The third volume of the popular trance mix series Tranceport hit
stores June 6, leaving the album's architect, the vivacious
color="#003163">Sandra Collins, speechless.
"I spent, like, a week trying to figure out a quote, because
[Tranceport label Kinetic Records] wanted something from me on
what Tranceport means, and I couldn't come up with anything,"
Collins said. "So, I just tell people I'm trying to make a long story
short. Because I usually play three or four hours, and I was limited to
Tranceport 3, the follow-up to Kinetic honcho
color="#003163">Paul Oakenfold's landmark first volume and
Dave Ralph's impressive sophomore
effort, may only be the standard CD length, but it packs the full punch
of Collins' notorious sets, such as her crowd-pleasing performance at
last summer's Woodstock festival.
The 12-track mix encompasses the many faces of trance, from the
"There's a lot of moods that I wanted to capture," Collins said. "It
starts out kind of boring a minimal groove. And it builds and
goes into hard house and dance-beat trance. It ends up really hard, but
'More Than Just A Girl DJ'
Tranceport 3, Collins' second release, marks the first time
both an American and a woman have contributed to the series. Although
Collins is a relative newcomer to the scene, which is primarily
dominated by English men, she has garnered respect by touring
relentlessly and burying herself in every show.
Collins is the kind of DJ you can expect to see jumping out of the booth to dance to her own grooves or wiping away tears during her set's most intense moments.
"She's more than just a girl DJ," said Scott Richmond, co-owner of New
York's Satellite Records, a dance shop with locations around the country that is also one of the largest online dance-music retailers in the United States. "She has made some of the best-selling trance records we have. We've sold 273 copies of 'Flutterby' [her most recent single]. Those are impressive numbers."
Collins, who got her start spinning at the Los Angeles club Metropolis
and has moved on to residencies in New York City and Chicago, shrugs off the "first American" and "first woman" accolades.
"I'm flattered they chose me," she said. "But there's a lot of companies putting out mixes, and I don't think there's enough big trance DJs yet. There's, like, five of them, so they only have a few people to call."
Live From A Studio
Unlike her debut mix, 1998's Lost in Time, which was recorded
live and then edited, Tranceport 3 showcases Collins' skills in
the studio, where she used the computer software Pro Tools to fine-tune
"It's not as big," she said, comparing the mix to one of her club sets.
"The transitions are really hard to go from one sound to the next in one record and I really cared about flowing. But you'll hear me in it.
"After I got it done, I was nervous, like, 'What if they don't like it?' " Collins said of Kinetic Records, Oakenfold's popular Warner
Bros.-distributed label. (Oakenfold's Tranceport has sold more
than 125,000 copies in the United States, according to SoundScan.) "And
then the label absolutely loved it, so now I'm really excited."
Collins is supporting Tranceport 3 with a series of live dates,
including high-profile performances at New York City's 6th Element
festival last Saturday and Los Angeles' Electric Daisy festival on June
She promises her sudden fame, which pinnacled last month with a cover
story in Mixer magazine and a feature in Spin, will not
pull her from her underground rave roots.
"I want to be successful at what I do without having to change what I
do," Collins said. "I don't want to alter it to make more money or
become famous. I want to do what I do and hope it all works out."