Every track presented in the series has a special place in my collection and is associated with a different period of my life, hence the time leaps. Throwback to 1997 for the 13th installment of the Tracks I Wish I’d Written; a stellar classic with one of the genre’s most recognizable and revered lead synths, written and produced by one of drum & bass’ unsung heroes that captures elegantly a nostalgic time and place.
Odyssey – Expressions (720-001)
“… God bless the path of the musical children, walking the steps of change going forward-bound, our music’s taking you to higher ground …” – MC Conrad
Most of the blog’s features are thematically based on informal conversations with my guests. Although I often include verbatim excerpts, it’s been a long time since I posted an actual interview. This is the first installment of a new category introduced to replace one of the blog’s oldest series “Jump The Q”, which has unceremoniously completed its cycle. The “Jump The Q” questionnaire template was designed to be short and simple rather than thought-provoking; the general idea being to discover a few personal details about artists and djs (from their favourite drink to the worst live performance they’ve witnessed), whose music-related work I admire and respect.
The new category titled “On The Outside, Looking In” will encompass a broad and conceptual music-centered scope. The timeline is intentionally non-linear, jumping back and forth in times and places and the head-title is borrowed from the first Modern Urban Jazz release by Glider-State (Blame & Justice); a casual chat between friends and a retrospective sneak view into old photo albums, collections, musical diaries, hazy memories and internal monologues.
Sicknote x Soul Beat Runner
The new series kicks off with two guests, who share common musical taste, vision and aesthetics, dating back to the early days of drum & bass. Really intrigued to find out more about their views, perspective and insight, I am very happy to present Lewis ‘Sicknote’ and Michael ‘Soul Beat Runner’ (SBR) discussing all things music.
What the sleeve notes never tell you
It’s been 16 months since the original post , which was meant to be a one-off feature; however I always felt that it’s been somehow incomplete. The constructive feedback I received, occasionally bordering on debate over a matter de facto subjective, convinced me to revisit the topic; paraphrasing Nick Hornby “a sneer at the bad choices, an understated but supportive raise of the eyebrow for the good ones”. So, instead of updating the list, I decided to compile a new one containing record artwork I had intentionally omitted for a variety of reasons, as well as couple of recent entries.
The second part of the blog’s mini-series covers the period 1997-99. What may have started timidly for artistic purposes or exclusive dj promotional use, by 1997 it became almost de rigueur for record labels to commission drum & bass versions for selected singles and various remix compilations. The niche underground genre infiltrated the mainstream and many d&b producers signed with major labels to curate collections or record personal albums. On reflection, it turned out to be a double-edged sword.
On one hand, d&b found its well-deserved place on the electronic music map. Artists were finally rewarded and vindicated for their efforts and their work was introduced from a limited connoisseur circle to a wider audience, providing them with a vital and creative space for experimentation. Commercial success and critic appreciation motivated accomplished, as well as up-and-coming producers to master their craft, pushing the musical boundaries beyond genre confines. On the other hand, the roller coaster of media exposure, politics, cloudy distribution and licensing agreements, self-indulgence and the drama that inevitably occurs when money and temporary fame enter the equation, terminated careers and friendships untimely and ingloriously. Effectively, drum & bass re-entered a phase of introversion, darkness and belligerence marking the end of the romance. An injection of fresh air was desperately needed and a new breed of producers and record labels emerged to fill in the gap created by those who helped the scene flourish, but sadly realized that they no longer fitted in the d&b reality of the new millennium.
“… when I refer to the music now as d&b, I never really considered it much then. I know that may sound strange, but I think we always operated as outsiders; I personally always felt on the outside looking in, which is why our Glider-State track was called so…”
“… I hadn’t done anything on Modern Urban Jazz since the ‘Emotions With Intellect’ LP, so to keep the ethos going, we decided that this would be an ideal collaboration by using the Modern Urban Jazz tag on the Creative Wax label. I don’t think either of our labels had been ones to follow trends and certainly at the time we were ripe for a more experimental sound…”
Modern Urban Jazz front cover (CWLP001, 1997)
Modern Urban Jazz 01 is a seminal compilation album, curated by Tony Justice Bowes and published by Creative Wax. Celebrating the 20th anniversary of the official release, this is a retrospective account of the series of events that culminated in the realization of a brilliant project, which transcends genres and time. Titled after Justice’s eponymous record label, the compilation shares similar aesthetics and musical direction. An amalgamation of sounds with allusions to musique concrete; jazz noir, hip hop, funk, techno and electro instilled into drum & bass, with all contributing artists showcasing their musical backgrounds and creative influences, free of formulas, dancefloor reaction and genre constraints. Walking down a long, nostalgic and captivating trip down memory lane, this is a colourful and emotionally charged narrative, through the protagonists’ looking glass, filled with fond and distant memories that capture vividly the atmosphere of the mid-90s drum & bass scene.
“I made this tune at the request of my old friend Stephen Bradshaw aka “Braddie” RIP from Foul Play. I’m honored to be part of his musical legacy & to know what it has meant and still means to some many over the years” – Denise Gordon
From left to right: Steve Gurley, Steve Bradshaw, Denise Gordon, John Morrow. Picture taken from the back cover of Foul Play Vol. 4, photography by NSL.
Throwback to 1994, the 9th installment of the blog’s ‘Tracks I Wish I’d Written’ series is about a seminal record, written and produced by Foul Play; one of UK’s most respected and influential jungle/d&b acts. Heralding the transition from hardcore to jungle/drum & bass, the fourth volume of their recording series includes two tracks that have transcended time: ‘Being With You’, one of the genre’s most celebrated anthems, which is still being played to date (Om Unit and Doc Scott included it in their sets during their recent gigs in Athens) and ‘Music Is The Key’, one of the genre’s most lyrical and emotionally charged vocal tracks.
“I work for the company. But don’t let that fool you; I’m really an okay guy.”
“A track that has stood the test of time and will still be a classic even if you wake up after a 57-years hypersleep”
‘Hypersleep’ record label
Celebrating the 20th anniversary since the seminal ‘Hypersleep’ first saw the light of day, a track written and produced by Voyager (the primary recording alias of Pete Parsons), the sixth installment of the blog’s “Tracks I Wish I’d Written” series is about the background story behind ‘Hypersleep’. Eloquently narrated in-depth by Parsons himself, an iconic figure of the drum and bass scene and one of the most respected and recognized producers and sound engineers, the story is a nostalgic and colourful account of the series of events that inspired and motivated him to write a timeless classic; a trip down memory lane capturing vividly the atmosphere of the mid-90s drum & bass scene.