Showing posts with label LONDON MASSIVE. Show all posts
Showing posts with label LONDON MASSIVE. Show all posts

Friday, August 5, 2022

Pause for the Cause: London Rave Adverts 1991-1996, Vol.2 - already!!!

  

Luke Owen of Death Is Not The End has swiftly followed up Pause for the Cause: London Rave Adverts 1991-1996 Vol. 1.  with Pause for the Cause: London Rave Adverts 1991-1996 Vol. 2 - another bumper collection of pirate ads from back in the rave days, including some more audio contributions from me. And here's the blurb I came up with: 

 "Back in the early ‘90s, whenever the pirate radio MC announced “a pause for the cause”, I usually pressed pause on my cassette recorder. That’s something I would regret years later, when ad breaks had become cherished mementos of the hardcore rave era. Luckily, back in the day I often left the tape running while I went off to do something else. So a fair number of ad breaks got captured accidentally for my later delectation. Not nearly enough, though. So in recent years I started combing through the immense number of pirate radio sets archived on the internet.  Sometimes the tracklists would note “ad break” or “ads”, helping to narrow the search. But often I’d just stumble on a bunch in the middle of a pirate show preserved on YouTube or an old skool blog.  A few of my original unintended “saves” and latterday “finds” are included in this wonderful collection by audio archaeologist Luke Owen. It’s the latest in his series of compilations of UK pirate radio advertisements, with this volume focusing on the audio equivalent of the rave flyer: MCs breathlessly hyping a club night or upcoming rave, listing the lineup of deejays and MCs, boasting about hi-tech attractions like lasers and projections, mentioning prices and nearest landmarks to the venue, and occasionally promising “clean toilets” and “tight but polite security” (“sensible security” is another variation). Some of these ads are etched into my brain as lividly as the classic hardcore and jungle tunes of that time. (Most rave ads incorporate snippets of current music, of course – big anthems and obscure “mystery tracks” alike).   Names of deejays ring out like mythological figures: who were Shaggy & Breeze, Kieran the Herbalist, Tinrib, Food Junkie?  Putting on my serious hat for a moment, I think these ads are valuable deposits of sociocultural data, capturing the hustling energy of an underground micro-economy in which promoters, deejays and MCs competed for a larger slice of the raving audience.   But mostly, they are hard hits of pure nostalgic pleasure, amusing and thrilling through their blend of period charm, endearing amateurism,  and contagiously manic excitement about rave music’s forward-surge into an unknown future. The best of these ads give me a memory-rush to rival the top tunes and MC routines of the era."    

You can hear and buy Pause for the Cause Vol. 2 digitally and as a limited-edition cassette at Bandcamp


One of my contributions to Pause for the Cause #2. 

Here's my Guardian piece from last year on the first two collections of UK pirate radio adverts that Death Is Not The End put out. 

And here's a longer interview I did with Luke about his label and the interest in pirate radio transmissions.

Since then Death Is Not The End has out a collection of a different era of pirate radio - Brooklyn Pirates: Neighbourhoods in the Sky, 2014-2021 - compiled by David Goren, an audio archivist based in Brooklyn. 


Wednesday, December 11, 2019

King George the Immense



George, as in Kelly, as in Sacred, as in Creator of the Greatest Jungle Tekno Song of All and Ever Time



Eyes rolling back in the head bizniz

"Call me a star watch me shine" - almost faint at that bit.

I'm sure he picked the name Sacred because he knew he was a vessel for the divine

Well, I did not know this, but fancy that -  George Kelly was the promoter of Thunder & Joy - one of my favorite jungle clubs, right in the middle of London, mere steps away from Centrepoint -

"Thunder and joy" always struck me as vaguely Baptist or Pentecostal in vibe, or redolent of the "shocks of mighty" idea in rootsifarian reggae.

George put out quite a few other Sacred tracks ("Call Da Cops" was good, nothing quite reaches the heights of "Do It Together" though) and he had  a bunch of alter-egos:


Aliases:
In Groups:

One of these days I'll have to do the full auteur-y trawl through them.

GK also ran the Grand Larceny label (who had School of Hard Knocks among others) which spun off Paragon Recordings (which had Skyjoose -  who later went dark-garage as Skycap of "Endorphins" renown).

A solid pedigree, a significant contribution, a well-nummy throughline ...

But from where I sit, just based on Thunder & Joy, and that one towering colossal record "Do It Together", you'd have to say that George Kelly was a world-historical figure

Where is he now?

Talking of throughlines...



That's why they call it a continuum, folks! pt 3949506

Mad remix of unknown provenance and status





Friday, November 2, 2018

just 4 u london





that tune and the two videos got me thinking about the tradition within the nuum of songs about London or repping for specific bits of London - here's a backwards lineage  (suggestions of flagrant omissions please) where it's either in the title, the main vocal lick, or in the lyrics



(late addition via Sadmanbarty)



(ditto)



(ditto)



















"Love for the London Streets" is the title and vocal lick of this 2 Wisemen tune



(with Stamp Crew, wait for the vocal lick at 47 seconds in and repeatedly after)




intro to this ruffhouse monsta divides the city into four quadrants and hails them all











missing in this london patriotism lineage are contributions from two significant phases - I couldn't think of a deep tech or a funky anthem that references london or london massive or even a specific area of the city ... is that because both styles were already succumbing to digi-era delocalisation? Funky if it references anywhere at all it would be a vague Africa. And deep tech is the least London-y of all these sounds.

prehistory to the nuum's London-love








postscript: a suggestion of the illustrious Selectabwoy



perhaps slightly outside the lineage


STOP PRESS/ LATE SUGGESTIONS AND ADDITIONS

a funky example, from man in the comments



dissensus bods suggestions (ta lads)











Sunday, February 18, 2018

Pirate Treasure (just 4 U every-1)

Recently I had some bloodwork done and experienced what's known in the trade as a "vasovagal syncope". When I came to, I was surprised to find a medical team strapping monitors on my chest and putting an IV into my forearm. In retrospect, I think they over-reacted a bit, but I guess they have procedures they have to follow.

While they bustled around saying alarming things like "pulse is down to 38", the nurse who'd been drawing blood in the first place was elevating my legs for better blood-flow to the brain and trying to wake me with questions. Like, "What's your hobby? "Music," I mumbled groggily.  "What's your favourite kind of music?," he asked. "Jungle".

Maybe if I'd been less out of it I'd have hedged and offered some extra contenders (like postpunk or psychedelia or....) to round out the picture of self.  But in that extreme moment, the first word that popped into my head was "jungle".  Which must make it true: this music is my heart's core.

Certainly I've never experienced anything more electric than the 92-94 jungalistic hardcore / jungle techno / junglizm  moment. At no other time have I felt plugged into something so deliriously present-tense and can't-believe-your-ears NEW. Neither before or since have I felt such a strong sensation of significance pulsating from a scene and a sound. 

My favorite format for my favorite music is of course the pirate tape. In the mix: a choppy relentless surge of track into track upon track against track (nameless, then, almost all of them - and in some ways the better for it - on my cassettes I would give them made-up titles like "Spangly Tingler"or "Woogly & Ruff").  In the ride: an MC possessed by the mania of the music.

Other components of a classic pirate tape for me include wicked ad breaks (these later became one of my favorite elements of the tapes I'd made, causing me to curse the number of times I had edited them out), some inelegantly wasted nonsense and randomness from studio personnel, even the odd fuck-up on the decks.

Out of the scores of 92-93 tapes I recorded,  you will find below the creme de la creme. I digitized them a while back but never got around to uploading. I offer them now to the common weal.

Starting with a couple of miscellanies - compilations of best bits from the whole collection. Take care, these are so rush-packed they may well induce vasovagal syncope - a.k.a. a whitey - in their own right.



(the first and bestest installment of that series is further down this post, where I have the ones I uploaded to YTube a while back.)

Then onto the freshly loaded pirate tapes proper
























This next one mis-titled - it should read "Impact FM 1992 or early 1993".




There were a couple of others I put up on YouTube that have been already blocked for copyright, annoyingly.

I also uploaded a Slipmatt old skool set - the best one I ever heard -  that I'd taped in 1997 off of One In the Jungle, MC Det on the mic. But that one also got blocked - not because anything of in the mix, but because of a snippet of drum and bass, from when the normal show resumed, that I'd left on at the end, dammit! However you can find the set below or on YouTube. (I must say my own recording sounded brighter and louder).



And then this one  - not actually recorded by me but by a hardcore-loving DJ from Philadelphia who'd taped it on a visit to the U.K and a few years later kindly dubbed it for me. I'm struggling to dredge his name from my memory (which gets worse every day) but I believe it was DJ Geoff E. In his opinion this was the greatest hardcore set he ever heard.



^^^^^^^^^^^^^^^^^^^^^^

And here are the ones I put up on YouTube previously, starting with that first installment in the Pirate Faves Series:








This next one overlaps slightly with the Don FM August 7 1993 one above, but is just the most electrifying 20 minutes or so of the full session (which is really good, well worth hearing in its entirety).






Again, this is the most electric portion of the FMB Crew Feb 12 1993 set above. It comes from the second video, "the climax" - but is shorter than that second video.





And finally two great ads for Telepathy that I have pulled out and isolated from these tapes, one from '93 and the other from '96. Who is that MC?






Oh and finally finally - a favorite bit out of a tape somebody else made - shout outs to the entire scene from Shakedown FM's Infinity