening lines, "These days I find I'm wasting my time on all the little things that shouldn't concern me" capture the feeling of being bogged down by the minutiae of daily life, the weight of which can feel all-consuming at times. This is further illustrated in the line "weighing my heart with such confused emotion, letting anxiousness in where peace should prevail", which speaks to the difficulty of finding balance in our emotional lives.
This struggle is further explored in the chorus, with the repeated line "It's just my humanity getting the better of me". Here, Seaman is acknowledging that as humans, we all have our weaknesses and that it's okay to struggle with our emotions. However, he also recognizes the importance of actively working on these issues, as indicated in the verse "I've been working on it, just trying and working on it, knowing the soul to be lighter if I could just shed this weight".
Overall, the song is a poignant reminder that we are all flawed and imperfect, and that it's okay to struggle on our journey towards becoming the best version of ourselves. It's a rallying cry to let go of the things that hold us back and focus instead on the things that bring us clarity and a sense of purpose.
Line by Line Meaning
These days I find
Recently, I have been realizing
I'm wasting my time
That I am spending too much effort
On all the little things
On minor details or irrelevant issues
That shouldn't concern me
That do not require my attention
Weighing my heart
Being burdened emotionally
With such confused emotion
Feeling uncertain and indecisive
Letting anxiousness in
Allowing fear and worry to dominate
Where peace should prevail
Instead of feeling calm and serene
It's just my humanity
These issues are due to my human nature
Getting the better of me
Overcoming my rational thoughts
I've been working on it
I've been trying to improve my situation
Just trying and working on it
Making an effort to change
Knowing the soul to be lighter
Understanding that letting go would make me feel better
If I could just shed this weight
If I could only lighten my emotional load
Or just carry this weight
Even coping with the emotional burden
Without objection
Not feeling negative about it
So weight become lightness
So that the heaviness transforms into ease
And light becomes weightless
So that feeling carefree is free of burden
I'm lifting
I am raising my spirits
The lid off
Freeing myself from my emotional constraint
Eventually
Gradually, over time
Holding my head up
Feeling confident and virtuous
And clarity
Having a clear understanding
Where once there was proud
In situations where I would have been proud
I know this place
I am familiar with this state of mind
And smile inside
I am joyful inside
Ooooh it's just my humanity
Once again, my human nature is to blame
Getting the better, getting the better (getting the better), getting the better of me
My emotions are overpowering my rationality
It's just my humanity
My struggles are rooted in my humanity
Getting the better, getting the better of me
Once more, my emotions are winning over my logical side
Lyrics © Warner/Chappell Music, Inc., BMG RIGHTS MANAGEMENT US, LLC
Written by: GERALD SIMPSON, LOUISE ANN RHODES
Lyrics Licensed & Provided by LyricFind
TheBulgs
This song needs WAY more likes
Sanja🍒 Savic
Nice 💕💟wow
roundcornerent
I like the dark edge