:: oldskool ::

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Well, both the </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>acid house</b></FONT><B> explosion during the so-called</b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B> </b></FONT><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>"Summer of Love"</b></FONT><B> and the rise to power of</b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B> Detroit techno</b></FONT><B> were weaning many club-goers off the weakness of commercial pap crap and onto a harder form of music. Although </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>hardcore</b></FONT><B> was not to be of the same style as that of the late-80's, the latter's less-compromising feel appealed to many and crossed in later years to a crowd more appreciative of fast BPMs and a pounding kickdrum. Thanks to records by such luminaries as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Mr Fingers</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Model 500</b></FONT><B> and others, the harder sound was able to be nurtured under the watchful guise of the underground, whilst on a more poppy, but nevertheless not-strictly-mainstream tip, acts such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Tyree</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Kraze</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Royal House</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>CeCe Rogers</b></FONT><B> and others showed the potential crossover appeal dance music held.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 197 WIDTH="622"><div> <B>1989 saw the breakthrough of the underground into the public consciousness in the UK with the conquest of the dancefloor by many new and exciting musical trends. As </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>house</b></FONT><B> and </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>garage</b></FONT><B> became established as serious artforms, clubland even saw a brief </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>ska</b></FONT><B> (or skacid!) revival as the dance scene strove to create more exiting concepts of music. As one of the defining factors of the underground/overground bridge was continuing to show, the </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>Deep Heat</b></FONT><B> series of compilations in the UK bore testimony to the general need for the poor chart records of the past to be replaced with something new. Just as acts like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Rob Base & DJ E-Zee Rock</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Humanoid</b></FONT><B> (later Future Sound of London), </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Frankie Knuckles</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Rhythim is Rhythim</b></FONT><B> began to create fresh beats and bobs that redrew the </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>rap</b></FONT><B>, house and </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>techno</b></FONT><B> boundaries, anything seemed possible.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 179 WIDTH="622"><div> <B>Perhaps most important to the nascent </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>rave</b></FONT><B> era was the growth of the </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>Balaeric</b></FONT><B> beat, famously nurtured on a small Mediterranean isle known as</b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B> Ibiza</b></FONT><B>. It was there that now well-known DJs as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Paul Oakenfold</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Danny Rampling</b></FONT><B> plied their trade, and it inspired the anthemic "Pacific" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>808 State</b></FONT><B> that was to become a rave staple for many years. As 1989 drew to a close, there was also the added element of the European techno movement beginning to make inroads into the UK market. The simultaneous - but brief - importance of </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>italo house</b></FONT><B> via such perpetrators as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Black Box</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Starlight</b></FONT><B> surely had a sonic effect on latter-day rave acts of the '90s such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Mig29</b></FONT><B>, with a real turn of speed and high-pitched vocals to match.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 90 WIDTH="622"><div> <B>Just 12 months earlier the pop industry has been rocked to its musical foundations by the effect of </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>MARRS</b></FONT><B>' sample-friendly "Pump Up the Volume", perhaps the final nail in the coffin of </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>disco</b></FONT><B>, </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>synthpop</b></FONT><B> and mainstream pop chart domination. By the turn of the decade it was time for dance's amazing evolution to take a new twist.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 197 WIDTH="622"><div> <B>The intrusion of the rave scene into the charts was to simultaneously cultivate </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>indie</b></FONT><B> dance in the UK arena, as both the guitar and synthesiser struggled to combat the slew of pop garbage still being churned out on a weekly basis. 'Rave' held the key to having a good time - a no-holds-barred approach with the emphasis squarely placed on having fun. Already the </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Beloved</b></FONT><B> had transcended boundaries in 1989 with the epic "Sun Rising"; now bands such as the </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Happy Mondays</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Renegade Soundwave</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Stone Roses</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Primal Scream</b></FONT><B> and, above all, the </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Shamen</b></FONT><B> added a dance slant to their otherwise guitar-driven </b><I><B>oeuvres</b></I><B>, so as the </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>KLF</b></FONT><B> simultaneously promoted and took the piss out of the scene, the symbolic raver-type with </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>baggy</b></FONT><B> trousers and floppy hat provided an iconic driving force, the remnant of 88's </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>smiley culture</b></FONT><B>.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 321 WIDTH="622"><div> <B>With the majors giving way to smaller independents and imprints as the true leaders of the pack, early rave tunes were able to utilise such musical liberty and creativity nurtured during the preceding years to full effect. Thus, for instance, 1990 saw the entrance of first the </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>bleep</b></FONT><B> and its subsequent</b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B> clonk</b></FONT><B> cousin into the national record box, as the culmination of a slew of quality tracks from the Sheffield-based </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Warp</b></FONT><B> stable began to take a grip on the nation's buying trends. Releases such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Sweet Exorcist</b></FONT><B>'s "Test One," </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Nightmare On Wax</b></FONT><B>'s awesome "Aftermath", the eponymous bass-driven </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>"LFO"</b></FONT><B> and alien-friendly </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>"Tricky Disco"</b></FONT><B> 45s surely lead the way for the quality output of the following years. As </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Together</b></FONT><B> subsequently defined the unity of the scene once and for all with the mighty "Hardcore Uproar," </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>DJ Hype</b></FONT><B> (AKA the Scientist & Kicksquad) spun some of the best tunes ever on the </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Kickin</b></FONT><B> label, and several underground anthems hung around long enough to be major successes in the national chart in '91, like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Xpansion</b></FONT><B>'s "Elevation" and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>True Faith</b></FONT><B>'s "Take Me Away." Chart success still remained hard to come by, however; though the notion of remaining 'underground' was still all-pervading, it was annoying to see records such as Bombalurina (bet you didn't think you'd see that name here!) and other pop trash taking the wind out of rave's sails.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 250 WIDTH="622"><div> <B>It may thus have been a subconscious decision by the rave scene to provide a more mainstream element to the music that garnered success. Further European musical influx came in the shape of </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Quadrophoni</b></FONT><B>a and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>T99</b></FONT><B>, hard vocal house/rave tracks that complemented many styles and many DJ sets. Their success caused former underground vocal staples such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>N-Joi</b></FONT><B>'s "Anthem" and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Bizarre Inc</b></FONT><B>'s "Playing With Knives" to explode into the charts, whilst further inroads into the UK top 40 were effected with huge club tunes such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Brothers in Rhythm</b></FONT><B>'s "Such a Good Feeling" and the wicked "Rhythm is a Mystery" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>K-Klass</b></FONT><B>. By now, there was very little to define a 'rave' record other than an uplifting vibe, fastish beat and a wicked tune to boot; so, the harsh eurodrone of </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Digital Orgasm</b></FONT><B> would sit comfortably in the same category as the cartoon cheese of </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Kicks Like a Mule</b></FONT><B> with few batting an eyelid. Yet by the turn of 1992 further developments were clearly visible in the style of tunes being spun by DJs nation-wide.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 250 WIDTH="622"><div> <B>Records such as "It's Just a Feeling" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Terrorize</b></FONT><B> were not radically different from earlier releases bar the increase in tempo that often accompanied them. Indeed, many of the hard dance tunes that are now known as 'classics' could have come from either '91 or '92. Yet, whilst anyone who's anyone will know the mad acid drones of the epic "Energy Flash" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Beltram</b></FONT><B>, or the early hyper-fast affairs like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Human Resource</b></FONT><B>'s so-called '</b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>hoover</b></FONT><B>' record "Dominator", by the summer of 1992 a definite style division had emerged in the scene. It is here we can see a split between 'rave' and 'hardcore'. As European acts such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Praga Khan</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Holy Noise</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>GTO</b></FONT><B> continued with the 4-4 beat system, the </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>breakbeat</b></FONT><B> began to take over in the UK, and just as </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>Motown</b></FONT><B> had been highly influential in the growth of US </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>soul</b></FONT><B>, so various labels became intrinsically linked to the rising profile of the hardcore scene. Again, the independent label was ubiquitous, dominating the dance charts far and away above many major labels. It is only fair that some of these starlets be given the credit they deserve.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 125 WIDTH="622"><div> <B>The hugely influential </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>R+S</b></FONT><B> was a label which for its first dozen releases can be said to have put out a true classic every time. 12"s such as "Vamp" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Outlander</b></FONT><B> (recently remixed for '97/8) and "Beatstime" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Sonic Solution</b></FONT><B> (AKA CJ Bolland) were rightly regarded then and now as works of genius, so that whilst the production may not have been there on some of them, the energy certainly was. By 1993 the 'stallion' symbol was as if a 'kitemark' for quality European dance music. </b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 90 WIDTH="622"><div> <B>Other labels also played a part in the growth of hardcore in the early '90s.</b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B> Production House</b></FONT><B> had an awesome roster at this time with acts such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Baby D</b></FONT><B>, the</b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B> House Crew</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Nino</b></FONT><B>, but above all </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Acen</b></FONT><B>, whose "Trip II the Moon" was a genre-defining record in its use of mighty breakbeats, inspired piano/vox and an extremely fast BPM; a precursor to the </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>happy hardcore</b></FONT><B> sound of today.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 179 WIDTH="622"><div> <FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Suburban Base</b></FONT><B>, forever to be known as the label that brought you "Sesame's Treet" (unfairly maligned in my view) was hugely influential in its ability to evolve as did the scene. As well as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Smart E's</b></FONT><B> it launched the career of </b><B>Danny Breaks</b><B> (now better known as Droppin' Science) under the guise of </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Son'z of a Loop Da Loop Era</b></FONT><B>, and also DJ Hype, now 'pervading his wares' as part of the successful d'n'b outfit</b><B> Ganja Cru</b><B>. There was also an early excursion for </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Goldie</b></FONT><B>, as under the name of </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Ruffige Kru</b></FONT><B> he recorded "Krisp Biscuit". Evolution from the breakbeat to the </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>roller</b></FONT><B> came naturally both through the evolution of the aforementioned artists as well as the setting-up of subsidiary labels </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Breakdown Records</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Boogie Times Records</b></FONT><B>.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 143 WIDTH="622"><div> <B>Another player in the field was </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Rising High</b></FONT><B>. Co-owned by the great man </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Casper Pound</b></FONT><B>, there were some real beauties on this label in the early 90s. </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>RHC</b></FONT><B>'s "Fever Called Love", </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Project One</b></FONT><B>'s "Roughneck" and the </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Hypnotist</b></FONT><B>'s "House Is Mine" are the ones a lot of people know, but tucked away were some real undiscovered gems like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Earth Leakage Trip</b></FONT><B>'s "Ice Cream Van From Hell" and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Audio Assault</b></FONT><B>'s "Planet 303 EP" (a personal favourite). The sound here was more acid-based than breakbeat or piano-driven, which showed the diversity of hardcore at that moment in time.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 286 WIDTH="622"><div> <B>Saving the best ''til last, we have the mighty </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>XL Recordings</b></FONT><B>, with its roots stretching back to 1986. The </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Prodigy</b></FONT><B> were, and still are obviously, the big money-earners for this label. Their reputation goes before them, so I will not dwell on them any longer. However, more than any other label, XL managed to sign classic after classic in the early 90's, the only label of its kind to truly mix business with pleasure. Hopefully as you read this you'll be reminded of "Sweet Harmony" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Liquid</b></FONT><B>, "Hurt You So" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Jonny L</b></FONT><B> (originally on YoYo and superbly sampled by the Fabulous Baker Boys in '97), "On a Ragga Tip" by </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>SL2</b></FONT><B> etc..... The list is endless; the ones just cited were the big tunes, but more underground classics like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Dance Conspiracy</b></FONT><B>'s "Dub War", </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Nu-Matic</b></FONT><B>'s "Spring in My Step" and the chart-busting "Anasthasia" by T99 should not be forgotten. The label prospered from chart success when most labels struggled at this time and XL is still seen today as one of the forces in non-major label dance music, albeit in a slightly altered vein. With house-orientated artists such as Slacker, Vincent de Moor and Subliminal Cuts to rap like House of Pain on the Ore offshoot, XL are still a force to be reckoned with. Respect is due, as they say.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 72 WIDTH="622"><div> <B>Of course, the above were not the only labels of significance during the early '90s. Other groundbreaking releases on </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Formation</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Kickin</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Moving Shadow</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Labello Blanco</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Rabbit City</b></FONT><B> etc were of equal stature. But to list them all would take forever. So we continue...</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 286 WIDTH="622"><div> <B>Not all was rosy in the hardcore garden of delights. The scene was much ridiculed for its continuation of the image of the </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>E</b></FONT><B>'d up '88 raver, with acts like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Altern-8</b></FONT><B> in particular utilising this image to promote and take the piss simultaneously. </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>Vicks Vapour-Rub</b></FONT><B> anyone? The portrayal of hardcore as the music for a mashed-up nation was fostered during the "</b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>toytown</b></FONT><B>" phase of '92. Initiated, many hold, with the safety advert-sampling "Charly" by the Prodigy in '91, and its infamous "Charly says" tagline, it spawned a host of imitators who failed to see that sampling a kids' TV show was not necessarily the key to great music. Liam Howlett later distanced himself from the 'movement', in the process fuelling the </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Mixmag</b></FONT><B> feud that lead to him burning a copy of said magazine at the end of the "Fire" video. This didn't stop "Sesame's Treet" or "Trip to Trumpton" doin' the biz in the charts, though. Indeed, the creators of "Rhubarb & Custard", </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Shaft</b></FONT><B>, openly admitted the tune to be a cash-in on the 'scene' that was emerging. If there was any reason why the breakbeat tried to get away from the cheesy sample, why </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>jungle</b></FONT><B> and ultimately </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>drum 'n' bass</b></FONT><B> were born, this was as good as any.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 90 WIDTH="622"><div> <B>The move from rave to the more break-orientated jungle sounds of the suburbs and the simultaneous growth of happy hardcore & </b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>gabba</b></FONT><B> in Britain and on the Continent respectively was a result of the scene deciding that it had had enough of the pressures of popular appeal. "I've decided to take my work back underground, to stop it falling into the wrong hands", to quote a famous source.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 125 WIDTH="622"><div> <B>The oppressive role of both the government and press in closing down raves like </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>Castlemorton</b></FONT><B> and the seizure of </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>soundsystems</b></FONT><B> belonging to collectives such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>DIY</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Spiral Tribe</b></FONT><B> culminated eventually in perhaps the worst bill ever passed under the Tory reign. The </b><FONT SIZE="2" COLOR="#008000" FACE="Bookman Old Style" ><B>Criminal Justice Bill</b></FONT><B> was the final straw for many. As 1994 saw the near-total withdrawal of the 'raver' from the public scene, he/she was barred from having a good time due to the absurdity of, amongst others, Clause 24 - no repetitive beats.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 286 WIDTH="622"><div> <B>Yet the scene had already changed irreversibly since since '92. Eminent hardcore stars like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Seduction</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Lime</b></FONT><B> had shunned the spotlight of fame to go back to their roots in clubs and parties that </b><I><B>were</b></I><B> allowed, giving rise to the growth of happy hardcore. Meanwhile the opposite route was taken by those such as </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Micky Finn</b></FONT><B> (he of "Some Justice" and later Urban Takeover fame) who jumped on the jungle bandwagon to pursue the breakbeat frenzy of the mid-'90s. No longer was hardcore to be as great a force in the top 40 as house and/or techno. If oldskool-style music was to be heard out in the clubs around Britain now, it was segregated off from the new styles coming through, a legion of DJs spending their lives tilling the soil of the musical past to sort out the mushrooms from the toadstools. All-out hardcore events like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Universe</b></FONT><B> became </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Tribal Gathering</b></FONT><B> with the involvement of more styles of music therein. Even </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Fantazia</b></FONT><B>, based in my own town of Cheltenham, suffered. Thank heavens that those like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Top Buzz</b></FONT><B> still remain at the forefront of the scene to promote the past, for by the end of 1993, much of the energy of before had evaporated, and with it much of the vibe that had united all ravers.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 125 WIDTH="622"><div> <B>So what of the future? Well, whilst it is now unlikely that hardcore may once more break into the bigtime, happy hardcore stars like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Force & Styles</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Triple J</b></FONT><B> continue to release anthem after anthem, the rise of the '</b><FONT SIZE="2" COLOR="#800000" FACE="Bookman Old Style" ><B>nu-skool</b></FONT><B>' breakbeat - thanks to ex-</b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Rhythm Section</b></FONT><B> member </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Rennie Pilgrem</b></FONT><B> - gathers pace, and 'back in the day' oldskool DJs like </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Slipmatt</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Sy</b></FONT><B> keep the faith, so we can only hope that it is only a matter of time before the wished-for reappearance of hardcore in more successful climes.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 72 WIDTH="622"><div> <B>Of course, the rise of jungle / drum'n'bass is well documented with notable stars amongst its ranks - </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>LTJ Bukem</b></FONT><B>, </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Roni Size</b></FONT><B> and </b><FONT SIZE="2" COLOR="#000080" FACE="Bookman Old Style" ><B>Blame</b></FONT><B> to name but three. With musical roots in the early nineties, the genre must be complimented on its overground success in recent years, as well as the individuals involved.</b></div> </tD> </tR> </TABLE></div> <bR> <div> <TABLE BORDER="2" CELLPADDING="1" CELLSPACING="1" WIDTH="632" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" ALIGN="BOTTOM" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=CENTER BGCOLOR=#C0C0C0 HEIGHT= 54 WIDTH="622"><div> <B>Remember this: it is only by looking to the past that will can transform the world to come.</b></div> <div> <B>Roots 'n' future. Peace.</b></div> </tD> </tR> </TABLE></div> <bR> <bR> <bR> <div>  <script language="JavaScript1.2" type="text/javascript" src="http://pub29.bravenet.com/counter/code.php?id=361576&usernum=2459284256&groupnum=29&cpv=1"> </script> <noscript> <a href="http://counter29.bravenet.com/index.php?id=361576&usernum=2459284256&cpv=1" target="_top"><img src="http://counter29.bravenet.com/counter.php?id=361576&usernum=2459284256" alt="Bravenet.com" border="0" /></a> </noscript>  </div> <bR> <div>  <embed src="HTMLobj-342/eagles1.mid" autostart="true" hidden="true">  </div> <bR> <bR> </body>