by SCOTT C

Joseph "Amp" Fiddler has had his hands full over the years, doing production, vocals, session playing and touring with people like George Clinton, Jamiroquai, Tony Toni Tone, Money Mark, Maxwell, Seal, Prince and many more. These days, the Detroit legend - whose bedroom vocals have been in heavy rotation for many over the last year - is also enjoying the success of his latest album, Waltz of a Ghetto Fly. The Mirror spoke to the man behind the music on the phone from his studio in Detroit.

Mirror: What's going on in Detroit, man? Why does there seem to be such a constant stream of great music - a wide variety of music, I might add - coming out of that city?

Amp Fiddler: Detroit has always been a big arts place, with a range of musicians, singers, artists and dancers. People are always involved in some kind of art regardless if it's painting or playing an instrument. It's always been that way, but I think we're getting a little more acceptance again. People are, for whatever reason, coming to the top of the pot, y' know? It's really boiling over right now, which is great.

M: A friend of mine described your music as anything but disposable. Does that ring any bells for you?

AF: In some ways, I think so, but record labels don't do the same things they used to with artists, like helping to build people's careers. Back in the day, they really used to put some importance on developing an artist, and that just doesn't exist anymore. I've been developing myself as an artist for quite a while now.

M: I think it's only a matter of time before artist-focus and development come full circle. Shit is so forgettable these days that it feels like things are slowly changing.

AF: There's a lot of talented people who could have a lot more longevity if they took a different approach. A lot of young people come along thinking they can get in this and get paid, but it doesn't work that way, and they haven't really prepared themselves for the reality. This industry is all about patience.

M: Can you talk to me about your connections with Jay Dee and Slum Village?

AF: I've known Jay Dee since the early '80s, maybe around '84 or so. This other kid had brought Slum Village by the studio, and they were really young kids. I helped them make their first demos here, y' know, taught them how to use the equipment, talked to them about venturing into the industry. It was cool.

M: Were you surprised that it took them so long to get to where they are now?

AF: No man. It was the perfect movement. It goes back to what I was saying about patience and perseverance. You learn as you go, and step by step you see where you can use all the things you learn along the way. By the time it finally comes, you're able to work with it and not slam your head against the wall. I watched them build from the ground floor, and I think it was a great way for them to move.

M: I've been buying and playing underground music, the wider spectrum of black music, for quite a while now, and it feels to me like just in the last three or four years, the real soul shit is starting to get really serious. There's some people really taking it up a notch don't you think?

AF: Yeah, I agree. I really do. I guess it's just a reflection of what's up in the world, with people getting back to some roots and revisiting great music right now. It's really cool, and I'm glad to be a part of it.

With jojo flores at the Mile End cultural Centre
on Tuesday, Aug. 2, 9pm, $20

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