Brit house hero Danny Rampling is, as they say, back. His retirement in 2005 was widely reported by media but his return, actually three years ago now, was comparatively inconspicuous. In truth, Rampling has spent his time wisely, balancing family commitments and those extra-curricular projects embarked upon during his sabbatical with smart, strategic planning for his second sonic coming. Today, the ‘Ramp’ camp is in full flow.

2010 has, in actual fact, seen Rampling hopping to high-profile gigs all over the planet on a regular basis. Our interview, rather typically, is sandwiched between DJ bookings in Norway, Ibiza, mainland Europe and London (a huge party for legendary vocalist Robert Owens.) Perhaps more interesting is Rampling’s vigorous new focus on the studio, an environment for which, on balance, he isn’t that well known.

That’s not to ignore Rampling’s success during the 1990s with several major mix compilations as well as his chart-climbing dance act Millionaire Hippies and solo work for then influential soul-house label Distance. But clearly there’s a sense of greater attachment to the production discipline this time round. Rampling has already enjoyed positive attention for a recent track with Steve Mac, Acid Tuesday, and is soon to release material with Mark ‘Problem Kid’ Wilkinson, not to mention several other esteemed house names. It’s a busy pipeline.



“I have a great work-life balance now” he insists. “I’m invigorated and my energy levels are at all time peak. I feel motivated every second of every day.”

But where has this major new interest in the studio come from? “I had plenty of time to think about music whilst I was away” he explains. “Retirement was an extremely fulfilling time but I was finding it difficult being away from music. I was really missing it after about two years; you might as well have put me in a sick bed, I was miserable. I started thinking about what I really wanted from music if I was to return. I love DJing but production can be such a creative, fulfilling process; and it also reinforces the DJing, and vice-versa.”

Rampling is especially mindful of just how much the clubland landscape has changed since he was last in his ascendancy. “Dance music is dog-eat-dog nowadays” he muses. “You have to play the game of business; the innocent days when house was just house are sadly no more. I have stepped up the production side of things as that’s a real calling card in today’s industry; there’s a lot of opportunity if you know where to look and I’m looking at production. I’m really enjoying myself, in truth. I’m extremely happy and healthy. But I know my limits.”

That’s good to hear considering that back in 1997 he famously broke down through exhaustion and needed a number of weeks off ‘work’. The club scene is truly 24-hour these days – more accessible, thanks to the World Wide Web, and, in turn, more relentless and pressurised. To avoid anonymity among the vast ranks of international cyber broadcasters, bedroom DJs and laptop producers currently out there making music, you need to work hard and stand your ass out.

“Things are much more competitive now and you do need to go that little bit further to keep in with everything” he agrees. “But let’s be honest, being a DJ-producer has always been physically demanding. I’ve learnt a lot of lessons over the years so I know what I’m about and what’s important.”

There’s no quibbling with that, for Rampling’s dance music education is second to none. His recent appearance at Goodwood’s inaugural Vintage festival (a Wayne Hemingway production cataloguing five decades of British art, music and fashion cool – ending with 1980s ‘warehouse’ euphoria) was apt, considering his entrenched, nay historic status as the man who gave house to Great Britain.

Vintage Festival @ Goodwood

The story is a well-worn one. Rampling joined fellow newcomers Paul Oakenfold and Nicky Holloway on a holiday to Ibiza in 1986. The trio heard the eclectic sounds of then Amnesia resident DJ Alfredo – indie, soul and early Yank house – and experienced Ecstasy; it was a monumental combination that they desperately wanted to bring back to British shores. Rampling subsequently launched legendary night Shoom in London during 1987, widely viewed as the UK’s first Balearic ‘rave’ club. Its flyers started displaying a yellow smiley face logo and acid house was born…..

So too Rampling’s status as house kingpin: “I don’t think about it [Shoom] too much. I don’t get misty-eyed. But when I do allow myself time to reflect, I have to admit that it was an extraordinary time. Classic. Unbelievable. It was the most wild, creative state of hedonism you can possibly imagine.”

He adds: “It still inspires me now.  Shoom was a music and social coming together not seen perhaps since the days of the Cavern and the Beatles. The crowds were always small, about 300 people, but that just added to the intensity. It was our own state of freedom. At the time, the authorities didn’t really know what was going on.”

Rampling continues to trade on his seismic achievements of the previous century; his impeccable CV also includes the launch of glam London party Pure Sexy and eight years hosting Radio 1’s Saturday night Lovegroove Dance Party show. But he is determined, impressively so, to make a new name for himself in the digital age.

He continues to progress the eco-home construction business he co-founded whilst on sabbatical and this autumn publishes self-help book Everything You Need To Know About DJing & Success – a hard-copy progression from 2008’s e-book release. He is also hoping to launch a major US tour of carbon-neutral DJs, of whom he is one. The offshoot of another co-founded eco-business, Green Town Revolution, Rampling’s carbon neutral DJ campaign aims to encourage jet-set jocks to fight climate change through personal carbon offsetting.



And then there’s the extensive DJ and studio work. “I’m really optimistic about the future. I’ve never been more busy or happy,” he smiles. “I like to think I’ve evolved with the scene and that scene is great right now. The internet has done a lot for dance music; there’s still a lot of good records being produced… the scene is healthy and the competition is good. Who’d have thought all those years ago that people like Paul [Oakenfold] and David Guetta would be headlining stadium tours in the heartland of rock ‘n’roll America. It’s a great time to be in dance music.”

Rampling, it seems,  is more ramped up than ever…