Picture the scene, a smokey venue, dimly lit and packed full of junglists waiting for the next tune to drop, sounds pretty familiar for 1997 doesn’t it? Well this was no ordinary event as Warning had installed a full size boxing ring into the middle of The Junction.

The flyer already had you warmed up with anticipation as the event was billed as a VS night, each dj and mc combo would battle it out with 3 tunes each and the crowd would then judge the winner. What makes this special event even more fantastic is that Julius Francis (former British Heavyweight champion boxer) was the event’s introduction!

If one tape was to stand out from this event and really optimise what the scene stood for around this time, it would be the Swan-E and Shabba set. Although this was one of the earlier sets of the night, the combination of Swan-E’s effortless tune selection combined with plenty of enthusiasm and lyrical delivery from Shabba really makes this set stand out.

What also hits home when playing this tape back is how passionate Shabba’s lyrics sound, 1997 was a massive for him and this recording really demonstrates why, at this point, he was at the top of his game.

So give yourself a good few hours in a dark room, crack open a can of Red Stripe and stick these sets on loud.

Full tape pack steam can be found here (via Section 23’s Soundcloud)

Full event details:

DJ’s

• Wildchild
• Jo Jo Rock
• SS
• Frenzic
• Swan-E
• Brockie
• Ron
• Andy C (tape sadly lost)
• Mampi Swift
• Concrete
• Nicky Blackmarket
• Barrington

MC’s

• Chickaboo
• 5ive Alive
• Warren G
• Phantom
• Shabba
• Det
• GQ
• Navigator
• Marshall
• Stevie Hyper D
• Lydon

About Jamie

Jungle/Drum&Bass Veteran. Section 23 since 1993, part of the editorial team for Drum & Bass Arena, writer for UK Bass Music, Everyday Junglist and Drumtrip

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The post Warning presents The Big Fight Live – Judgement Night appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

World Dance – Access All Areas, a VHS that will no doubt bring home a million memories of sitting in front of the television in amazement. Trying to spot your mates looking wasted in the crowd or even attempting to piece back memories of events………

In a similar stance to early Fantazia recordings, the promoters of World Dance released a video compilation of their events in 1996 which featured a whole host of footage from events such as the Monty Python themed ‘And Now For Something Completely Different’ to the ‘Fireworks Spectacular’ in ‘95.

From memory, the girl that everyone at school thought was AMAZING was actually a friend of Tobie (Tera) of Serial Killaz. For those that want to now attempt to spot her, she’s the one in the pink nightie alongside matey with the moobs doing the helicopter spin in his swimwear around 14 minutes in, not that I have been looking for her ; )

For those who remember the amazing effort Fantazia went to in respect of production at their events, it will come as no surprise that it’s pretty much a direct comparison to World Dance and in some respects, they probably picked up where Fantazia briefly left.

What you get here is an insight into what went into putting on these large scale events, with footage from the initial set up to plenty of behind the decks action. If you’re reading this and promoting events in 2014 then please make some notes when watching the video, the production really was spot on at every World Dance rave.

Access All Areas was exactly that, interviews with the artists and crowd by none other than Drum & Bass’ answer to Dennis Pennis – MC GQ and a wicked set taken from the 4th November ‘95 event by none other than Mickey Finn & MC Fearless. Strange maybe to some that GQ wasn’t the MC featured on the mix, mainly because prior to ‘93 he was usually the only MC to grace the flyer, let alone in the venue.

Interview with MC Fearless

How did the connection with World Dance happen?
“Working with Chris and Jay in the original AWOL days meant that performing at World Dance was achievable, although I still remember the day the phone call came in and I thought someone was winding me up!

Their policy regarding mcs was always strict and having myself and GQ on the line up was what people would come to expect. Gary and I would usually split the night in half with AWOL as these events would coincide with each other”

World Dance were renowned for their huge production and massive following, was ‘the brand’ as important as the event?
“Without a doubt man! From the World Dance MA2 bomber jackets, to the slipmats, to the lighters – they had the branding locked down. When the new clothing lines were released I remember either Chris or Jay coming backstage with massive boxes and handing out products to the artists. They understood all aspects of the promotions game, at the end of the day these guys were proper businessmen”

The Access all Areas VHS was certainly a favourite for many, were you aware the camera crew were filming for a documentary?
“Both GQ and I knew about the video, that’s how World Dance was run – the artists were always kept up to date with what was going on and when it was happening. One thing I didn’t know though was how many fireworks they were going to use at the event in ‘94!”

“That night was insane and to this date I don’t think I have seen any other fireworks event in the UK go to the levels of production and pyrotechnics World Dance did. I remember one of the production staff shouting at me to get out of the way and then… BOOM all kinds of things were set loose”

What were your favourite memories from World Dance?
“The first event I was booked for was held at Lydd airport and I had never ever expected it to be on the scale that it was. Thousands of people, the huge fairground rides and boy…. the hanger! The whole World Dance vibe was something else so when I eventually got to the front and did my thing the crowd response and the sea of heads was on another level”

What’s forthcoming in 2014 for Fearless?
“Next up I’m filming a fly on the wall documentary about my weekend on the road as an mc. This won’t be your standard type of video but one where people can really see what it’s like at raves post millenium. I’m also working on a clothing line and will be putting out a free EP with some of my previous work and possibly an album at some point in 2014”

Rewind the video, it’s going back in..

‘96 was probably the highlight of Mickey Finn’s DJ career and certainly an era where his preferred style of Drum & Bass was literally blowing up all over the shop. Combine this with Fearless’ utterly unique style at the time and it really was the soundtrack to top all rave event videos.

For those expecting a VHS filmed on a mate of the promoter’s Sony Handycam with the sound to boot you are certainly in for one massive treat. Real Jungle ravers with buttoned up shirts, MA2’s and none of this ‘heart shapes with our hands’ malarkey.

Add it to your wants list via Discogs here

Download the full video here

The Mix

To pay homage to World Dance, Mickey Finn and obviously the top notch VHS check the tribute mix I put together which features all of the tunes from the video (apart from the dubplate version of Space Dust which I will never own!)

1 Apollo 13 – Space Dust
2 Dred Bass – World Of Music
3 B-Jam – Dont Play
4 Asend & The Assailant – Africa
5 Smokey Joe – Smokin Hornz
6 Rude Bwoy Monty Warp Ten (Heavyweight Mix)
7 Murphy’s Law & Asend – 20 Seconds
8 DJ Hype – We Must Unite
9 Dope Skillz – Yo’ Son
10 DJ Zinc – Super Sharp Shooter (Remix)
11 B-Jam – Show Me (Remix)
12 Deadly D – Listen Dis (L Double Remix)
13 DJ Rap & Da Boss – I’m So
14 Sound Of The Future – The Lighter (Rollers Remix)
15 L Double & Shy FX – The Shit

About Jamie

Jungle/Drum&Bass Veteran. Section 23 since 1993, part of the editorial team for Drum & Bass Arena, writer for UK Bass Music, Everyday Junglist and Drumtrip

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The post World Dance – Access All Areas (A Dedication) appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

Jungle in 1995 was a complex beast, it demanded you to stick your head down, soak up the bassline and occasionally flick your lighter. This certainly wasn’t the era of smiley faces and putting your hands in the air, although strangely enough, it was one of the most united and atmospheric.

Before anyone could demand a third or fourth reload on Leviticus’ ‘Burial’ a flood of hard stepping rough came flooding in from the likes of DJ Rap, Dillinja and Krome & Time.

By 1996 producers creativity was at an all time high and the sound as we knew it was due for a massive upheaval, mainly driven by the likes of Shy FX, Congo Natty, Aphrodite and DJ Red.

This was the unmistaken sound of jump up drum & bass, a sound that took elements from the past, combined with a slightly increased bmp, rubberised basslines and hip hop samples. It was also the rebirth of the ‘feel good factor’ and although many junglists took an instant dislike to certain producers efforts it really did take over the scene for sometime.

Rather than opting for the obvious classics of the era, the Drum & Bass Arena forum have delved deep into their record collection and pulled out a collection of diverse tracks that portray the time period in a totally different light altogether.

Come with it

Tracklist

JamieS23
London’s Most Wanted – Bear Witness (Mix 2) [Chronic]
Tonic – Hip To The Hoppa [Dee Jay]
Special K & Ruff Cut – Kill Or Be Killed [Lowkey]
Maldini – Kosmo [Phat Trax]
Tekniq – Hold it Now (Tekniq Remix) [Formation]

Tim-Reaper
Roni Size – Fashion [V]
Alex Reece – Basic Principles [Metalheadz]
Current Affairs – Turbulence (Just Jungle Remix) [Moving Shadow]
Northern Connexion – Re-Think [Back 2 Basics]
DJ Trace & Ed Rush – Untitled [Dub]

Dubplate-Derek
Concept 2 – Soon Come [Liftin’ Spirit]
Ed Rush – What’s Up [No U-Turn]
Joint Venture – Don’t Ever Stop [Liftin’ Spirit]
DJ Die – Play It For Me [V]
The X – New Dawn (ST Files Remix) [Jump Up]

Postman Pat
Swabe – Uno Dos Tres [Dope Dragon]
Jeru vs Dillinja – Me Or The Papes [White]
Lemon D – This Is L.A. [Metalheadz]
Mask – One People [Dope Dragon]
Bill Riley – In At The Deep End [Protocol]

SmokeyMcPot
Nemeton – Transamazonia (LTJ Bukem Remix) [One Little Indian]
Earl Grey – The Lick [Rugged Vinyl]
Dead Calm – Urban Style [Moving Shadow]
PFM – Wash Over Me [Good Looking]
Cloud 9 – Snow [Moving Shadow]

About Jamie

Jungle/Drum&Bass Veteran. Section 23 since 1993, part of the editorial team for Drum & Bass Arena, writer for UK Bass Music, Everyday Junglist and Drumtrip

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The post The 2014 D&BA Forum Essential Jungle Mix 95-96 appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

Having been a producer since the early 90’s your journey into underground dance music started earlier than most. Was this the era that kickstarted your passion for music production?
Around 1986 I was heavily into Chicago house & early acid house, I loved the fact that it was new, unusual and underground. I wasn’t really into chart or popular music.

I use to muck about on a friends Casio keyboard. You could get a basic four four drum pattern down and it had around a 2 second sampler on it, hi-tech at the time! I just fooled around, nothing too serious.

It was when I got my Technics 1210’s that I got seriously into music. I worked in a supermarket at weekends for little money to get them bad boys, but it was worth it. All my time and money was put into record hunting, record buying, raving and learning the art of mixing.

Tekniq was your production alias alongside John Williams (JT), how did you guys meet and what took you into the studio initially?
Me and a few other DJ’s use to put on these little basement parties in town, Syco (now a Techno DJ) & Mike Bolton (who went on to become PFM Good Looking Records) to name a few were trying to make a name for ourselves in the local scene. John Williams, an old school buddy of mine, was putting on college parties and he asked me if I wanted to do a set.

They were mad little parties. I used to throw some underground tunes in with the normal cheesy dance music which the crowd seemed to love.

John suggested we hook up and play around with this free music programme he had from a magazine, it was on an Amiga, I think it was called midi player or something?  It only had 4 channels but you could run tiny samples on it and get some ideas down. Syco had a track released on Sheffield based Ozone Records so we sent them a very dodgy sounding demo tape and randomly from that tape they asked us to go up and work with Matt Ellis, Main Engineer for the label. This was our first proper studio experience and a lot was learnt from Matt, he eventually went on to work for EMI, all we then wanted to do was get better equipment to make better tunes.

This was the birth of Tekniq.

Discogs has a great photo of you guys in the studio, when and where was it taken?
I wouldn’t say great photo! lol! This was DJ SS’s studio above the 5HQ shop in Leicester.  This would have been 1995 or 1996 I think?

Your debut release on Formation Records is listed as the ‘Best of Both Worlds EP’ released in 1994. How did the link up with SS happen?
We actually had a few releases on Formations sister label, F Project before ‘Best of Both Worlds’ was released. Leroy (DJ SS) wanted only the biggest and best tunes on his main label.

We actually hooked up with SS via another DJ friend, DJ Dance. Another demo was sent, much more professional than our last. We went up to Leicester to meet him, SS was working with EQ at that time on the early Formation stuff so we did a few tunes on F Project with EQ engineering. Getting on such a big label was a real buzz for us.

Formation Records quickly became the staple diet of every jungle DJ during the mid 90’s, what do you think stood it apart from every other label at the time?
Every Formation release you had to buy on sight as every 12” they put out was simply ahead of its time. It had certain edge and style over other labels of that era, their tunes had energy and great party vibes. SS knew how to get the crowd jumping and you can hear that in his production and arrangements, classic stuff. We feel honoured to have been part of the labels history.

‘The Riot ’ was a monster of a tune and I assume one of your biggest releases in terms of dj support? How did you make that absolutely killer bassline? What software were you using at the time? Any prefered hardware?
It was one of those tunes that when you first heard it you would be unsure if you liked it, if you know what I mean. It was different from any other tunes at that time but it worked. The crowd reaction to that bassline was incredible, it was an SS bassline. We had been in the studio all day with Leroy and laid down the track, it sounded good but it needed something.

We left for home and a few days later received a DAT tape with the finished track on it. SS had added the warp warp bassline, it sounded phat, hats off to him for that one!

We used to write on Cubase with an external Akai sampler, multiple rack sound units, effects and various keyboards. We also had a good collection of old synths such as the Roland SH101, Juno, and Korg Monopoly. Back then you had to create sounds externally if not using samples in the sampler. The Akai sampler was a key bit of kit, this was the best way to chop up breaks to make jungle style patterns, you could also timestretch samples which, at the time, was revolutionary.

Your output on Formation Records was not quite as frequent as other producers, was this due to working full time outside of the studio or for another reason?
To begin with we put out quite a few tracks on Formations other side labels but the main Formation 12’s had to be killer tracks, that’s what SS always wanted. It’s hard to come up with massive tunes one after the other, especially as we were always out to try something different with every track we did, we didn’t want to be pigeon holed with one particular style.

Because of work commitments we were only in the studio in the evenings and weekends and John was engineering tracks for JMJ & Richie & Kudos for Moving Shadow, as well as our own stuff. So literally, every night was studio night! We actually spent a year writing a Tekniq LP for Formation but unfortunately this was never released. One of the main dance floor LP tracks did come out on one of the ‘Decade of breaks’ 12’s though, our track ‘Hardlines’ with Tungsten and Morph’s track on the flip side.

‘One Style’ featured a vocal sample “this is just one style, out of many” – was this a subtle hint towards forthcoming changes in direction?
The Ice T sample in ‘One style’ was a perfect fit for the track. At that time drum & bass was changing and morphing into different styles and the kick snare drum pattern thing had taken over dramatically from breakbeats. Trouble on Vinyl was pushing this new sound and I was well into that. I think their output must of influenced us. Clayton (TOV) actually wanted the original version of ‘One style’ for TOV but we had already signed this to Formation.

Moving on from 1997, Formation Records did in fact move with the times and take a totally new approach to Drum & Bass. From seeing the scene diversify countless times since the early 90’s what did you expect to happen to the scene reaching the millenium?
Being part of the scene and living it for such a long time, you notice and come across times when you don’t really know what’s going to happen next, you didn’t know which direction things were going to go. I think because vinyl sales dropped a lot, labels became more cautious about what they put out. Big tunes made their mark and lesser ones fell by the wayside. You knew things were going to change going into the new millennium.

During your time as a producer in the 1990’s, what do you think influenced you the most to create the types of tunes you made? Any favourite dj’s that supported your releases?
If we wasn’t out dj’ing we were out raving so every weekend we would soak up what new tracks were being played. The scene itself basically influenced what dance floor tracks we produced.  We were part of the east coast scene as well, the more melodic musical side of drum and bass with tracks put out on Moving Shadow alongside EZ Rollers, Flytronics, PFM & JMJ & Richie. It was good to experiment with new sounds and styles. And one of our Shadow tracks made it onto a Playstation 2 game. That was cool. As I’m a big gamer.

Obviously SS pushed and played our tracks, we also had support from Grooverider, Jumping Jack Frost & Roni Size to name a few. I remember being at an event in the Sanctuary and hearing ‘The Riot’ getting 3 or 4 rewinds when Roni dropped it, that was such a rush and an awesome thing to experience.

Your tune alongside Twisted Individual ‘Nappy Rash’ was released on Grid Recordings, was their any reason why you didn’t put anything further out on this label? What was it like working alongside Lee?
John actually did that track with Lee Twisted one day when he was visiting 5HQ in Leicester. Lee was renowned for working quick and that track was written in a day, such a crazy mad talented producer.

What’s next for Tekniq? Are you still together? Any solo releases planned?
We are both still right into our music and DJ as a duo from time to time although our children take up most of our time these days. Producing music went from being a hobby to being serious and now a hobby again. I have been writing a lot lately and would like to put something out again myself this year under my DJ name Hostyle, I’m also doing a monthly show on Radio Frontline from this February. The Frontline guys have some good DJ’s from back in the day like Digital, DJ Monita, Remarc, Suv, Stretch & Teebone. I’m looking forward to playing some Jungle again from the best era of drum and bass.

Did you make any New Years resolutions for 2014?
Make more music! I built a new studio last year so that needs to be put to good use and also my radio show. Hopefully a few more projects in the pipeline also.

In terms of your production now, what software and hardware do you use?
Logic Pro and a midi keyboard running on a fast Mac with as many plugins as possible.  That’s all you need these days.

If you could name one jungle tune released between 1990 and 1995 that really stood the test of time what would it be and why?
Deep Blue ‘The Helicopter tune’.  The bass and mood of that track is phenomenal, it still sounds fresh today. Totally ahead of its time and an all time classic.

 Huge thanks to DJ Hostyle for talking to Drumtrip, and Jamie for the words.

About Jamie

Jungle/Drum&Bass Veteran. Section 23 since 1993, part of the editorial team for Drum & Bass Arena, writer for UK Bass Music, Everyday Junglist and Drumtrip

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The post Interview with Tekniq appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

Causing an Eclipse to outshine
The rave scene in Cambridge between 1992 and 1994 was incredible and dominated mainly by Stuart and Dave Banks who jointly ran an event called Eclipse.
During 1994, a promotions outfit under the name Unit 5 created an event called Temptation which ran from Kelsey Kerridge Sports Centre, a huge hall located pretty much in the centre of Cambridge. In some respects Temptation was the next step in the area’s rave scene and their events in 1994 saw many of the most respected artists grace the turntables including Grooverider, Mickey Finn, DJ SY and Kenny Ken.

Arts & Leisure
In March 1994, two rave promoters under the names United Dance and Temptation graced the Stevenage rave scene with an event held at the Arts and Leisure Centre. Although the promoter of Temptation is unknown to me, the man behind United Dance was Chris Eruption who went on to produce a huge amount of Happy Hardcore anthems. The events that followed created probably one of the most influential nights in East Anglia at the time and paved the way for thousands of ravers to experience the ever changing styles of underground music.

It’s Hype 1-2 then 2-3 … it’s Dougal & Vibes
Probably quite absurd to the Drum & Bass raver of 2013 but way back in the 90’s many of the big promoters would opt to mix styles all night, whether that be Happy Hardcore and Drum & Bass in the main room or Techno alongside Gabba in room two. This sometimes led to very interesting MC combinations, especially if you had missed the event and were listening back to the tape pack.
My personal favourite from United Dance events at the time had to be Fearless and MC MC over Happy Hardcore, it was like a whole new take on the tracks and I am certain that this paved the way for more lyrical Hardcore MC’s such as Whizzkid and Storm. You would obviously get the old favourites such as Magika, Stixman and Sharkey but involving the Drum & Bass MC’s almost seemed to force the Hardcore MC’s to step up their game.

Jungle, Drum & Bass, Happy Hardcore and…. 4-Beat?
Something strange that come out of the United Dance era of Happy Hardcore was the genre coined ‘4-Beat’. My assumption was that Seduction and Eruption wanted to steer people away from the term Happy Hardcore, potentially because at the time, some may have been put off by the name. Let’s face it, saying to your friends that you were into Happy Hardcore probably wasn’t seen as the coolest thing to say in 1995.
Impact Records, owned by Seduction, held face with 4-Beat for a while and in an interview he made a stance by saying “”House led to Hardcore, which led to Drum & Bass and 4-Beat (I hate calling it Happy Hardcore)”. It was obviously quite a personal thing and not every producer shared the same enthusiasm which was quite apparent when, far later in the genres lifetime, it switched from Happy Hardcore to it’s current name – UK Hardcore.

Showers in a rave
One of the ‘attractions’ so to speak of the Arts and Leisure centre was the massive shower blocks in both the male and female toilets. It would be a common occurrence to see highly spirited ravers at 3 in the morning having a shower fully clothed. You would assume this then also lead to a very slippery dance floor but as the main arena was typically used as a sports centre, carpet was laid out way in advance of any bathroom activities.

“Ah yeah! Let the good times roll”
DJ Hype and MC MC were always a winning combination, perhaps this was down to their shared passion for the scene or the fact that they had worked together for a considerable amount of time. It was one of those combinations that would always stand out on a flyer or tape pack, similar to that of Andy C and GQ in today’s scene. MC MC rides the music, he didn’t batter a million lyrics over each track but effortlessly hosts the set with style and grace.

This live set is certainly one that has a distinct flow to it, it’s an amazing introduction to years gone by. If you have yet to pick up on some of the history of the scene or if you are a die hard fan of the early to mid 90’s it’s certainly worth checking for a trip down memory lane.

The obvious Jungle anthems of the time such as Splash’s ‘Babylon’, DJ Rap’s ‘Spiritual Aura’ and Q Project’s ‘Champion Sound’ all feature on the set alongside Hype’s well known scratch routines. Let the recording play for around half an hour and Hype digs deeper into the lesser known tunes from the era.

The end of the set also features MC Free & Easy, otherwise known as Terry Turbo.

“Let the music take you up”
Slipmatt, known for his huge involvement and contribution to the scene since it’s foundation, delivers a cross selection of Breakbeat Hardcore, Jungle and early Happy Hardcore in this set accompanied by MC Magika. It’s a fine example of where the scene in general was during 1994 and a perfect demonstration of how to deliver a high energy set.

The last hour at United Dance was always known as ‘Slipmatt’s Hour’, the way that he retained a full house at 5 or 6 in the morning was hard to beat and some even turned up at 3 or 4 in the morning just to catch the last few hours of the early morning vibe.

Opening with Aphrodite’s ‘Calling The People’ before switching from Jungle to Breakbeat Hardcore then double dropping into Firefox and 4-Tree’s ‘Warning’, this really is a set of surprises featuring all the big names and labels from the era such as RSR Recordings, United Dance Recordings and Slammin Vinyl.

I strongly discourage you from looking at the DJ name and making the assumption that this set is full of super fast chipmunk vocals and kick drums, it’s anything but.

About Jamie

Jungle/Drum&Bass Veteran. Section 23 since 1993, part of the editorial team for Drum & Bass Arena, writer for UK Bass Music, Everyday Junglist and Drumtrip

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The post Tape That – United Dance Impact Records Showcase appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.

Let’s look at a tune called ‘Impact’ produced by The Good Fellas (AKA DJ Red). A 1996 gem that’s often overlooked.

Sampling Busta Rhymes lyrics from ‘Scenario’ by A Tribe Called Quest and mimicking the simple bass patterns of most Dope Dragon releases at the time, ‘Impact’ is a Reebok Classic shuffling stepper. It’s certainly another fine example of the minimalist approach in terms of production and certainly wasn’t out of place in any DJ’s set at the time of release although I can really only remember DJ Hype supporting it.

This was around the time when wherever you would see DJ Hype you would also see MC MC, it was like the modern day Andy C and GQ to a certain extent and I would even go as far to say that this would be my prefered combination even to this day if MC MC was still living in the UK.

“Heel up, wheel up, bring it back, come rewind, powerful impact boom from the cannon”

If you’re not nodding your head after the drop you are officially dead or just into Dubstep.

The same lyrics by Busta Rhymes were recycled and can also be found on the remix of Nicki Minaj’s ‘Roman’s Revenge’

About Jamie

Jungle/Drum&Bass Veteran. Section 23 since 1993, part of the editorial team for Drum & Bass Arena, writer for UK Bass Music, Everyday Junglist and Drumtrip

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The post Bargain Jungle: The Good Fellas – Impact appeared first on Drumtrip - Hardcore / Oldskool Jungle Blog.