Ram Records Classic Take Over of BBC 1Xtra.'In July 2011 Andy C, Red One and the whole RAM RECORDS crew came into the BBC 1Xtra studio to take over DJ Baileys show. This classic show repeated in its entirety at Christmas 2011 was probably the best radio event of the year. Tune in!
All Crews Top Ten of the Best Ever
Jungle Drum & Bass Promotions
10. Roast and Telepathy
9. Speed
7. Movement
6. Andy C - Ram Recordings at The End
5. Nights of Rage
4. AWOL
3. Sun & Bass
2. Jungle Fever
1. Metalheadz at The Blue Note
All Crews Top Ten Jungle Drum & Bass Nights
There are times when you're trying to get into a club like your life depends
on it and failure is not an option. Over the years I can say that there have
been far too many club nights to remember. Which also means that those few
which do stand out were pretty dam amazing. They’re filed away in my memory
bank under: One of the Best Nights of my Life. There have been times when
I've been one of the last to leave a venue. The promoters have handed out
the last cash in sealed envelopes. Technicians are rolling up cables. Bar
staff clear away the detritus of the dance. In the glare of the harsh house
lights I've been standing there asking, "What da fuck! Did all that happen
here tonight night?" Do the rewind. Check the energy radiating around the
whole night: the pre-match vibes, the barely contained excitement in the
queue, the explosion of beats-people-lights-chemicals-shouts that are the
essence of the main arena - Yeah that what you expect of a good night.
That's standard... Generic. But there were those killer nights in the memory
banks that were something extra; something truly special. Burned into my
mind like a cerebral tattoo, the madness came at the right time and in the
right place. Here’s the Top Ten Jungle Drum & Bass nights.
Roast and Telepathy
Jointly flying the flag for Jungle are the promotions Roast (‘91/’92) and
Telepathy. I’d hate to place one above the other. Their nights were always
road blocked and deeply intense. Come wearing your designer garms, ready to
blow your horns. You can’t write Jungle History without including Roast and
Telepathy. Telepathy founded way back in ’89 deserves a special mention for
the inventive and entertaining ads broadcast on pirate radio stations. ‘Telepathy... Expand your mind.’
Speed
Scant spitting distance but around the corner from the Astoria - was Fabio's
club Speed. Originally opened in October '94 Speed was to showcase Drum& Bass, then the very antithesis of Jungle or what Jungle had become. The
media had descended on Our Music, keying into the visuals and social
demographics of what they perceived Jungle was all about. Then on Thursday
nights, came Speed; a place where those media types could safely chill out -
without the ‘fear of being mugged.’ And Drum & Bass took the top spot. LTJ
Bukem was catapulted onto TV and the Sunday Supplements. But the punters who
queued down the street to get in, politely craning their necks towards the
entrance returned because of Speed's vibe and music. MC Conrad was on the
mic, the likes of Photek and Markus Intellect spun the tunes and we moved to
'Intelligent' on the dance floor.
Movement
1994 spawned another premier club - Movement. Originally opened in Chelsea
by Dave Stone of SOUR records and legends Bryan Gee and Jumping Jack Frost,
Movement moved to the West End's, Bar Rumba and into the history books.
Movement at 14 years old, became the scene's longest running weekly Drum& Bass club. Some of the best clubs are in a basement and Movement was no
exception. Musical explosions occurred on the intimate dance floor. The
punters were a mixture of Londoners, industry and multi-national tourists.
Movement was the focus of after-hours celebrations when Roni Size won the
Mercury Award. Movement specialised in presenting music from right across
the Jungle Drum & Bass spectrum and managed a balanced mix betwixt MCs and
DJs. It was truly a shame when like many other club nights Movement shut its
doors in 2009.
Ram Recordings at The End
The thing about The End is that it was the first club in London set up by a
DJ/producer - Mr C, for DJs and punters alike to experience a quality nights
clubbing. Mr C didn't fail. The best thing about The End was its clean sound
system and the way the DJ box sits on the dance floor, appearing to float in
a sea of turbulent ravers. Check the name which comes up as Best DJ each and
every year and there's one name - Andy C. It's easy to chastise voters for
lacking originality and being predictable but every time I see him, it's
easy to understand why. Other DJs have the tunes and the skillz but Andy has
the X factor. I’ve never seen so many people crowd around a DJ box, just to
get a glimpse of the master at work flinging barbed B-lines around The End.
Nights of Rage
Roll back to Summer 1992 and a back room in London club Heaven, which once
held Rage each Thursday. Folklore has it when DJs Fabio and Grooverider
played certain off beat breaks and rhythms, the crowds would scream, "JUNGLE". In the skool of Jungle Drum & Bass, Rage was the nursery. Many
people who went on to make their mark in Our Music were in da club. Kemistry & Storm were just ravers/aspiring DJs gazing at the decks for their weekly
master class. And Goldie would hand Rider another fresh dub plate. Over the
weeks Rage - too large for the back room was moved into the main room where
it raged on until sometime in '93 when, the management shut em down. In
their view, Rage had become Heaven's Hell. As Fabio recalls, "We Ghettoed
the whole place out. It was too much for 'em."
AWOL
If Rage was the nursery, AWOL was the university. Held in Islington’s
Paradise club, the DJs were more competitive than ever. Gaschet, Darren Jay,
Mickey Finn, Kenny Ken and Randall battled over every mix. Legend has it
that AWOL was the first club in which crowds demanded, "Rewind the mix!!
Rewind the whole goddam mix!!!" And Randall would rewind the whole double
impact, double dropping grooves. But the real essence of the place was the
crowd. Just after the dawn of Jungle Drum & Bass, the crowd knew their
beats, riding every mix. AWOL was the kind of place in which artists from
across the scene would end their night. With sessions hosted by one MC - GQ,
Saturday night would roll into Sunday lunch times. As one of those punters
in the crowd - Andy C said, "It was definitely inspirational."
Sun & Bass
Check the scene. Blue sky. Dramatic seascape. Palm trees waft lazily in the
Mediterranean breeze as Flyte, Storm and Bailey spin for revelers encrusted
around a sculpted, crystal clear pool. The place resembles shots from a
Snoop Dog video. So why would am I so annoyed? Because I didn't listen when
people said, “Reach Sun & Bass — It's Drum & Bass Heaven!”
Now in its 10th year, Sardinia's Sun & Bass Festival has a remarkable
pedigree. Astonishing as the business model shouldn't work. Invite a
succession of top Jungle Drum & Bass artists to one of Europe's far flung
islands. Ask them to stay for a week – paying only expenses but no
appearance fees. Explain that their names might not be on the flyer. But
there's little or no advertising anyway. Oh and by the way, there's no
special VIP treatment. The music's the VIP. And the only other VIPs – the
very important punters jet in from Australia, New Zealand, the Americans and
all points European – especially from Jungle Drum & Bass' UK homeland. They
book their tickets without knowing what the line-up is. It's always quality.
In a scene which prides itself on playing the full 360 circumference of
beats, Sun & Bass is a fully three-dimensional affair. Unapologetic fully
paid-up members of the Junglists Movement mingle, chatting Jungle day and
night for the entire seven days.
The Mannheim/Berlin based founders and their team run the epitome of smooth
operation. Excuse the stereotype but their organisation is second to none.
In a pure example of, “If you build it they will come,” the promoters have
built a week long gem. There's the beach venue, the pool venue, the secret
location and the outdoor restaurant venue where diners chow down thinking, “Drum & Bass has never tasted so good.” The night time venue where an indoor
club space flows around a luminescent Mojito splashed bar, into an outdoor
arena is where Markey makes mincemeat of a moving mountain of ravers and I
have one of the best ever nights in my Drum & Bass life.
And tears are shed as the final fader is nudged down to zero. The only
solace is gained from rewinding the on-line sessions, buying the CD pack and
booking next year's festival. It runs for a week but the vibes lasts
forever. It is Drum & Bass Heaven.
Jungle Fever
Jungle Fever must rank as one of the biggest, most militant brand names in
the business. It's against the law to shout, "FIRE." In a theatre because of
the mayhem it would cause. But at Jungle Fever you'd be dealing with Mayhem
in the arena. At their 3rd birthday party at the Astoria in '94 Fever killed
it. Jungle Fever is the party wing of the multi award winning pirate radio
station Kool FM. In the Jungle Drum & Bass continuum, Fever was definitely
Jungle. Jungle and proudly Street. In '94 you could cut the atmosphere on
the streets in Hackney with a knife. You treated Jungle Fever like an old
school dance. Wash n wax your wheels, sharpen the grooves in your hair
style, slip into the freshest designer garms, hit the town, do the mosh pit
queue, get on one, grab the champagne, pulse into the arena shouting, "Fire!
We g-unn bun de place down." I had to search for some dropped notes. There
pounding the floor was this unholy stampede of heels and trainers. On
stage, Brockie, Det, Navigator, Ron, 5ive0, Flirt and 'All de mans dem' were
tearing the place apart. And outside the Astoria... Roadblock.
The Centre Point building was a mass of people. The police blocked off the road
shouting, "If you ain't got a ticket - Go Home." Oh mi daze. Still out there
doing their thing, I've always said, "You ain't a true Junglists till you've
lived a Jungle Fever.
Metalheadz at The Blue Note
I was chatting over old times with some friends. “If you had a time machine
which rave would you go back to?” “Sunrise” said everyone. “Ok then which
club would you go back to?” “Metalheadz!” No contest. The Metalheadz
sessions at the Blue note were history in the making. The setting – The Blue
Note was a much loved old Jazz club situated in the then back water of
Hoxton. Conservative Chancellor of the Exchequer Kenneth Clark personally
stopped the club from closing when it couldn’t pay its taxes. Clark’s an
ardent Jazz fan. In July ’95 every Sunday night, those Jazz fans noticed all
these trendies with Attitude starting to queue up right down the street. You
could feel the vibe in the whole area.
July ’95 – the first series of One in the Jungle rolled out across the land.
And Goldie, its first DJ opened a club to showcase the heavy weight sounds
of Drum & Bass. Kemi & Storm did much to ensure the club was full, rinsing
their address books and calling everyone across the scene. Goldie and
Grooverider headed a list of DJs including: Kemistry & Storm, Bailey,
Peshay, Doc Scot, Dillinja and Adam F.
Adam actually wrote that devastating
tune Metropolis explicitly for Blue Note saying, “I wanted to hear that
sound coming out those speakers.” And those speakers were supplied by Eskimo
Noise – the ‘Valve sound system’ of the day. Jazz vocalist Cleveland Watkiss
was the only MC. His voice provided an excellent counterpoint to the raging
beats.
And the crowd - these were the knowledgeable graduates of the scene. In came
the Tottenham boys, Soho trendies, industry faithfuls and Japanese film
crews. In the basement with its low ceiling, they danced with no room to
dance – lost it on the tiny stage, in the alcove and on the stairs. Justin
Keery mixed pre-recorded and live visuals onto a screen behind that stage of
manic movers; rays of light cutting through clouds of ganja smoke. And at
the bar Bjork sipped champagne. You could chill out upstairs and have a meal
but be invariably dragged downstairs by mega shouts and screams as it all
goes off again. Sadly the noise was a problem for local residents. So those
Metalheadz sessions at the Blue Note came to the end. While they lasted
those were The Best Nights and totally unforgettable.
**
Pictures by Jame ‘JB’ Burns
Except * **
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The Drum & Bass Bible All Crews Journeys Through Jungle Drum & Bass Culture has been translated into Italian. Author Brian Belle-Fortune explains, “I get a lot of e-mails, but this one’s very special. An Italian writer called Lorenzo Fe said he wanted to translate All Crews into Italian. A few months later, he emails me the whole text... in Italian. He’s written an extra chapter on the Italian Drum & Bass scene, found a publisher and was arranging a book/DJ tour of northern Italy. Lorenzo’s a bit of a character.” He’s already written Londra Zero Zero a book about the music, politics and culture, emanating from East London’s squats and estates. “Lorenzo’s lived in squats, got beaten up at a rave and all sorts. And the thing is, he’s only 23!” Brian reveals there’s another version of All Crews in the pipe-line. He’s often asked if there are any plans for the book to be translated into other languages. “Yeah. There’s a guy called Vladimir Zamansky in Moscow who’s working on the Russian version. It’s incredible how much work he puts in. All Crews lyrics must be a nightmare to translate...” “I guess it shows how dedicated people are to the book. It’s really amazing!” All Crews viaggio alle radici della jungle drum & bass is published by Agenzia X – www.agenziax.it |
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Milan Book Launch April 2012
BimBumBass & Vortex per Elita Festival - "All Crews" Italian Premiere
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BIM BUM & BASS FOR VORTEX ELITA FESTIVAL 2012 | | THEATRE @ KIN-Hall A - MILAN ITALIAN FIRST PRESENTATION OF: ALL Crews - JOURNEY TO THE ROOTS OF THE JUNGLE AND DRUM & BASS AFTER PARTY Drumandbass and Dubstep, Roots and Future of Bass Music, The Evolutions of a style, an 'attitude ... In short, much more than a musical genre. |
Followed by a DJ set by DJ Zy: on (Brian Belle-Fortune Ed) - All Crews "A Drum and Bass History from 1994 to 2012" which we propose a sound trip in the history of the Jungle / drumnbass.
On the occasion of the Italian version of "All Crews", edited and translated by Lorenzo Fe, for the first time in Italy will attend Brian Belle-Fortune, at the end of the presentation will also be a DJ set. Brian has been a dj for the radio pirate Rude FM, an important author for BBC Radio transmission and responsible drum'n'bass label London Some 'Ting Records.
"All Crews - Journey to the roots of the Jungle and Drum'n'bass" Many considered our music shit splattered accelerated.
No one wanted to talk. But for many boys was a blast. - Dave Stone Sour
The jungle and drum & bass is one of the most sensational musical cultures of the past decades. Founded by the London underground scene of electronics, has become popular all over the world thanks to artists like Goldie, Grooverider, DJ Storm, Pendulum and Noisia.
All Crews is considered a cult, a fundamental text for fans of the genre. It is perhaps the only publication on the origins and development of a movement that has successfully combined vibration reggae and hip hop bass with Cockney accents and punk rebellion. In these pages the experiences of Brian Belle-Fortune, DJ pirate Rude FM, mix in an immersive journey through Mc, labels, crew and promoters, creating an authentic picture of the scene portrayed in interviews and hilarious stories of the road.
This version, translated and edited by Lawrence Fe, author of London, zero zero, supplemented by oral histories of some of the most significant Italian experience.
Brian Belle-Fortune currently lives in London's Tottenham and followed the Jungle since the days of illegal raves. He has written for BBC Radio broadcast of a major Drum & Bass and directed the independent label London Some 'Ting Records. http://www.agenziax.it/ ? pid = 57 & sid = 30
Lorenzo Fe Al Feltrin century Lorenzo was born in Treviso in 1988 and has lived in Kansas and Padua.
He is majoring in philosophy in Milan. To write this book has lived in a squat in Hackney, came out bruised from a brawl at a rave worked as precarious for Burger King that has not paid and which is planning to open a case.
Agency X E 'a laboratory editorial that publishes books, organizes courses in writing and public initiatives to promote cultural.
His writing is facing the street in the historic district of Vigentino at Via Ripamonti 13. A participatory site that tries to put relating different intelligences, those with academic knowledge expressed by the underground cultures. Titles published by Agency X are the result of research and experimentation in literary historical memory and oral history, including essays and fiction. Each book is designed with the author followed during the execution of craftsmanship, and then promoted through presentations and performances throughout Italy, in the more transverse (public spaces, libraries, libraries of quality, music festivals, literary fairs, film festivals and theater). Agency X organizes every year the festival Slam X in which dozens of authors and artists, from beginners to the most famous, the other on the stage with short readings and concerts, from early evening until late at night. The three editions held so far have involved the participation of thousands of spectators of all ages, from teenagers to senior citizens. His writing workshops provide participants with the tools to express and bear witness to their reality, attempting to overthrow the conventional distinction between author - considered the genius creator of worlds - and readers are relegated to passive users.
BIM BUM BASS & VORTEX PER ELITA FESTIVAL 2012 || @ TEATRO PARENTI -sala A – MILANO
PRIMA PRESENTAZIONE ITALIANA DI:
ALL CREWS – VIAGGIO ALLE RADICI DELLA JUNGLE E DRUM&BASS
FACEBOOK EVENT
In esclusiva per Elita Festival, un doppio appuntamento per tutti gli amanti della Bass Music, un viaggio alle radici della jungle/dnb, con la presentazione di “All Crews” di Brian Belle-Fortune, la bibbia della drum and bass finalmente pubblicata in Italia da Agenzia X e a seguire un party mozzafiato e imperdibile, targato BimBumBass & Vortex con ospiti d’eccezione due tra gli artisti più apprezzati del panorama dnb/dubstep mondiale.
Direttamente dal Regno Unito: Prolix e Dodge&Fuski.
AFTER PARTY
Drumandbass e Dubstep, Radici e Futuro della Bass Music, le Evoluzioni di uno stile, di un’ attitudine…
Insomma, molto più di un genere musicale.
Giovedì 19 Aprile ore 19.30 presso il Teatro Franco Parenti – Milano
Presentazione e dibattito alla presenza dell’autore Brian Belle-Fortune, del traduttore Lorenzo Fe (già autore di “Londra Zerozero”, libro sulle nuove tendenze musicali di Londra e i suoi quartieri) e alcuni esponenti storici della scena milanese che ci racconteranno quanto e come sono cambiate le cose dai primi party degli anni ’90.
Ospiti già confermati Leleprox e i Mother Inc. intervistati nell’appendice di questa edizione, oltre a dj Em, dj Indi & Skywalker (Guidance Kru), Promenade, Tommy Tumble, B_Team e altri che comunicheremo a breve.
A seguire il dj set di Dj Zy:on (Brian Belle-Fortune N.d.R.) – All Crews
“A Drum and Bass Historia from 1994 to 2012″
che ci proporrà un viaggio sonoro nella storia della Jungle/Drumnbass.
In occasione dell’uscita della versione italiana di “All Crews”, curata e tradotta da Lorenzo Fe, per la prima volta in Italia sarà presente Brian Belle-Fortune, che a fine presentazione terrà anche un DJ set.
Brian è stato dj per la radio pirata Rude FM, autore per Bbc Radio di un’importante trasmissione drum’n’bass e responsabile dell’etichetta London Some ‘Ting Records.
“All Crews – Viaggio alle radici della Jungle e Drum’n'bass”
Molti consideravano la nostra musica merda accelerata per schizzati.
Nessuno ne voleva parlare.
Ma per tantissimi ragazzi era una bomba.
Dave Stone, Sour
La jungle drum & bass è una delle culture musicali più dirompenti degli ultimi decenni. Nata dagli ambienti underground dell’elettronica londinese, è diventata popolarissima in tutto il mondo grazie ad artisti come Goldie, Grooverider, DJ Storm, Pendulum e Noisia.
“All Crews” è considerato un cult, un testo fondamentale per gli appassionati del genere. È forse l’unica pubblicazione sulle origini e lo sviluppo di un movimento che ha saputo unire vibrazioni reggae e bassi dell’hip hop con accenti cockney e ribellione punk. In queste pagine le esperienze di Brian Belle-Fortune, DJ pirata di Rude FM, si mescolano in un coinvolgente viaggio tra Mc, etichette, crew e promoter, creando un’immagine autentica della scena, ritratta in interviste e spassose narrazioni di strada.
Questa versione, tradotta e curata da Lorenzo Fe, già autore di Londra zero zero, è completata da racconti orali su alcune delle esperienze italiane più significative.
Brian Belle-Fortune
Attualmente vive nel quartiere londinese di Tottenham e ha seguito la Jungle fin dai tempi dei rave illegali.
È stato autore per Bbc Radio di un’importante trasmissione Drum & Bass e ha diretto l’etichetta indipendente London Some ’Ting Records.
http://www.agenziax.it/?pid=57&sid=30
Lorenzo Fe
Al secolo Lorenzo Feltrin è nato a Treviso nel 1988 e ha vissuto in Kansas e a Padova.
Si sta laureando in filosofia a Milano.
Per scrivere questo libro ha abitato in uno squat di Hackney, è uscito malconcio da una rissa in un rave e ha lavorato come precario per Burger King che non l’ha pagato e con cui sta pensando di aprire una causa.
http://www.agenziax.it/?pid=37&sid=30
Agenzia X
E’ un laboratorio editoriale che pubblica libri, organizza corsi di scrittura e iniziative pubbliche di promozione culturale.
La sua redazione si affaccia sulla strada nello storico quartiere del Vigentino, a Milano in via Ripamonti 13.
Un luogo partecipativo che prova a mettere in relazione diverse intelligenze, da quelle accademiche ai saperi espressi dalle culture underground.
I titoli pubblicati da Agenzia X sono frutto di una ricerca e di una sperimentazione letteraria tra memoria storica e racconto orale, tra saggistica e narrativa.
Ogni libro viene concepito insieme all’autore, seguito durante la realizzazione con cura artigianale, e poi promosso con presentazioni ed eventi performativi in tutta Italia, negli ambienti più trasversali (spazi pubblici, biblioteche, librerie di qualità, festival musicali, fiere letterarie, rassegne di cinema e teatro).
Agenzia X organizza ogni anno il festival Slam X in cui decine di autori e artisti, dai più famosi agli esordienti, si alternano sul palco con reading e brevi concerti, dalla prima serata fino a notte fonda. Le tre edizioni finora svoltesi hanno visto la partecipazione di migliaia di spettatori di ogni età, dagli adolescenti agli anziani.
I suoi workshop di scrittura forniscono ai partecipanti gli strumenti per esprimere e testimoniare la propria realtà, tentando di abbattere la distinzione convenzionale tra l’autore – considerato genio creatore di mondi – e i lettori relegati al ruolo di fruitori passivi.
X è il simbolo grafico che richiamo l’acronimo ICS, ovvero Idee per la Condivisione dei Saperi. Ma resta anche un’incognita da continuare a esplorare.
Bologna April 2012
„
Venerdì 20 aprile presentazione del Libro "All Crews" con l'autore Brian Belle-Fortune
Presso TPO Via Camillo Casarini, 17,Bologna
Dal 20/04/2012Al 20/04/2012
0
0
Venerdì 20 aprile dalle 19.00 il TPO di Bologna presenta "All Crews"+ Swordfish Project + DjSet: Aperitivo e alle 21.00 Presentazione del Libro "All Crews" con l'autore Brian Belle-Fortune per poi continuare con Swordfish Project e Brian+Broken Brix + Onan + Thac (B.U.M.). All Crews è uno dei testi più importanti mai editi che trattino così a fondo un genere, quello della jungle/dnb,rientrante nel più ampio panorama della musica elettronica. Un'indagine dettagliatissima che parte dai sobborghi di Londra, inesauribile fucina di talenti e di stili che dalla fine degli anni '80 ha rimpiazzato New York nell'immaginario artistico globale. Djs, MCs, crews, etichette indipendenti, radio pirata promoters: All Crews è un libro cult, un'istantanea di una generazione, quella dei junglists, che ha impresso una sferzata decisiva per quanto riguarda la fruizione e il significato del faremusica elettronica sin dalla metà degli anni '90.
AGENZIA X casa editrice CREATIVE COMMONS traduzione: LORENZO FE autore: BRIAN BELLE-FORTUNE Molti consideravano la nostra musica merda accelerata per schizzati. Nessuno ne voleva parlare. Ma per tantissimi ragazzi era una bomba. Dave Stone, Sour La jungle drum & bass è una delle culture musicali più dirompenti degli ultimi decenni. Nata dagli ambienti underground dell’elettronica [...]14 February 2012 Categories: Drum&Bass, Jungle . Tags: agenzia x, brian belle-fortune, london, lorenzo fe . Author: Jungle'n'Wobbles . Comments: Leave a Comment
Before The Beginning
As far as reporting the underground club and music scene is concerned, Soul Underground represents Ground Zero. Under the guidance of editor David Lubich, the best of Soul Underground magazines have been compiled into a massive tome by those industrious guys at djhistory.com Bill Brewster and Frank Broughton. Soul Underground was the first magazine to publish Brian Belle-Fortune's writing. Here's the story...
I first came across a copy of Soul Underground in Black Market Records and became an instant fan of the fanzine. Soul Underground bulged with topics I really cared about. The writers including: The Face's Lindsay Baker, Kiss FM's Judge Jules and club land's Jay Strongman had their ears really close to the ground. The feel of the magazine was far more accessible and less esoteric than some other print offerings. Within weeks I turned up in the editor's front door with an article about pirate radio and an idea to interview John Peel. David printed both. I was in. And that meeting set me on a road which changed my life. Buy Catch The Beat from: http://www.djhistory.com/books/catchthebeat'
Spring ’87. When I walked into editor David Lubich’s office, I didn't confess that I had spent a couple of years in the remedial English class, had failed English O-level and had definitely not attended any journalism courses. So what the hell was I doing in David’s office? I was passionate about music and London’s Underground club scene and had been since the early 80s when I discovered street skating and the beats of pirate radio. We’d be rolling and dancing with our quads on the floors of the Electric ballroom Camden Town. Without the wheels I'd check clubs like The Horseshoe, Le Beetroot and The Royalty in Southgate. My God... the music, the people, the clothes, the dancing, the sweat dripping off the ceilings... I was excited enough about what I experienced that I always wanted to tell other people. But I had to get serious about a career so I moved out of London to soulless igh Wycombe to start my nurse training; reluctantly leaving club land behind. The new people around me didn’t have any understanding of that vibe. You can take the boy out of the street, but you can't take the street out of the boy.
Of course there were parties. Doctors and nurses parties are notorious in the public imagination. True enough. But the thing is the music was always awful. I'd swapped the grooves of the Electric Ballroom for the doctors’ mess with people standing around a soulless floor distorted by Meatloaf’s Bat Outta Hell. That had to change. So I got a couple of belt driven turntables, a mixer from Tandy, wired it to my stereo, handed out flyers and put on my own parties.
Towards the end of my nurse training the only route back into the underground was via trend magazine The Face. In its heyday that magazine gave me so much. It stamped authority on British underground culture. The look was alternative and stylish from the photography to Neville Brody's postmodernist fonts. But above all I was inspired by the quality of the writing, especially by David Toop, Lindsay Baker and Gavin Hills. I didn't know anything about literary critique. But I did know that this writing was as seductive as the scenes they described. High Wycombe was too distant from London. Within weeks of qualifying as a nurse, I joined the intensive care staff of St Bartholomew's Hospital with the intention of getting right back into London life. I couldn't have returned at a more crucial time. This was 87/88. There was The Wag, The Do(s) at the Dome/Zoo/etc, Westworld, Soul II Soul. All were interwoven by premier pirate station Kiss FM who ruled the airwaves.
The writing thing and I happened almost spontaneously - which on reflection isn't exactly true. Subconsciously language, music and writing in my head have always been intertwined. Friends would ask me to correct the English in their letters and essays. If there was a word or grammar out of place it would feel like a wrong note. In nurse training there were all those essays and patient reports you had to write correctly, even though the subject matter wasn’t exactly funky. The thought of enrolling in a creative writing evening class filled me with dread. I wouldn’t and didn’t. Perhaps my gut feeling harboured a deep distrust of authority. Years later David asked me about my journalistic, disarming interviewing technique. My interview technique came from nursing. As a nurse you learn how to speak to everybody. Sometimes you can gain answers without even asking questions. I guess I was a natural writer, relying on the kind of self-reliance fundamental to Hip Hop, sound systems, warehouse parties, pirate radio and they whole underground culture I loved.
| Also by Bill Brewster and Frank Broughton. If you're serious about music, studying club land or DJing - These books are a must have. | ||||
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“I was reading the excellent Last Night a DJ Saved My Life from cover to cover and was pleasantly gobsmacked when it came to the section on Jungle Drum & Bass. Authors Bill Brewster and Frank Broughton cited All Crews extensively. They’ve also featured All Crews in their latest tome The Record Players – DJ Revolutionaries. Both books are a must have. Here’s the blurb:” The story of dance music told by the people who made it happen. Bill and Frank come correct with in-depth interviews with almost 50 of history's most significant DJs, largely previously unpublished. Like the ones you've read on DJhistory, these are intriguing meetings – honest and revealing portraits, funny too. Plus memorabilia, discographies and great photos of all the DJs as young firebrands. For more check www.djhistory.com/books/therecordplayers |
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This is D&B is a premier site founded by super blogger Veronica Fazzolari
aka Lady V is a true gem.
This is D&B is fresh, informative and contains much freeness.
http://www.thisisdrumandbass.com/2012/03/01/this-is-drum-and-bass-march-2012/
Catch Lady V on Bailey's 1Xtra show with the latest news
| Drum&BassArena – Anthology | In 2010 Brian wrote the extensive sleeve notes for Drum&BassArena’s |
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15 Years of Drum&BassArena
15 Years of Drum&BassArena
In 2011 Brian also wrote the extensive sleeve notes for Drum&BassArena’s 15th Anniversary album. Here’s their story, focusing especially on its founder the enigmatically named The Risky
15 Years of Drum&BassArena
WWW
Back in ’96 few people had any knowledge or understanding of Tim Berners-Lee’s invention the World Wide Web. Yet Drum&BassArena's founder James Cotterill aka The Risky was way ahead of the curve in realising the web’s full potential. The enigmatically named The Risky was born and raised in Sheffield, former home of futurist musicians Cabaret Voltaire and The Human League.
Into the Music
There's always a route into The Music. The Risky's was through listening to his brother's mix tapes and catching Sheffield's pirate radio stations. Of course back in the day, BBC Radio One in the Jungle was always essential listening. The Risky went to university for 3 months. He studied computing, swiftly acquiring website building skills, before dropping out to focus in on Drum&Bass Arena. The world learned that www was the key to a treasure trove of information. But The Risky also understood that The Web gave everyone a global platform.
Eyes on the Prize
Jungle Drum & Bass wasn't just a London thing. And The Risky's mission from Day One was to spread Drum&Bass beats around the globe. Big Tings considering that Drum&Bass Arena initially started with The Risky sending out texts and images. But even at this early stage The Risky received stacks of messages and emails from around the world demanding to hear Jungle Drum & Bass music. So he started uploading clips of much loved tracks and Drum&BassArena blew up
By 1998 The Risky needed to grow D&BA as a business to meet the global demand for Drum & Bass. A marriage was made in heaven when The Risky teamed up with web designer and entrepreneur Diluk Dias. If you can keep your head when all around you are losing theirs: so says the nation's favourite poem If. In the year 2000 at the height of the insane Dot.Com boom, The Risky was offered £5 million for Drum&BassArena. He turned it down. Now that's what I call Drum & Bass loyalty. In 2003 The Risky's and Drum&BassArena's hard working team garnered them a triple award winning spree including: Knowledge's Best Website and Accelerated Culture's Best Website and Best Web Forum.
A Logical Progression
It's all about a logical progression. Growing at their own pace, 2005 was the right time for D&BA to relocate to London. Along the way iconic style councillors The Designers Republic produced Drum&BassArena's equally iconic key stroke logo. Striking in yellow and black – nature’s warning colours, their logo does what it says on the keys.
It's All about The Music
In ‘97 D&BA launched its first live webcast with DJSS and Warren G. By 1999 Drum&BassArena had attracted attention from outside the scene, scooping the award for Best Music Business Website at Britain's Music Week Awards.
Drum&BassArena released its first album in 2001. The Risky compiled the exclusive tracks, which were mixed by the multi award winning 'Executioner' himself Andy C. In 2004 many Drum &Bass fans did a collective double take when they saw a TV ad for D&BA's latest compilation album 15 Years of Drum&BassArena. It entered the national charts at number three, selling a whopping 90,000 copies.
Boots on the Ground
Drum&BassArena exists to promote the Dance Music we love. They’ve always staged great parties. Their first major event at Sheffield University in 1998 featured Mr Grooverider himself. In 2001 they started hosting nights at Sheffield’s world famous Republic nightclub. By 2002 D&BA rammed out a tent with 5,000 ravers at Gatecrasher’s Summer Sound system festival. For many it was reminiscent of those seminal days of World Dance at Lyd airport.
In 2005 with company’s move to London, Drum&BassArena established its residency to the Ministry of Sound. Their night dubbed Ministry of Drum & Bass, raised the roof. By 2009 D&BA staged its first awards ceremony at the Ministry, which has since become an important diary date for industry, insiders and punters ever since.
Forwards Ever Backwards Never
Constant evolution is the key and Drum&BassArena continues evolving. They've had a record shop but that's been superseded by their mp3 downloads.
Anyone into Drum & Bass can chat about their beloved music forever. And Drum&BassArena's Forum is judged to be the finest place to engage in informed, intelligent and mature debate on all things D&B related.
The D&BA podcasts which have been entertaining and educating us for 10 years and has reached its 200th addition. That’s been another way of reaching the Drum & Bass masses who prefer to hear the music, rather than checking out the site. They're presented by The Risky who enthusiastically raves about the hot new tracks and DJ mixes he loves. He must be right as over 250,000 listeners download the podcast every week. In 2006 the Drum&BassArena’s podcast reached number 1 in the iTunes podcast chart.
The move into D&BTV LIVE presented another opportunity to showcase Drum & Bass. Broadcast from their airy warehouse office, it's been hugely popular since it first aired. The vibe in the studio every Wednesday is heavy. So many of the scene's characters drift by making it a great place for everyone to catch up and network. As D&BTV reaches its 100th show, viewers were treated to a feast of artists: Ed Rush & Optical, Bryan G, Ruffstuff, Dom & Roland, Alix Perez, DJ A.M.C and the outstanding SPY.
For 15 years The Risky and the Drum&BassArena team have promoted the cutting edge Drum & Bass music we love. Tracks on this exclusive compilation 15 Years of Drum&BassArena are the freshest cutz released over D&BA's decade and a half in the business. Have no doubt, It's All Good. As to why The Risky's called The Risky well, it’s all to do with...
15 Years of Drum&BassArena is available from http://download.breakbeat.co.uk/lpsepslabels/drumbassarena/drumbassarena15years.aspx
Where's DJ Hype?
In December 2010 Drum&BassArena invited Brian Belle-Fortune to present DJ Hype with an award inducting him into the Drum&BassArena’s Hall of Fame. It’s a shame Hype didn’t show up to collect his award. But here’s Brian’s speech.
The man is such a master turntablist who can scratch with every part of his body - that back in the day when he didn't win DMC’s championships his crew spontaneously re-arranged all the furniture in the venue.
He’s served his apprenticeship on sound systems, in the clubs and on pirate radio where he was known as Dr K.
He’s stomped Jungle's early paths alongside the likes of Shut Up n Dance and the Ragga Twins
Behind the grooves as a producer and in the grooves as a DJ he's rinsed our music for over two decades.
While some intellectualise the merits of Drum & Bass versus Jungle, he says, "Not everyone on the dance floor wants some musical journey... Some people just wanna go out n rave it up."
And this guy, plus the mighty producers in his stables - and the tunes on his labels: - True Players and Ganja Cru have had millions screaming for the rewind.
There's only one thing more important to him than music. And I'm afraid that if I don't mention Snoop the Jungle dog they’d both have words with me outside.
He's a difficult person to interview Cos he makes so many wisecracks - that he had this writer holding his sides, tears rolling down, begging him to stop. And he's goin’, "What did I say?"
- Which is ironic because of himself he says – "I'm a miserable sod as a person... But I couldn't thank God enough for what I've got" And neither could we. Ladies and gentlemen... All Junglists - All Crews... Ready or Not ... DJ HYPE please step up to the Drum-&-Bass-Arena - Hall of Fame.
Every so often Shy FX's name comes up on my mobile. "Shy man what's happening?" "You alright B? How's your health? Good. Can you and Jane come down the studio? I need you to do another special?" "No worries Shy." "And I need to get it done as soon as - You know how it is." "What's new?" A few years back Shy FX started making exclusive intro dubplates for his gigs. The plate would announce his arrival. The basic scenario was that you'd hear the theme from Sky News followed by an anchorwoman (my mate Jane) announcing that Shy FX is arriving at such and such a venue. We then switch to the reporter (me) live at the scene. With the crowd goin' mental, in my best sports commentator losin' it voice I describe the arrival of SHY FX - by helicopter. It was always a giggle. T Power was often there. He and Shy would mix it down and Shy would cut a dub for the venues he's about to play. It's strange to think that our voices have been heard in raves across the globe. Then one day listening to ads on Origin FM I heard one for Telepathy. I rang Jane straight away. "Jane mate we've been sampled." We both shouted, "Yes!"
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Shy FX & Benny Page@ Fabric - Playaz Carnival Special | audio only |
Unfortunately there wasn't space enough to fit my words into the final copy of All Crews so some about Fabio and Rude FM were cut or moved. So here are the last words as I'd intended.
That Infamous e-mail originally posted on Dogs on Acid before being pulled
It's difficult to keep anything quiet in this Internet age. All the secrecy or not fuelled rumours. And this hilarious post on Dogs on Acid written by senior member Halibut. had people laughing all over the Net.
PS - This section was originally in All Crews till I asked someone's advice.
That advice was - "You're within your journalistic right to include the
post. However you may find that 'someone' smashes your face in." Here goes.
And please don't hit me.
I'm not a well man.
Minutes of the Emergency D&B meeting at the Little Chef Cafe on the A6 near Shrewsbury on 03/07/04.
Goldie (making a conference call on a mobile) Yeah nice one for turning up everyone I should be there in a bit I'm running late. Go on without me.
Grooverider Well I'm the Junglist don, so I'll run things. Right! Where shall we begin?
Andy C Yeah, well I think the music's goin' a bit slow at the moment innit? My sets are at around 220/230 BPM and there isn't enuff quality music for me to rinse out the dance.
Grooverider Er, I thought this meeting was meant to be about the music being too fast?
MC Shabba Yeah, we should be dealing with the matter.
MC Skibba Yeah, dealing with it proper.
John B I just want to rinse it out proper he he!
**the music, were scaring off the punters.
Twisted You've got it wrong Fabs. We should go back to the good old days. Fill the clubs up with kids, stick as many pills down their gullets as they can handle, then play back to back wobble out tunes. You'll be surprised at what happens. The kids turn to zombies and every Friday they keep coming back.
Grooverider Yeah, we've already got that system running down at Fabric. It works a treat. Fuck me, my schedule is so hectic right now that I cant be bothered to play a wide selection, it takes too much effort, so I just play back to back Twisted Individual anthems and the kids love it.
Dillinja Fuck all that. That's just mindless drugs music. What the scene needs is more bass.
Lemon D Yeah, that's just mindless drugs music. Yeah, we need more bass.
J-Majik & Peshay (simultaneously) More filtered disco breaks too.
Nicky Blackmarket I'm not making as much as what I used to. Kiddies coming into my shop and going straight for the promos. The releases hardly get touched nowadays... apart from Ray's stuff that he palms off onto the starstruck kiddies.
Nicky and Ray high five each other.
Ray Keith Yeah , you know it blud!
Meeting interrupted by Grooverider's phone. Message reads:
I'm in the bogs, I've got a **** dished out waiting for u so hurry cos I'm gettin a bit twitchy. Goldie
Grooverider That's my agent. I've gotta go cos I've got a gig in Peru to go to. Right! So to conclude the scene needs more groove, more bass, more drugs and more wobble out tunes, faster BPMs and more filtered disco breaks. Wicked!
PS: I've got too much spare time on my hands.
Halibut, Senior member, Dogs on Acid
I Was There - When Ben Johnson won that Gold in the 1988 Seoul Olympics
Dear Saturday Live
I was listening to Frank Verge's account of baring the Olympic torch to the 1948 London Olympics. I also heard this week that most applicants for 2012 tickets won't be in the Olympic stadium for the Men's 100 meters final. I've applied and wasn't successful. But I'm content because during the 1988 Seoul Olympics, I had a seat that money couldn't buy.
Having been to the Moscow, Seoul and Sidney Olympics you could say that I'm an Olympics groupie. And Athletics is my greatest passion. In 1988 I'm sitting in the Olympic stadium with the British spectators watching Daley Thompson's go for gold in the decathlon. It was early in the morning and stadium was practically empty. I got chatting to two English guys. Chris was a Civil Servant and Jeremy, complete with safari shorts and pith helmet, was an ex-pat Englishman living in Kenya.
As Daley's 100 m was about to start, Chris and Jeremy got up to move around the stadium for a better view. I was puzzled mentioning, "Spectators are only allowed to sit in designated seats." "Oh don't worry about all that." They said. "Just follow us." "And" added Jeremy pointing to my camera with a telephoto lens, "Just wave that around." We approached the Korean security man guarding the next section, with Chris and Jeremy shouting, "Her Majesty’s Press! Her Majesty’s Press!" Me waving my camera lens around... I think a Union Jack may have been involved - We walked straight through security into the athlete’s section. Security didn't quite know what to make of us and acquiesced.
So for the rest of the games we were able to sit anywhere in the stadium. That included frequent visits to the athlete's section where we met so many Olympic greats, Merlene Ottey, Tessa Sanderson, Flo Jo, Colin Jackson, Tony Jarrett, Ed Moses. British Javelin thrower gave me her number (218) as a souvenir. We'd get chatting to the coaches and hear back stage gossip. We didn’t know that the ‘88 Olympiad was the last Games playing host to Soviet bloc athletes but we didn’t miss the chance to chat to them. It was all a very naughty but totally unforgettable experience.
So come the men's 100 meter final I was in the press box near the finishing line. Carl Lewis, Ben Johnson and Linford Christie were in the blocks. I'd never felt such excitement for a 100 meters race. The gun went off. Everybody in the stadium went crazy. In half a heartbeat, Johnson shoots his arm up in the air finishing yards in front of the rest of the field. We couldn't believe it. We must have seen the greatest 100 meter final ever. Even the commentators in the press box were jumping up and down.
Of course everyone was absolutely gutted when, hours later, the news came through that Johnson had cheated. That was the biggest ever come-down. Drama's all part of the Games and in spite of the Johnson affair, the 1988 Seoul Games were magical. I hope people will forgive our youthful high jinks. Blagging through Olympic security is not something I'd ever try again; especially since post 9/11 we live in a different world. So please don't try this at home - you're likely to be met by the Met or the SAS. [Audio see ‘I was there in audio folder]
The Tottenham Riots - Summer 2011
[New link] 
The Top Ten Pirate Radio Station
www.kmag.co.uk/editorial/features/top-ten-pirate-radio-stations.html
Knowledge asked Brian to compile a list of Top Ten pirates most influential to the Jungle Drum & Bass scene. Where do you start? How do you choose? Lists are often difficult since they're highly subjective. People tend to big up a station as it's the one they've always listened to - even if only out of habit. Does longevity rule over cultural significance? Or are the best stations the ones which broadcast passion, music and vibes, attracting and retaining an extremely loyal following?
The best stations weave compulsive musical webs through our lives. Switch on and magic floods out your speakers. The underground music we know and love would never of reached the global prominence it has without the support of the pirates.
Most listeners will be unaware of all the shenanigans involved in keeping a pirate radio station on air. Government agents from Ofcom whose search and destroy mission it is target illegal broadcasters, admit a certain admiration for pirates. "It's not easy to set up a station and broadcast, yet they achieve it, week in week out." I'm still listening, 'Week in - Week out.' So here's my all-time Top Ten of the most influential pirate radio stations.
Radio Caroline - The original 60s pirate station (1964 - 1989), playing fresh pop/rock music to Britain's young masses from a boat in the North Sea, floating in international waters four and a half miles off the Essex coastline. In 1967 the BBC played catch-up launching Radio One and recruiting the same pirates for their roster. Decades later BBC Radio still recruits former pirate radio DJs. Check The (somewhat flawed) Boat That Rocked - Out on DVD. Kool FM's guvnor Eastman saw Radio Caroline DJs as 'Heroes.'
Invicta – (1970-1984) I rolled into underground music as a street skater in the early 80s. Someone had a beat box in Hyde Park. Out flooded soul, funk, Jap jazz and electro; music you'd hear in the clubs, not on legal radio. To catch a good signal you'd be attaching a wire or metal coat hanger to your radio and balancing on the furniture to hang the wire off a curtain rail. Of this time General Levy commented, "Black people hit the airwaves." And underground music would never be the same again.
DBC – (1981-?) Credited as Britain’s first truly Black music station Dread Broadcasting Corporation was one of those early to mid 80s pirate stations which many claimed to have listened to but few actually did. Perhaps it laid with the station's memorably street name. But they weren't on the air for long. What did run for long was The Lenny Henry Show featuring Lenny as Delbert Wilkins a pirate radio DJ, based in the back room of a local Greek Cypriot cafe/restaurant. In real life Lenny was one of Kiss FM's financial backers. DBC was home to ‘Rankin’ Miss P who was poached for Radio One’s first Reggae show.
Station FM - Most pirates were only on air at weekends. Station's reggae orientated broadcasts pulsed out 24/7. They just didn't seem to care. As if that wasn't enough, officers from the local notorious Metropolitan police station would be invited into the station to ask help from the local community. The powers-that-be realised that the only way to reach the grass roots was through pirate radio. Later DnB stations would follow Station FM's lead broadcasting all day and all night.
Kiss FM – (1985-1988) They rocked London town with a mighty world class roster including – Tim Westwood, Norman Jay, Judge Jules, Trevor Nelson, Paul Anderson, Danny Rampling and the legendary Jazzy B of Soul II Soul. Kiss FM were the vibe of the clubs and streets. Their parties were legendary - until they applied for and received license. The accountants moved in as quality artists and music moved out.
Centerforce - If the power of the unlicensed broadcasters was ever doubted, come the dawn of the late 80s Rave Scene, those doubts were dispelled. Centerforce were a station dedicated to playing 100% rave. Most importantly, if you wanted to know where the party was, you'd have to tune in. Centerforce were the essential rave station.
Weekend Rush - An apt name for this early 90s station - especially as they were known for putting their raving first. They played Hardcore and proto-Jungle. The station's location was important since it shared the same East London, Nightingale estate as Kool and Defection FM. As Shabba D said, "All the mans was from there."
Origin FM – (1999-present) This North London station arrived in 1999, way after the first wave of Jungle stations. But their crew of artists were products of those early stations and scene. Their DJs played music which reflected Drum & Bass' musical roots. Though they weren't the first to try, respect is due for their mission to stay on air 24/7. DJ EZM, "We saw how them reggae mans was carrying on and thought, 'Right. That's how they're goin' on.' "
Rude FM – (1992-present) I'll always have a soft spot for the first pirate station to give me my own show. It's only then that you realise some of what it takes to keep a station on air. DJs Dylan, Flapjack, Magistrate, Nikki Dimensions, Mister T and MC System have passed through Rude's transmitter. They remain on air after 15 years, with DJ E being one of the longest broadcasting Drum & Bass DJs in London. Lady Flava's is one of the scene's few female voices on pirate radio. And to the joy of their listeners, Rude FM operates a strict No MC policy.
Kool FM – (1991-present) This multi, multi award winning station celebrated its 20 birthday with a packed dance in December 2011. Kool is still the biggest pirate station on the Jungle Drum & Bass scene. In terms of their historic, musical and cultural significance they're unbeatable. It was listening to Kool FM which inspired me to write to Radio One with the idea for One in the Jungle. Founder Eastman was the first to introduce multiple MCs on air and on stage. 1994 was a seminal year for Kool FM, Jungle. MCs Navigator, 5ive 0, Shabba D, MC Det, Cogee and The Ragga Twins ruled the roost. DJs including Brockie, Bryan G, Funky Flirt, Ron, SL rinsed the grooves at Kool FM's hyper legendary Jungle Fever raves. I've always said, "You ain't a true Junglists till you've been to a Jungle Fever party."
Kool have broadened their play list to include other black music genre's. But in their most radical step, 5ive 0 and Lady Diamond's discussion show dares to touch political and social subjects previous pirates avoided like the plague.
No pirate radio fanfare is complete without acknowledging the technicians who keep the stations on air and out of the grasp of the authorities. Let's hear it from Kool's Eastman. "Us, [Weekend] Rush and Defection had our aerials and rigs together. We were getting wacked by the DTI so much, we got an empty flat on the 20th floor, blocked it up with concrete filled with girders and iron bars and left our rigs in it. We put a metal door on, then a front door and climbed up the side of the building. Our Smurf, Colin Diser from Rush and Miley from Defection would just jump over the roof and climb on the balconies." They risked their lives just because the people loved Jungle.
Hackney’s Nightingale Estate – Pirate’s Homeland
For further information please check: All Crews Journeys Through Drum & Bass Culture by Brian Belle-Fortune - Vision Publishing; www.allcrew.co.uk/skool; Pirate Radio - Historical Timeline - Sarah Bentley - londonpirates.co.uk/news/timeline.htm. And YouTube for: A London Someting Dis - Rachel Seely/Channel Four; Radio Renegades - Stevenson/Belle-Fortune/BBC TV; Pirates - Nigel Finch - BBC TV; VBS Pirate Radio Station: Pirates 1982 - Channel Four.
Is BBC Radio Four - Institutionally Racist?
I'm a great fan of BBC Radio Four and spend most of the day listening to it.
It's widely known that they 'Don't do black people'. After the former Director
General described the BBC as 'Institutionally racist' I wrote a letter to the
station receiving a reply assuring me that things would change. They didn't.
A German listener complained to Radio Four after he saw the 'whites only' presenters on their web cam. He Boycotted the station. I complained again and was invited to take part in Radio Four's critical program Feedback. Here's my discussion with Radio Four boss Mark Damazer and presenter Roger Bolton.
