One of the scene’s most best-known names for more than three decades, Judge Jules has never shied away from pushing the boundaries in dance music. And this year, for the first time ever, audiences will be able to experience the iconic tracks that have defined his career through a ten-piece live band with Judge Jules himself at the helm.
‘Judge Jules: Live’… will be coming to Swindon’s MECA venue on 25th Jan 2020.
Jules’s in-depth involvement in many of the recent wave of “classical” dance events, including Gatecrasher, Colours, Club Class and 2019’s Ministry of Sound tour, inspired the decision to take the impact and emotion of the classical shows, but refine the feeling with a wholly new take on live dance music.
With complete creative free rein, Jules curated every element of the performance. Each track has been bespoke reinvented and reworked in a style unique to this live show, featuring a full ten-piece band, with brass, percussion, drums, bass guitar, lead guitar, keyboard, singers, and of course Judge Jules himself. A 90-minute show from start to finish, the music has been selected to represent the breadth and scale of his career.
“There is something about music being played live that never fails to send shivers down your spine – it doesn’t matter what the genre is, hearing a track performed by live musicians on stage is something you cannot replicate in the studio, or even on the best nightclub environment. So, I decided to create my own bespoke versions of my all-time favourite records with a specially selected band. It’s taken a long time to put together, but finally we look forward to taking the “Judge Jules Live” tour on the road. This truly is a new take on the ‘live dance music’ phenomenon and the tour bus starts rolling shortly.” – Judge Jules
This is not a show to sit down for – combining the energy of specially-chosen outstanding musicians with his own inimitable presence behind the decks, Jules will take the audience on a tailor-made journey through dance music with vocals, hands-in-the-air moments and plenty of basslines that’ll take you right back to your very first rave.
With audiences demanding more from dance music and newfound focus on a visual as well as a sonic spectacle, Judge Jules Live is a chance for dance fans to lose themselves in the moment with the kind of experience that you just can’t replicate with a solitary DJ.
The Judge still won’t budge.
Judge Jules will play Swindon MECA – 25th January 2020
I reminisced about Devotion at Golddiggers last week on our homage to Keith Flint, don’t intend to go there again. But, (it’s a dirty big fib, you know it is…) I’ve been contemplating once, in the early nineties, inactive in my car in the carpark, when, what can only be described as “a cheesy raver,” completely unbeknown to us, steadied himself on the rolled-down driver’s window and allowed their jaw to run a marathon. He jabberingly informed he had no intentions of going back into the club, in his own words, “it’s all that jungle music, know what I mean?”
To be honest, I didn’t, it was the first time I’d heard it called by this name. Although, breakbeat had taken over acid house and techno “bleep,” the “hardcore” label was preliminarily splitting. X-L Recordings, albums like The Rebel MC’s Black Meaning Good and Ragga Twins, Reggae Owes me Money, were providing the hardcore scene with reggae-inspired beats which would assist the divide. Generally, many white youths headed for crashing pianos, hi-hat loops and sped up eighties pop samples, defined as “happy hardcore,” while the urban minority bought us a shadier, serious arrangement of sparse beats and deeper basslines, we now know as drum n bass.
At the time we considered ourselves maturing ravers, (oh, the irony!) The upcoming generation separated the two, we buried into a new wave of plodding house. Yet with one eye on the divide I appreciated the lunacy of happy hardcore, enjoyed its merry ambience, but couldn’t help feeling drum n bass held the future. It was the more creative and experimental; proved right in the space of only a few years; A Guy Called Gerald, Goldie, and LTJ Bukem were pushing its boundaries into concept albums like it was 1975 space-rock. They prepared the stage for Roni Size, and mainstream acceptance of the genre.
So, I had to chuckle at the premise of the blurb on the Facebook event page, where Vinyl Realm stages a drum n bass night at The Lamb, Devizes on the 23rd March with DJ’s Retrospekt, Rappo and Harry B. “We at Vinyl Realm feel there is nothing in town for young adults to do. So, to fix that we have a night dedicated to the local producers creating heavy DnB, deep House and banging Jungle music.”
Hey, what about us middle-aged old skool ravers? I can still shake a leg yer know, still got it mate! And when I say old skool, I don’t mean like on Kiss FM when they blast a club anthem from 2006 and think they’re retrospective; we were there, at the beginning pal, stomping in the mud! We fought an oppressive government so you kids can rave!!
But yeah, you’re probably right, I’d only be panting disproportionately and holding onto the wall for dear life, or else chewing some kid’s ear off about how we used to do it, like Uncle Albert on a love dove. Best leave it to the younger crew. All jokes aside, I know Devizes D&B DJ Harry B has posted to Facebook in the past, attempting to gage interest into such a night.
I fully support the notion, good on the organisers of this, they’ve hit the hammer on the head; there’s nothing of this genre in Devizes, and not a lot for young adults; fair play, I hope it goes well and spurs others to provide entertainment for this age group. Seems like it will, limited to fifty tickets, with forty showing interest on the Facebook event page, this will be an exclusive return of D&B in Devizes which you better get in quick on, if you’re a playa. A snip at a fiver, tickets are on sale now at Vinyl Realm.
I just hope the old pub can hold up under the pressure of devastating basslines! I put my concern to Harry. “I’m going to have a test run up there this week with the speakers,” he confirmed; storming!
It was a long time coming but we finally made it. It was dawn now, a fog fell upon the disused airfield at Enstone, Oxfordshire. My best friend skipped out of the car milliseconds after it parked in the thick, dew-filled meadow. I looked over to him. “This is the one I was on about!” he yelped, and wasted no time waiting for me to react, but dived straight into the eye of the sound system, where, due to the fog, an incalculable number of ravers were dancing like madmen on a day out of the funny farm.
Throughout the journey he had been consistently bashing on about this track which sampled the early eighties public information cartoon, Charley Says. And it had been a long journey, from the Green Dragon in Marlborough, blagging a lift from a random old school friend, who was adamant he’d not succumb to the trend, to the tip-off point, Enborne near Newbury. Only to find other cars of confused ravers, some conjecturing we needed to head up the A34 to Oxfordshire. Our driver, now aggravated by us, stamped his foot and announced it was the end of road for him.
The second section of the journey then, saw us thrown out on the M4 junction, and thumbs prepared, three of us danced a pledge for a lift from the multitude of beaten up cars and vans beeping horns and waving from windows over-enthusiastically.
Eventually picked up, we now found ourselves at Pear Tree services, where police closed us in, threating to search every vehicle attempting to leave. But with the garage under siege and cars queuing up as far as the eye could see, from every junction, the police knew they were outnumbered, and eventually gave up, allowing passage down the A44 to Enstone. Until we were left to go about our business, a temporary mock-up rave had developed at the service station, as crowds gathered on the embankment, dancing and blowing horns to a fusion of a thousand plus naff car stereos; it was 3am, eternal.
If it all sounds implausible by today’s standard weekend, note that this was spring 1991, and we had become fully-fledged illegal ravers, living for the weekend. A time when the breakbeat sound was in its infancy, when corny rave tunes were welcomed; the hardcore posse blew whistles at taking themselves seriously. I nodded my approval, recalling the Charley Says cartoons, and smirking at its humorously converted connotation, if only for a brief second, before headlonging feet, and maybe juddering jawbone first, into the party.
Forward wind like an Easygroove spin a year, we’re attired in blankets in the carpark of Golddiggers in Chippenham, the band who’d created the Charley Says tune fully known to us now. They’d just played a blinding set of bonkers breakbeat and cheesy rave, full of reggae breaks and nonsensical samples. At a time when the burgeoning youth culture was vacant of a sovereign, as rock n roll had Elvis and reggae had Bob Marely, it was a question of how much an artist was willing to sell-out to claim the crown. Perhaps egotistically, The Shamen were among the nominated, targeting shamelessly at the pop charts. But the raver knew this was futile, rave was a faceless folk music, an epoch of anonymity, and if there had to be a king of rave, it would be the ones constantly pushing new boundaries. If there was ever a need to debate this, while it did, the Prodigy remained quiet and reserved.
A Glastonbury Festival, don’t ask me what year, time just an illusion now, but I remember after this quiet period, the Prodigy burst on stage at a time when dance culture was incarcerated to a blanket stall or concealed hippy sub-festival the raver took all weekend to locate. Expecting to dance to cheesy rave, a blessing being the hardcore had split into happy hardcore and drum n bass, and we’d retired to the somewhat mature house/garage scene, I stood aghast at what I heard.
Promoting “The Music for the Jilted Generation,” The Prodigy took, not only the festival to new limits, but what dance music could be. I recall scratching my head, trying to decide if I liked it. Keith Flint bounded around the stage with a duo of green spikey Mohicans on either side of his head, a kind of Johnny Rotten of our era. The once dancer of the group, now bellowed out grinding vocals. It was punk-rock, not post-punk, but raw, energetic viciousness, yet retained rave, in some small way.
Many cite the following album, The Fat of the Land as their magnum opus, yet it only progressed the ethos of The Jilted Generation to the next stage, and gave the sound prestige in NME followers and the mass media. In a world aware of the Jilted Generation’s influence, which bought us outfits who fused indie back into rave; The Chemical Brothers, Monkey Mafia and Fatboy Slim, it became acceptable to both sides of the indie/rave divide, a non-man’s land not intruded since the Happy Mondays and Stone Roses.
If Liam Howlett was the brains behind the group, Keith Flint was the showman, and for the reasons stated above, I’ve felt the sad news of his suicide today harder than that of the passing of Bowie, of Michael Jackson or James Brown, because though it may’ve been one foggy morning on Enstone Airfield in 1991, the memory is crisp in my mind, the first time we heard the kings of rave.
Devizes set to party like it’s 1999; zipping up my boots with Funky Sensation.
Normally, if there’s a funky sensation in Devizes it means it’s been foggy post-harvest and the aroma of manure has filtered into town. In a similar light, I confess, I’ve been critical in the past about our only nightclub, events hosted tend to mimic what’s on elsewhere, and I really feel tribute acts have a home in hire venues and pubs, but not necessarily in a night club. It’s an age thing perhaps, usual nights too commercialised for me, recalling the clubbing scene of the eighties, how it assisted in spawning a decade of raves. To me, a night in a nightclub should be concentrated on DJ culture, be dissident dance music, and most importantly, should be banging, mate.
Here then is something that lacks in Devizes, flourishing with original music a trend I adore, though surely there’s a place for dance music too? A glitch set to change; with the potential to be a grand night at the Funky Sensation launch in the Exchange on the 5th April, I caught up with the hosting DJ, George Penny, to find out more about this Funky Sensation event doing the rounds on Facebook.
“Basically, I used to DJ about twenty years ago, free parties, private parties and a club residency,” explains George, who goes by the DJ tag George G-Force. “But then work, life, mortgage, wife, child came along.” It’s not so uncommon, for many the desire to create, artistically or musically though will return to bite them, and George started mixing again about four years ago. “I’ve been trying to get back out on the circuit, but it’s a lot harder now, a lot more competition.”
He’s been DJing in Frome and Bristol, with appearances for the ‘House of Disco’ collective and Input2 Promotions, but explains, “I always wanted to try and put on my own party a bit closer to home (Melksham) but had really been struggling trying to find a venue. I only heard about The Exchange three weeks ago and I think it’s perfect in terms of location; hoping to pull people from Melksham, Trowbridge, Calne and Chippenham.”
So, busting out of retirement, and ready to bring the heat with his unique blend of nu-disco and classic-vocal-funky house vibes, G-Force is set to take Devizes back to an era when clubbing meant clubbing. “We want to bring the fun back, with good old uplifting, hands in the air, sing-a-long music. That could be a classic disco track/re-edit, house anthem or a modern-day club banger!”
He brings along special guest DJ, Nina LoVe and DJ Stach. Akin to George, Nina took a decade away from the scene to concentrate on family and studies. But with a childhood filled with classical music and musical theatre, and discovering dance music and raving in the nineties, she couldn’t hold the bug in much longer than 2012, as with the discovery of Disclosure and Gorgon City, that led to a new energy for House music, vinyl junkie Nina started learning to mix.
Bath-based Stach has been playing to enthralled crowds since 1990, kicking off his career within the techno scene on the Isle of Wight. Since those halcyon days, DJ Stach has played many genres and has a wide repertoire; pleasing audiences with epic sets featuring nu-disco, classic and tech-house.
He can be found on the set lists of some of the UK’s best boutique festivals and coolest club nights, as well as elite private parties. Previous sets include: Shindig Weekender, Grinagog Festival, Love Summer Festival, The Backroom, and The Nest in Bath.
I gulp when my chat with George raises Shindig, as organiser Slim Goodgroove and I go back to art college days, the dawning of the breakbeat rave explosion and through to the fluffy house days of his Stardust Collective. Time to get all fuzzy and waffle off a parable or three, Uncle Albert style. Think I’m boring George now, I’ve a tendency to do that, but in hindsight, I really think a decent dance night is missing from the variety of things to do in Devizes, and welcome this prospect.
“I’ve never done anything like this before,” George tells, “but thought I’d give it a shot. Obviously, if we get enough people the aim would be to do it, maybe, three times a year.”
So, from old raver to young house music aficionado, take note; it may be time to dust off your old white gloves and relight the glowsticks. I never thought I’d see the day! Tickets for this launch party, at a fiver, are available from today.
When I was sauntering through early morning mist, wearing the half-demented-smirk-half-gurn of a madman on a day out of the funny farm, a dreadlocked ragamuffin lounging at the wheel-arch of his van, perpetually waving one hand from fist to flat palm, appeared like magic through the haze. He greeted me with a wide smile, asked me how it was going. Between concentrating on my breathing, I told him it was going very well, save I’d mislaid my “posse.”
I complemented him for his wheels, a high-sided second-hand post office van, as I circled it for further investigation. I found at the rear a ladder and asked if I may climb it, in order to get my bearings. He nodded his approval and so I scaled.
On top of the van I could see above the low lying mist to the beautiful sunrise, below it the hats and scraggly ponytails of ravers bobbing like buoys on a temperate ocean. Overcome with the desire to dance, I shouted down, “can I have a little dance up here?!” and again the crusty was only too kind to permit my request.
I was at a disused airfield near Enstone in Oxfordshire, dancing adolescent cares away on top of a total stranger’s van. Other grounded ravers, pointed and joined the dance, until one of the congregation visible attempted to climb the ladder. The owner stood and I suspected he wouldn’t wish for this to become a trend, so I took the opportunity to decend before the girl could reach the top, stating we shouldn’t all clamber on the guy’s home. She agreed and we gathered in a circle, dancing, smiling and trading chewing gum for water.
In today’s age you’d be forgiven for suggesting I made this up, but really, this is just another insignificant happening from 1991, when rave was in its infancy and everyone partied together in peace, illegally. I guess you’d have to have been there to understand, but we danced, we danced harder, faster and a heck of a lot longer than any previous generation.
We danced in fields, in warehouses, on boats, beaches, service station carparks, and even the occasional nightclub. So much so, if you had to label the decade under one united musical genre, “dance” would be most apt. Dancing wasn’t compulsory, more essential; you’d only chew your bottom lip off if you didn’t boogie.
Musically it was pioneering, the first not to lend itself to individual artists and bands, rather a DJ culture where a mesh of tastes merged into melting pot. An era when a child could gather a TV cartoon sample, slam a breakbeat loop over it and make a record twenty-thousand tranced nutters would dance all night to. Almost punk in nature, skill caved into creative urge, like rock it experimented until it developed into a million branches, but like folk music, it was the united music of a people, an epoch.
Despite not having a “king,” as reggae had Marley and rock had Elvis, though many tried, the concentration of record sales, and creating albums thwarted; a “white label” more sought than a picture disc.
The hit factories exhausted albums in the previous decade, now compilations of hits, rather than the “concept album” of the seventies. As the underground surged into mainstream, and everyman and his dog took up white gloves, plastic horns and whistles to join a burgeoning revolution, albums battled “rave tapes,” to find a home again.
Despite this, albums did quite rightly resurface, many influencing the next decade. This then is my definitive top thirty dance albums of the nineties, let the arguments commence. I complied this list from fond but fragile memories, rather than online researched, so it was personal. Feel free to comment with ones I missed, which in your judgement needed to appear.
But why, I hear you cry, why now; you crazy old sausage?
I theorise trends return in blocks of twenty years, whence the youth inspire their offspring. Think about it, since pop music begun, in the 1950s, when it was supposed to be wild, rock n roll, there was more jazz than the 1930s. The 1960s we accept as the time of mods, merging into flower power, great experiments in music abound, but listen to the charts back then, full of crooners akin to the 1940s.
Ah, but when rock came of age in the 1970s, it stretched to new avenues, glam and punk. Yeah but no but, the 1970s was also jammed with teddy boys; caricatured rock n rollers from the 1950’s with bands like Matchbox, Darts and Showaddywaddy for crying out loud!
The 1980s, again a golden age of musical experimentation, with electronics. But hear the charts, note classic soul from the sixties blessed by adverts for jeans, and rock n roll merged into one excruciating “megamix” by a cartoon rabbit who should’ve been shot at birth and boiled in a stew.
So through all eras we seem to hark back twenty years, the nineties may have been my age of dance, but as the hardcore chilled into clubs, house and garage tunes lent themselves to the disco of the seventies, and indie kids revitalised seventies rock, well, they were just indie kids and ravers were having too much fun to pick them up on their radar. The noughties, if they were naughty at all, rather a cultureless of bombardment of naff, so-called R&B; cliché musical technology found solace in the sounds of electronic eighties, and the fashion matched too.
So, by my reckoning, before this decade is through we’re due a flashback to the rave scene, and with the Tory government treating working class like vermin, it’s not so hard to foresee something major slapping them in the face with a Vic’s Vapour-rub smeared dust-mask and blowing a whistle in their ears; least I cross my fingers and hope.
30- Monkey Mafia – Shoot the Boss (Heavenly Records 1998)
If you thought Damon Albarn was pushing limits with The Gorillaz at the turn of the millennium, or if you thought Death in Vegas made blended cutthroat techno, Jon Carter’s Monkey Mafia outdated and outstripped them both. This is funk, punk-reggae, ragga and sparse beats fused into a frenzy of techno. It’s a dark, nasty and rambunctious clatter which wobbles the mind. It now lives on my CD rack dusty, too scared to dip into again.
29- Black Star Liner – Bengali Bantam Youth Experience! (Warner Music – 1999)
If you missed this one, it’s never too late; it’s timeless. Imagine Massive Attack making an album for Indian restaurants, fuse it with haunting epic movie themes and you’re partly the way to the dub/Bhaṅgṛā sublime crossover experience of the Black Star Liner. This is so gorgeous I couldn’t swallow it, not even with mango chutney. Savour tracks like Swimmer on the tip of your tongue, as the hair on the back of your neck stand on end.
28- Moby – Play (Mute – 1999)
Play signifies an end to the most mental decade ever, the fact advertisers, TV producers and filmmakers flocked to acquire every track meant the masses were taking heed of what we knew ten years previous, electronic was music’s destiny. Moby, mild-mannered for an American (he didn’t write a book about his dick,) and modest of his creative output, had been known to us since the word, or track “Go,” something we never thought he’d surpass; if I only could’ve heard “Porcelain,” in 1991.
27- Morcheeba – Who Can You Trust? (Indochina 1996)
A hefty night’s clubbing saw us washed up on Brighton beach. My mate hopped over to the little chill-out café to ask what the tune was that they were playing; been a Morcheeba fan since. Breezy trip-hop, sublime vocals, it mellows the soul. There seemed to be a plethora of similar styled artists arise to chart after Big Calm, their second album; Dido for instance, M People et-al, while Morcheeba remained in the underground, like an old raver’s secret.
26- Jamiroquai – Emergency on Planet Earth (Columbia 1993)
With the Criminal Justice Act taking hold, the free rave scene lay wounded, and I was open to new avenues. Imagine today, recording stuff off the radio to cassette! I was recording the SoundCity on Radio 1 in 1993 when I heard something awesome, something which bent my conceptions of dance and blistered it with unadulterated retrospective funk. I imagined the vocals were supplied via a large afro-Caribbean lady, visualise my surprise when I saw a skinny honky smaller than his hat, the super-cool Jay K. By the following year I’d seen him perform at Glastonbury, bought a gaudy cap and submerged myself in acid jazz. My peers didn’t favour this move as much as I; popularity of the genre remained exclusive. While Jamiroquai made it through to mainstream, groups like Corduroy, JTQ and Children of Judah went on to produce a few too many albums of similar formula and the movement was short lived. Still, this debut album was earthy-jazz with a conscious and a didgeridoo, and never surpassed by Jay-K.
25 – Photex – Modus Operandi – (EMI 1997)
Well-worn by 97, drum n bass for me had seen better days. But where Goldie and LTJ Bukem’s pioneering albums wasn’t without their flaws, Modus, with peerless Photek drums colluded with the superior jazzy atmospherics of a thriller movie, and melded dystopian synth arrangements, to make it quite simply, perfection. It was a drum n bass awakening for rural techno-heads too, who so far had considered the genre too urban for their tastes. I recall listening to it on the way our first rain-drenched Glastonbury, prior years being clement; it felt apt as we took shelter wherever we could, and wrapped our feet in plastic bags before our putting boots back on.
24 – The Orb – UF Orb – (Mercury Records 1992)
Glastonbury, 1992, maybe, scampering like crafty felons through a maze of tents in the dark, deciphering guide-ropes from hallucinogenic wavy lines and somehow magically avoiding tripping, over the guide ropes I mean. There was a noise, it was not music, it was waves, a soundscape dangling in the air; The Orb were on stage some distance away. Ambient house has no place today, face it, but at the time it wowed. It broke all the rules, hardly strokes of melody, more drifts of resonances and echoes of bass. It was the sort of music to either be awake or asleep to, or drift between them blissfully. While the KLF pioneered this from an ice cream van, the mysterious Orb championed it and their second album UF-Orb was the masterpiece of its genre. There were tracks forty minutes long, which would take twenty five of those minutes before a beat came in. Imagine having to cut Blue Room to three minutes for Top of the Pops!
23 – Deee-Lite World Clique – (Elektra Records 1990)
I bought this on cassette, why you cry, when you had vinyl? Convenience is the simple answer. Witness the confused expression on a millennium kid’s face when you show him a “tape,” but it was the digital download of the era, you could share easier than vinyl. Plus, the American funky sounds of Deee-Lite, which would accompany me on bus journeys to art college, would’ve been viewed as second place during the early “hardcore,” section of the dance revolution. Who’d have imagined in only a few years, DJs like Sasha would take the helm and garage and funky house would be at the forefront. But as we matured it did, for us; the hardcore split into “jungle” and “happy hardcore,” as younger, fresher faces adopted it.
So back in 1990, Deee-Lite was a refreshing break, it was psychedelic enough to satisfy, and Lady Miss Kier had legs which went on forever, should you be lucky enough to climb those platform shoes to the beanstalks of tie-dye leggings. I think, however, the timing wasn’t quite there, and in the UK they never made it far past “Groove is in the Heart.” That said, it’s still a floor-filler today.
22 – Daft Punk – Homework – (Parlophone 1997)
Unsure why on earth anyone would call an album this, the last thing you want to be thinking about when partying full force, but that’s the French for you. Also unusual for a video to attract me to a song, but when I saw that guy with the dog’s head, wandering the streets considered obnoxious for not turning down the volume on his beatbox, well, I rode right into that enormous plodding bassline and figured here was something solid and timeless. I was right, for though my journey into French house was short-lived, Étienne de Crécy’s Super Discount and Air’s Moon Safari coming close to inclusion on this list, Daft Punk are still strong today and still pushing the boundaries of the genre.
21- Rebel MC – Black Meaning Good (Desire 1991)
Over the oceans, and apparently, over the seas, you know when we come it’s just reality. This “jungle” antecedent wasn’t originally on my list, but when it suddenly sprang to mind I wondered how I could’ve missed it out. I replaced The Ragga Twins’ Reggae Owes Me Money album for it, because in reality, it surely worked the other way around for both the Ragga Twins and Rebel MC; they owed reggae money.
Rebel MC though gave credit, even cameos to his reggae influences, and while he may have been aiming for commercial success in the 1980s, when he fired back with Black Meaning Good, he had a powerful message of which hadn’t been tackled from this angle in hip hop previously.
“No,’ some say, ‘that’s not the way, Chat like that, your tracks won’t get played, Stick to the formula ya had before, Fame and money and a whole lot more’, Cha! Wheel out ah dat, seh dat can’t be, I gotta true-speak intelligently, Maybe for that I might sacrifice sales, but I’ll put more weight on the justice scales.”
Plus he done it in a breakbeat style which whipped ravers into a frenzy; sounds a bit dated now, but a pioneering album the drum n bass scene wouldn’t be the same without; nuff said.
20 – Eat Static – Implant (Planet Dog 1995)
Frome’s space-rock the Ozric Tentacles were always a popular band, but once the crusty techno scene took hold, their new outfit was sublime trance, and was the West Country answer to Orbital and Underworld. Oh, attire me with glowsticks and take me back to The Berkely Suite of Longleat, when the whole Universe was compressed into a much smaller Tribal Gathering and despite stern thumps protruding, the crowd were amalgamated, approachable, and hardcore.
This third album from Eat Static was, for me, their pinnacle, but although times were a changin’ in 1995, clubland getting wise, it couldn’t replace getting down and dirty in a forest where police helicopter search lights scanning through trees were treated as visual effects far beyond a nightclub’s glitter ball!
Oh, I’m going to have to leave it there for now, and return next week with 19-11; anyone got any Veras?
Halfway up a mountain in Andalusia, early noughties; I spot admist the crowd of mad ravers in a tranced frenzy, a distressed toddler crying, and perpetually calling out “mama!”
Rave culture was never just about popping out to a club to wave your arms in the air, and hug complete strangers on a Friday night, it was a way of life. A way of life which had engulfed me at this point, with a good fifteen years under my belt.
I’d done that, got the T-shirt and worn it out. So-much-so, no matter what my state of mind, I was capable of finding moral standing. I jumped to my feet from where we were “chilling” to assist in a way I wasn’t quite sure of, I just knew I couldn’t sit there and watch the child in meltdown.
A hand on my shoulder stopped me, a trusty friend advised me not to get involved. She was right, the mum could be anywhere in this humongous techno fiesta, probably didn’t speak English and, what is more, would be too “off her face” to be concerned.
Heartbroken I tore myself away from the sight, consoled myself there was little I could’ve done.
As much as I loved free party raving, I have to admit it’s probably not the best environment for a toddler. It’d take a strong mentality to withhold parental responsibility when all about you is hedonism and mayhem.
There then is the plight of the last great youth culture, like all previous trends, we grew up, we had kids and now the fragments of that once proud scene consist of the odd occasion where you perchance to hire a babysitter but spend most of your time reminiscing about your car breaking down at Castlemorton with some delinquent dribbling clubber, or such like fable, Uncle Albert style.
However, the times are a changin’ you soppy old ruffneck ting, and there’s a growing fad sweeping the nation which allows the hardcore massive turned mom or dad to shove their, let’s face it, mostly harmless ways of misspent youth down the throat of their impressionable nipper; and why not?!
Raver Tots host “family raves” where kids and grownups can hit the dance floor together.
The kids, and I’m gathering parents too, are supplied with endless entertainment; face painting, UV lights, bubbles, balloons, confetti and giant parachutes, all in a rave style atmosphere.
They book some of the UK’s top DJ’s of yore including residents Artful Dodger, Brandon Block, Slipmatt & Nicky Blackmarket, attracting up to 1,500 people.
Rave Tots events have proved successful, selling out up to 3 months in advance.
Closest to here is one on the 4th February at the Bath Pavilion with Nicky Blackmarket playing classic drum ‘n’ bass with MC Chalky. And 8th April at Swindon’s Mecca with DJ Slipmatt.
Founded by Mike Pickets in 2017, Raver Tots has an ongoing charitable interest and supports an array of charities that help children with Autism and ADHD.
They advise ear defenders can be worn although the music is kept to safe levels and club lights are in “rave style” but no strobe lights are used. A maximum of three adults are permitted per child but you can’t get in without a child, insuring this is a totally family atmosphere.
What a brilliant idea, I salute the organisers of Raver Tots and I’m pleased to see just because rave has come of age, there’s acceptable outlets keeping the vibe alive in their own, individual way, keen to note though, this isn’t completely unique, Bestival innovating family festival vibes since 2004.
Bestival increased this ethos by hosting spin-off club events of a similar nature called “big fish, little fish family raves,” and they’re at the Neeld Community Centre in Chippenham on the 10th March.
They describe the events as being, “designed as much for grown ups as for children; daft, social, anarchic and a whole load of fun for everyone together.” Which is, in a nutshell, what rave was all about to begin with!