“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.
“… At Basement Records we also wanted the artists to sample as little as possible, to create pioneering and original material, hence the label title ‘Precious Material’. Some of the releases are produced in the studio and some are recorded live performances…”- Phil Wells reflects on the label’s ethos and purpose
After a long hiatus, the blog’s “Whatever happened to …?” series return with the 9th installment. This time into the limelight is Precious Material; one of the most exhilarating and pioneering drum & bass labels of the mid-90s. Though short-lived, Precious Material has been one of the finest outlets of experimental drum and bass, integrating elements from various musical genres into the drum & bass template, defying stereotypes, constraints and agendas.
Established by Phil Wells in 1994 as a Basement Records’ subsidiary, during a time when drum & bass was still in its infancy, the main driver had been to foster a creative environment for established, as well as up-and-coming artists, free from dance-floor reactions and limitations. Following the huge success of the parent label Basement Records during the early rave years and the jungle/drum & bass evolution, Phil’s aspiration and incentive had always been to spearhead a new musical direction and introduce drum & bass to wider audiences.
“… with desolate, even mournful piano notes, oscillating effortlessly between the robust and the fragile, ‘Another Silent World’ is a streamlined, almost cinematic take in a drum & bass context …”
Black Rain (album front cover)
The fifth installment of the blog’s “Tracks I Wish I’d Written” series is about an obscure track, produced in 2003 by one of my all-time favourite musicians/artists. At first glance, Black Rain might not ring any bells, as it was a cross-genre, one-off musical project, which was active in the first half of the new millennium, but regrettably stayed under the radar. Nonetheless, the members of Black Rain have been two of the most respected and celebrated drum & bass artists; Robert Haigh and Sean O’Keeffe, widely known by their primary recording aliases Omni Trio and Deep Blue respectively.
“Down by the Sea, No-one but me, Caught in the rain, I’m free again, Stood on the pier, No trace of tears, Right back where I started from, I know that I wasn’t wrong, Right back where I started from”
Saint Etienne – Down By The Sea, Continental LP, L’appareil-Photo/ReadyMade Records, Japan, 1997
This is the third installment of the blog’s new series “Tracks I Wish I’d Written”.
Every track that is presented in the series is selected from my personal record collection and has had a profound impact on my music taste. Featuring a variety of tracks across the electronic music spectrum, emphasizing mainly on drum and bass, from undisputed classics to underrated gems – all tracks I wish I had written, as the title of the series clearly states.
The third issue of the series is about one of the most exhilarating and beautiful fusions of pop sensibility in a drum and bass context. PFM, an artist always in the vanguard of the atmospheric and ambient side of drum and bass, has applied his studio wizardry to capture the desolation and melancholy of a pop song and encapsulate it in an elegant and illustrious drum and bass masterpiece.
A mini-interview with 22 short questions (some personal, some tricky) looking for equally short answers, addressed to artists, producers, promoters, djs, friends and affiliates of the blog in general.
The next international guest featuring in the Jump The Q series of the blog is Dj Law; an old school specialist, the mastermind and curator of drumtrip.co.uk, sharing some personal trivia with the blog. A short bio, information about Drumtrip and respective links can be found below the Q&A.
Law Jumps The Q
Let’s get started:
The twelfth installment of the blog’s Count To Ten series is dedicated to a leading figure in the drum and bass proceedings; a prolific artist, a veteran dj with bookings worldwide, a label owner and the undisputed leader of the wave of noir that has swept the scene in the second half of the 90s, Ed Rush.