Savage Pencil – Rated SavX book

Rated SavX bookSavage Pencil aka Edwin Pouncey has been floating in and out of my life for decades now. Whether through the Wiseblood ‘Motorslug’ 12″ insert, ‘Nyak, Nyak’, the Big Black sleeve for their Headache EP or Blast First‘s compilation cover, ‘Nothing Short of Total War‘. He cropped up in the NME and Sounds, doing spot illustrations for album reviews, The Wire magazine with his Primer feature collages and Trip or Squeek cartoon strip and numerous other leftfield magazines.
There he was in Knockabout Comics‘ anthologies, a page here or there in Weirdo or some long-forgotten independent zine or one-off publication. I used to see his Dead Duck comic on the spinner in Forbidden Planet and his designs for Slam City Skates in Covent Garden before going downstairs to Rough Trade where I would find obscure indie singles with his art on the covers, posters of Godzilla-like monsters behind the counter and his biker movie picture disc compilation, ‘Angel Dust’. In recent years I’d run into him at Orbital Comics, signing copies of the latest Satanic Mojo comic, the memorabilia shop in Cecil Court where he sometimes worked or at record fairs where he’d be either selling behind a stall or perusing the bins with Thurston Moore.
Eventually we met properly when I interviewed him for Rough Trade’s 40th anniversary book in 2016 and again when I spoke to both Edwin and Chris Long about their Battle of the Eyes project with the late Andy Dog in a still-unpublished interview. And now he rears his head again in Strange Attractor Press‘ excellent book of his career, ‘Rated SavX’.
This seems to be the definitive book of his work so far, lots of archive-delving has gone on here and there are many lost or unpublished illustrations from across his life whether it be black metal sleeves, fly illustrations, his punk past or his love of Ed ‘Big Daddy’ Roth’s monster cars and cartoons. It’s all here in eye-straining detail with enough info to have you wishing you’d picked up that tiny print run publication he released all those years ago. Nevertheless, I zipped through it and now have new items on the wants list – highly recommended. There’s still time to get the limited edition hardback of this with extra (S)crapbook of unpublished roughs and Appreciation Society patch from the publisher’s website. While you’re there check the rest of their inventory, they have some fascinating books about counter culture, music, psychedelia and the occult world.

Posted in Art, Books, Comics, Design, Music. | No Comments | Tags:

Mixcloud Select #6 – Openmind – Coldcut Solid Steel 16.12.94

Openmind - Coldcut Solid Steel 16.12.94 tape

Track Notes:
Very much from a golden age of electronica (The Black Dog’s ‘Spanners’ on Warp, Gescom’s debut EP, Anthony Manning on Irdial) and trip hop (Skylab, DJ Krush, 9 Lazy 9). The spoken word that lays across Skylab’s opening track in this mix is from an odd German test pressing I found back in the 90s, full of spoken word from old gangster films. I spotted the famous Lauren Bacall line, sampled in part by Double Dee & Steinski on ”Lesson 3′ but also later used as a KISS FM jingle with the ‘blow’ substituted for ‘kiss’, and thought it would be a nice nod.

The Anthony Manning track, ‘Untitled’ (track 3) is from his excellent album, ‘Islets In Pink Polypropylene’ on Irdial, there was nothing quite like it at the time and I’m not sure there’s been much since, a lost gem. The Gescom track is from the first ever release on Skam records, which I incidentally designed the labels for, and the 9 Lazy 9 track was from their second LP which was the first cover I ever designed for Ninja Tune.
The Eon track, ‘Inner Mind’, is played on 33rpm rather than 45 intentionally :) as it and the track preceding it – something by Kris Needs apparently which I just can’t identify – both use the same sample.

Track list:
Coldcut – ‘Welcome, I am your genie’ sample jingle
Skylab – River of Bass
Sheila Chandra – Nada Brahma
The Black Dog – Raxmus
(There’s what sounds like a short snatch of The Jedi Knights’ ‘May The Funk Be With You’ in between these two tracks)
Ronnie Jordan meets DJ Krush – S**t Goes Down (But I Got Phunked Up Mix)
Gescom – Sciew Spoc
Anthony Manning – Untitled (track 3)
Kris Needs – Unknown
Eon – Inner Mind (Freebase Mind) (on the wrong speed)
9 Lazy 9 – Electric Lazyland

DJFoodMixcloudSelect06

Mixcloud Select #5 – Strictly Solid Steel Side A – Bundy Mixes 21/12/97

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I held off a day posting this seeing as my social media feed was crammed with Bandcamp posts, didn’t want to add to the noise. But on that note I’ve started a label on the platform, digital-only for the moment, for my multi-armed turntable experiments with. locked grooves + FX. 1st releases are up now including a couple of pay what you want freebies.

https://infiniteillectrik.bandcamp.com/artists

Anyway, here’s Side A to last week’s side B – the ? in the title on the tape refers to me originally not knowing the date this went out and I’ve tracked it down to approximately 21/12/97 via a series of PRS sheets I have with track lists.

This set sports two amazing remixes by Bundy K Brown – the ones with the long Cheech Wizard subtitles, a thing of his back then. Bundy (by then ex-Tortoise) was someone we’d met on our first tour of the US when we showed up in Chicago and we had enough time to hang out a bit and do some record shopping. I really rated him as a producer mainly for his stand out remix on Tortoise’s ‘Rhythms, Resolutions & Clusters’ mini album and we bonded over similar musical tastes.
He turned me onto a lot of electronic jazz and used to work in the Dusty Groove record store so was steeped in digging culture. I put him up for the ‘Timber ‘remix and we resolved to work together on something (‘Full Bleed’ on the Kaleidoscope LP). I just really like his off-kilter rhythms and the cyclic nature of what he does, maybe it’s because he’s a musician approaching sampling from an engineering perspective, whatever it is he has a unique ear and years later I found out Four Tet was a fan too.

This set is such a typical mash up of the times, lots of sample-based material that flits from jazz to electronica to downright huge dirty beats by the end for Skylab and Techno Animal. Bearing in mind this was going out between 1-3am I think we sometimes pushed things to extremes but it was (and still remains) anything goes – the Broadest Beats in London, right?

Kev

BTW: the Techno Animal/Nav Katze mix at the end really goes on too long and the bass distortion near the end is on the tape.

Track list:
The Sea & Cake – Sporting Life (The Cheech Wizard Meets Baby Ultraman In The Cool Blue Cave (Short Stories About Birds, Trees And The Sports Life Wherever You Are)) (Thrill Jockey)
Small Fish With Spine – High Fibre (Oxide)
Frederic Galliano – Espaces Baroques Pt.1 (F Communications)
Coldcut & Hexstatic – Timber (The Cheech Wizard’s Polythump Requiem For The Ancient Forests Mix) (Ninja Tune)
Skylab – Nickers of a Girl (Eye Q)
Techno Animal – Demonoid (City Slang)
Nav Katze – Wild Horses (Global Communications mix) (Dedicated)

DJFoodMixcloudSelect05

Feel Good Friday and 3 Wyrd Things

FGFI did a thing for my good friend Jari from Pepe Deluxé that he does on Facebook called Feel Good Friday – the idea is to recommend good music to help sooth Fridays – here it is

Fog Cast #1 – Robin The Fog / Howlround

https://www.mixcloud.com/Resonance/fogcast-1-april-2020/?fbclid=IwAR1ukzclds2DPV22Z_w8hp7dXbq8WtLnBZnNcDepgwvL-lipYkKMEofQYzI

If deep, minimal ambient is your thing then look no further, the first 14 minutes alone is just drone, this is a new weekly show on Resonance FM, #2 should be up by the time you read this (actually #4 is out now, with an exclusive DJ Food track from the archives)

Misuse Me – Andy Votel tribute to Bill Withers

https://soundcloud.com/finderskeepersrecords/andy-votel-misuse-me-bill-withers-tribute

A short one, multiple versions of Bill’s wonderful song, ‘Use Me’, mixed expertly into an 8 minute epic.

Johno – A Theme From An imaginary Western

https://www.mixcloud.com/dondi74/a-theme-from-an-imaginary-western/

Paul Johnson is a friend of mine, occasionally he makes these hilarious mixes in a cut and paste style, full of very British humour and silliness. If you want something to bring a smile then try this 30 minute beauty.

I wouldn’t normal do this but what the hell – I recently put together an hour long mix of records referencing mothers, mums, mama’s and the like for Mother’s Day in the UK for the Out of the Wood show. (I did this a few weeks ago, just before lockdown started)

https://www.mixcloud.com/wnbclondon/dj-food-out-of-the-wood-show-191/

Funk, pop, psych, beats, rap, even a bit of jungle and a very rude ending.

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AAAAAAND: if and when you run out of music to listen to

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I’ve also just set up a Mixcloud Select channel for vintage Solid Steel mixes from my archive, the third one will be up this week.

https://www.mixcloud.com/strictlykev/

Also up from last week but I forgot to post it, I did the 3 Wyrd Things post for Ian Holloway‘s Wyrd Britain blog where you’re asked to name three British oddities that have influenced you, have a look and see how this Pop annual fits into the story. https://wyrdbritain.blogspot.com/2020/04/3-wyrd-things-dj-food.html

kevin foakes

Mixcloud Select 04 – Strictly Solid Steel Side B – 3/4 DnB – 21.12.97

IMG_5313I don’t remember much about this session except that the tape states ‘3/4 DnB’, meaning Drum n Bass in 3/4 time. Looking at the track listing it states no less than three tracks in a row from DJ Suv from his Freebeat EP on Full Cycle which seems to be credited as one of the first to feature rhythms in 3/4 time within the genre. We were obviously taken with it to have played three in a row. The opening track is credited to DJ Food as ‘Parp, Thump, Crack ’n’ Hiss’ which I recognise at a typical PC joke. The opening sounds like PC and I messing about with all manner of FX and vinyl over the top and I’m definitely getting a bit carried away with it all.

I think about this time I may have had a mixer with a little loop sampler and FX built in so maybe I bought that into the studio to mess about with but I’ve not idea if this was made up at KISS FM or at Ahead of Our Time studios in the Ninja Tune offices at Clink Street. Either way, the first 10 minutes of this mix are a bit crazy.

Track list:

DJ Food – Parp, Thump, Crack ’n’ Hiss
DJ Suv – Output (Full Cycle)
DJ Suv – Free By Four (Full Cycle)
DJ Suv – Everyone Plays The Same (Full Cycle)
Danny Breaks – The Ratio (Universal Language)
Acustic – No 2 (April Records)
Toshinori Kondo & DJ Krush – Fu Yu (Sony)
Mr Scruff – Fish (Ninja Tune)
Kensuke Shiina – Ring of Fire (Salon Kitty remix) (Pussyfoot)

P.S. Side A next week…

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Above is a scan of the tape inlay, an old photo from a US tour I did with Coldcut around the time of their Let Us Play album, – they took their own projection screens and played from laptops for the first time to the amazement of many. In the background you can see Rob Pepperell, part of Hex who controlled the visuals, Coldcut’s Jon More is to my right. On screen you can see the Vestax PMC 06 mixer in between the decks, a super-thin 2 channel mixer popular with scratch DJs at the time due to its tiny size, bringing the turntables closer together to make juggling records easier.

DJFoodMixcloudSelect04

Rolling Stones lyric videos

My friend DJ HDD hipped me to these Rolling Stones lyric videos which have been on the web for a year at least. They’re brilliant examples of paper cut collage animation using sleeve elements from various Stones album covers and elevate the art of the lyric video significantly. There are loads if you do a search but I’ve picked these five as my favourites.

 

Posted in Film, Music. | 3 Comments | Tags:

Kaleidoscope Companion mixes

KC cover pt.1

This week is a big one – two mixes but no Solid Steel archive show as I’ve been working on this very special selection and didn’t want to put this behind a paywall. Seeing as the DJ Food album, ‘Kaleidoscope’, turned 20 earlier this month, PC and I thought we’d raid our archives and put together a pair of companion mixes containing early or alternate mixes, versions and unreleased tracks that were made around that era which was roughly 1998-2000.

Patrick has made his own mix and it’s a bit of a revelation as most of the material is unreleased and even I’d not heard half of it. There’s another version of The Crow Dub, an earlier take on his collaboration with Jason Swinscoe which would become Neptune‘s ‘Soul Pride’ later. The original A Splash of Debussy and Monocle ideas and the genesis for what became ‘Cookin‘ in ‘The Power of Rawkus Soul‘. The real treat for me though is the previously unreleased ‘Ents Go To War‘ and ‘Zoom Zoom‘, both of which should never have been left in a drawer for two decades IMO. You can hear that below

Kaleidoscope Companion track list Pt.1 track list:

1) Ents Go To War (00:00 – 05:26)
2) The Crow Dub – The Rook (05:26 – 10:54)
3) See Saw (10:54 – 13:08)
4) Spa (13:08 – 16:04)
5) Night Time (Soul Pride) (16:04 – 19:13)
6) Thumb Piano (19:13 – 21:10
7) A Splash of Debussy (21:10 – 22:48)
8) Zoom Zoom (2:48 – 25:41)
9) Monocle (25:41 – 29:49)
10) Bernard Matthews (9:49 – 30:16)
11) The Power of Rawkus Soul (30:16 – 31:59)

My offering follows on with even more early versions and outtakes…

Full Bleed (Different Vibrations version)
Brixton Baby loop
Hip Operation 3
Sukia – Feelin’ Free remix 1 (big swingle)
god i’m hungry (sample)
The Quadraplex Suite
Stelf (long)
Nevermore (early version) intro
Introvert (early version of Nevermore)
Nevermore (early version) outro
The Ageing Young Rebel (early version w. diff middle/end)
Kenton
A Strange Walk (early version of Feelin’ Free remix 2)
Bad Trip (embryonic version of The Crow)
8 Track Mind (version 1)
Boo Hoo (The Sky At Night early version)
Crow’s End

Track notes:
These recordings are taken from cassettes, DAT tapes and CDRs so the quality and fidelity varies, there’s tape hiss, the odd drop out and distortion but that’s the way they came out. PC remastered a few bits and pieces and some tracks are edits / re-edits. Lots of these versions aren’t fully mixed down or mastered in anyway either but I like that rawness. It was fun revisiting these tapes again, hearing lost parts and versions that we’d completely forgotten about, in certain cases not even played to each other. There’s lots of material, more than you hear here, but you probably don’t need to hear them, believe me. This is the meat so to speak. The late, great John Peel evidently liked the album, playing Break, Cookin’ (twice), The Riff and The Ageing Young Rebel over the weeks preceding the album’s release, even asking us in for a session (see the debut Mixcloud Select upload) and I’ve included a few of his comments from broadcasts I only recently found online.

Full Bleed (Different Vibrations version)
• Probably the earliest version of the track that I compiled featuring Bundy K. Brown’s parts, I sent this to him for his opinion and I remember there was one specific melodic part that I’d pu in twice and he wanted just once near the end. You can hear the basics are in there, spoken word parts were different and it’s kind of rough and loose, especially at the end where I hadn’t finished the arrangement yet. I like the way it’s kind only just hanging in there and almost falling apart by the end (no quantize here). I realised that Bundy was varying the tempo of his drums between 84 and 86 bpm when I was putting it together as it was really messing with the click track, he said it was to give it a live-er feel. We both started from the same breakbeat and worked on that as a foundation, then I comped it up in my studio and Bundy came over to the UK when he was working on a High Llamas album and did some time on the arrangement before I finished it off.

Brixton Baby loop
• We loved Roy Ayres’ moody ‘We Live in Brooklyn Baby’ and PC wanted to do something in that vein. One of the first tracks we worked on had the working title ‘We Live In Brixton Baby’ as much of the album was recorded in Patrick’s flat on Josephine Avenue in Brixton. This was just a loop he made of the Roy Ayres rhythm that I found on a tape, the track we worked up had none of this funk.

Hip Operation 3
• This was an early track which had a long, protracted birth, various versions and ultimately didn’t make the final cut. It started out as a thing called ‘Swingle’ which was a chunk of big band and easy listening samples that ended up morphing in the first version of Sukia’s ‘Feelin’ Free’ remix we made. Like a lot of peers at this time we were discovering the early electronic period Herbie Hancock and wanted to use something from ‘Raindance’ on his excellent Mwandishi Band album, ‘Sextant’. We then loaded it up with a ton of spoken word including Ken Nordine and excepts from a Beastie Boys interview disc and had a breakdown that featured the sounds of Patrick playing squash. I love the strings at the end, we were still finding our feet on this, it’s pretty finished but we never really saw it as a contender for the album when the time came to compile the tracks.

Sukia – Feelin’ Free remix 1 (Big Swingle)
• This is the second half of the original, unreleased version, the breakdown and ending, otherwise we’d just be repeating ourselves a bit. There’s some very distorted low end bass on this, it’s not your speakers.

God i’m Hungry (sample)
• Just a silly sample I found, we decided on no skits on the album because, as PC observed, ‘no one listens to skits’.

The Quadraplex Suite:
• The tracks that made up The Quadraplex EP were always intended to go on the album but, by the time we’d finished them, we realised they really took up a huge chunk of the record. It’s was meant as a trilogy – Hour Glass, Looking Glass and Shattered Glass – made from the sampled sounds of glass and put with a gamelan-type rhythm that changed over time. When we decided it should be a standalone EP we edited together a 4th part – Monocle – from the myriad of versions we’d made (hear even more on PC’s companion mix). It’s still one of my favourite things we ever did so please indulge me on this long middle section of the mix. The resulting section here is threaded together from excerpts from five different versions:

Looking Glass (nearly finished /slower dub) – this is a good 4 bpm slower than the other versions, not sure why, might be the tape it came off running slower or we may have pitched/speed the whole thing up, I can’t remember.
Hour Glass / Shattered Glass (early version) – very minimal early arrangement try out.
Hour Glass / Looking Glass (live drums version) – Patrick was always messing with different percussion effects with this
Looking Glass (early version 1 & 2) – some great EQ/dub FX on this one, watch your headphones/speakers! Parts of this was edited into ‘Monocle’ on The Quadraplex EP.

Stelf (long)
There are several versions of this – a PC composition – and a shorter take of it was so very nearly track 2 on the album but was dropped by us at quite a late stage. I love it but the Taxi Driver ‘morbid self attention’ spoken word sample could have been problematic and in the end we added Ken Nordine’s vocal to it and it became the ‘Gentle Cruelty’ remix of ‘The Ageing Young Rebel’ for the Xen Cuts compilation later that year.

Nevermore (early version intro)
• A really basic collection of samples which were reworked into ‘Nevermore’ later, laid over the end of ‘Stelf’, not really a track.

Introvert (early version of Nevermore)
‘Nevermore‘ started out as a track called ‘Introvert’, in fact, I had so many samples and parts for this track that I ended up splitting them into two tracks (Nocturne and Nevermore). ‘Introvert’ is sort of what was left over and never went any further than this. You can hear the end percussion is all loose and unfinished.

Nevermore (early version outro)
• Strings from the arrangement of ‘Nevermore’ before it was really knocked into shape.

The Ageing Young Rebel (early version w diff middle/end)
• An early arrangement of the backing track where we had the coda as the middle eight/breakdown and then went back into the chorus after an odd little ‘drum solo’. I’d totally forgotten about this and it doesn’t really work which is why we ditched it.

Kenton
• A short little track PC made from a sample at the end of ‘The Ageing Young Rebel’ – this nearly made it on the album too and there’s also a version with some spoken word stuff over the top. I later reworked this (twice) into ‘Theme From Stolen Moments’ on the EPs that preceded ‘The Search Engine’ album. Its title is a clue to the sample source.

A Strange Walk
• A
track that eventually became the second version of our remix of Sukia’s ‘Feelin’ Free’ – unreleased by the band as they broke up but later included on the Xen Cuts comp bonus disc under the sub heading ‘Elephants doing the Washing Up’.

Bad Trip (embryonic version of The Crow)
• I’m sure everyone will recognise what this turned into…

8 Track Mind (version 1)
• A spoken word experiment based on brains and mind samples that I got carried away with and that ultimately didn’t work very well. I was obsessed with John Abercrombie’s track, ‘Timeless’ and wanted to make something out of it so badly. It was a huge sample so I remade the track under the spoken word completely for a second version which I now can’t find. You can hear the same ‘ooweeooweyeah’ sample that’s in ‘Hip Operation’ in here too.

Boo Hoo (The Sky At Night early version)
• Here’s a fascinating early version of ‘The Sky At Night’, before the ’crystal pools’ vocal was added and with a different melodic structure.

Crow’s End
• A slightly extended finish to PC’s epic to wrap things up.

If you’ve enjoyed this meander down memory lane I’ve set up a Mixcloud Select channel where, for £2.99 a month, I’ll be uploading vintage Solid Steel mixes from my archive – access that here https://www.mixcloud.com/strictlykev/

Also check out PC’s Minestrone of Sound MIxcloud and Soundcloud channels where he’s been quietly posting all sorts of unreleased audio treats for years.

While we’re on the topic, I’ve asked Ninja Tune to add some releases to the DJ Food Bandcamp page which has been sitting there for ages with not much content. Maybe some of the material from this post will find its way up there as an official release at some point too?

DJ Food Bandcamp

KC cover pt.3

And there’s more… PC found even more material and has done a short Pt.3!

Mixcloud Select 02 is up

DJFoodMixcloudSelect02

Thanks to everyone who got on board with my new Mixcloud Select channel last week, it really means a lot, please spread the word if you can, there are some treats coming up this month including at least one exclusive that isn’t a vintage show but is a mix of vintage tracks, many never heard before in this form.

This week’s upload is a session I did for Coldcut’s Solid Steel show from 17th of February 1995, at this point still going under the Openmind name for mixes but as you will hear, the Strictly Kev moniker was in place which originated in ’94 on a trip to Amsterdam for the Triplex Festival gig. We would have been working on A Recipe For Disaster’ at this point and I was inducted into the DJ Food project at some point between here and its release in Autumn ’95.
This was the final section of the 2 hour show and I’ve included the break for some vintage KISS FM adverts and jingles of the era, I even left the news on the end to add to the period charm.

Sign up for £2.99 to have access to these recordings, tracklists and notes plus a few exclusives as I put them up https://www.mixcloud.com/strictlykev/

02 CCSS Openmind Mixcloud

Kaleidoscope turns 20

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It seems today is the 20th anniversary of ‘Kaleidoscope’, the album PC and I made in 2000 for Ninja Tune. I thought it was more like mid April but a quick look on Discogs shows a promo CD I designed with April 3rd on it so there it is.

We’re still immensely proud of this record and the collaborations with Bundy K. Brown and the late Ken Nordine (RIP) it contains. It also features one of the songs most asked about in the DJ Food discography, ’The Crow’. I’ve lost count of the times this has been used to soundtrack scenes in independent films and it was once adapted for a school orchestra.

PC and I have been digging through our archives for recordings we made around this album – including The Quadraplex EP which was supposed to be a part of it originally but was saved for later. We’re currently compiling selections from them for an anniversary mix that will feature outtakes, alternate versions and other curios from the time.

These will go online later this month via Mixcloud, stay tuned… Meanwhile – the album is available here:

https://ninjatune.net/release/dj-food/kaleidoscope

https://djfood.bandcamp.com/

https://music.apple.com/gb/album/kaleidoscope/416333639

https://open.spotify.com/album/6NZdnBIelaaa2jVnrZL5jV

Beastie Boys article in Mojo

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I missed this last month but the March 2020 issue of Mojo did a feature on the Beastie Boys circa Paul’s Boutique and has asked me for reminisces from the time as well as a photo from the era. I didn’t realise they’d also asked the Dust Brothers, Bill Alder and Chuck D! pretty weird to see my 18 yr old face in that company, especially as I was a rabid fan at the age and would share a bill with the Boys a decade later on the London date of the Hello Nasty tour.

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And here’s the original that was taken from, my 18/19 yr old self photographed short after spraying the piece in the background on a friend’s bedroom.Kevin Foakes:DJ Food 1988

New DJ Food Mixcloud Select channel

DJFoodMixcloudSelect01
Given the times we’re currently in and the loss of gigs and jobs all round, it’s time to open the archives and let people hear all those tapes, DATs and CDRs that have been sitting there for decades. I’ve set up a new subscriber channel via Mixcloud SELECT – and I’ll be uploading exclusive, newly-encoded vintage mixes from my Solid Steel archive regularly for a monthly fee.
I like the Mixcloud model because over half the fee goes to paying royalties for the artists being played, Mixcloud take a cut for providing the service and then I get a bit for all those hours spent making the mixes in the first place. The fee is £2.99 a month (although you can pay more if you wish) and for that you’ll have access to mixes from my personal stash (some pictured below).

Mixcloud Select 1

These will date back to the 90’s and even predate Solid Steel occasionally, they’ll all be mixes that I’ve made or occasionally collaborated on. I’ll endeavour to make sure none of them are currently available anywhere else and include track lists and making-of details where I can. These will be exclusive to subscribers only for the foreseeable future, I’ll still upload free new mixes to my regular Mixcloud account but subscribers will also have some exclusive new mixes that I make specially for several months ahead of them being made public – sign up here

The first one is the complete session PC & I did for John Peel’s legendary BBC Radio 1 show 20 years ago this month, just before the release of our Kaleidoscope album. Only half of it was broadcast at the time and I’ve restored it from CDRs I found recently.

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Track notes: (Mixcloud’s word count is quite low for text so I’m adding notes here)

A restored version of the original session PC and I did for the late John Peel just before the release of our Kaleidoscope album. This was jammed out live on 4 decks in my studio at the time in Camberwell and then overlaid with spoken word later.
I think we were way too over-eager on the first half with all the scratching but some of it manages to be pretty humorous in places. It all gets way deeper once we calm down and I was surprised how ambient it got, listening back.
It’s very rough and ready but you have to remember that this is completely improvised on 4 decks with one of us ‘driving’ the mix and the other embellishing it in response at different points. This is how PC and I worked, I can’t think of any time that we rehearsed anything in the same way that DK and I did later for our 4-deck shows.

The intro and outro skits are from a great album called ‘Miniatures’, 1 min sketches and songs compiled by Morgan Fisher in the 80s, when we knew we were doing a John Peel session I thought it’d be a laugh to have ‘John’ introduce the mix. The Steady track, ‘Alarming Frequency’ is the first ever release on the Tru Thoughts label. The Leonard Nimoy read of Ray Bradbury‘s ‘Marionettes Inc.’ turned up in another form a year later on our first Solid Steel mix CD. The Spontaneous Sound gong record is actually an alias of Christopher Tree, a percussionist whose album I found in the US one time, it had virtually no info on it other than the title and the stamp of a drum shop where it had been sold.
I had to look up some of these tracks using Shazam and Discogs, both still twinkles in a programmer’s eye at the time this mix was made, twenty years is a long time ago but we’ll be going even further back soon…

John Peel session track list:

Norman Lovett – John Peel Sings The Blues Badly (Pipe Records)
David Shire – The Taking of Pelham 123 (Music On Vinyl)
Steady – Alarming Frequency (Try Thoughts)
Tortoise – Died (UNKLE Bruise Blood mix (Thrill Jockey)
Ray Bradbury read by Leonard Nimoy – Marionettes Inc. (Nonesuch)
RYU – Rhythm Asobi (feat. DJ Krush & Tunde Ayanyemi) (Cross)
Spontaneous Sound – Spontaneous Sound (Private Pressing)
Sun Ra monologue from Space Is The Place film
Rhythm Devils – The Apocalypse Now Sessions (Passport Records)
Fridge – Of (remix) (Go! Beat)
Kid Koala – Tricks & Treats (Ninja Tune)
Slowly – On The Loose (Autechre remix) (Chill Out Label)
Eric B & Rakim – Follow the Leader (acappella) (4th & Broadway)
Bushflange – Redokov (Hard Hands)
Child’s View – Shift (Blue Note)
Kid Koala – Scurvy (Ninja Tune)
DJ Food – Turntable improv
Major Force – Sitting On the Edge Of The World (Apeman Records)
George Duke – North Beach (MPS Records)
Morton Subotnik – Silver Apples of the Moon loop
Weather Report – Milky Way (Columbia)
Herbie Hancock – Raindance (Columbia)
Unknown breakbeat
Andy Partridge – The History of Rock ’n’ Roll (Pipe Records)

#LoveRecordStores

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I thought I’d jot down a few words to contribute to the Love Record Stores initiative launching today to send love and thanks out to independent record stores/shops that have a big place in the hearts of artists everywhere at this uncertain and troubling time. The idea is to tag indie record shops you love, show support and encourage others to check them out and shop online whilst their physical shops are closed. Here’s a list close to my heart:

The Book & Record Bar, West Norwood, London
This shop, more than any in the last few years, has been a very big part of my life. From my first visit on RSD back in 2014 to last week, Michael Johnson‘s shop has become a hub of musical and artistic activity including a radio station, party nights and much more besides. I’ve met so many people who I consider to be good friends through this place, including the love of my life, and even ended up lodging with Michael at one point a few years back when a house purchase was taking way too long. When we first met I foolishly offered to try and sort out his packed to the ceiling basement. It was like digging a hole only for the earth to keep falling back in, as soon as I’d clear some floorspace by installing shelving, it would be filled by more records or audio equipment.

The shop has a fine line in left field new releases and an excellent selection of used electronica, jazz, psych and the encyclopedic Michael to ask for any wants. In fact, if you send him your wants list whilst the shop is closed he will endeavour to find what he can in his stock and send you a quote – message him on the Facebook link below. To add to this the shop has many rare books, a very good used sci-fi section and a fully licensed bar, what more do you want? The shop’s Discogs page is here if you want to support while it’s closed.

DJ Food WNBC

Big shouts out to Peter Williams, my Further partner in crime who was central to getting the Out of the Wood radio show started through the shop (fast approaching its 200th show). Alex ‘the Orb’ Paterson who I see in there most visits and who set up WNBC.London to broadcast his numerous shows, the weekly Thursday shop show and the aforementioned OOTW each Sunday between 12-2pm. Also to Dorian, the regular Sunday staff member and great anecdote-teller, who puts up with all our selections each week.
http://www.bookandrecordbar.co.uk/

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Rat Records, Camberwell, London
Still the cheapest, most regularly restocked record shop I know, my local, 21 years at this site, small but perfectly formed, a beacon of light in the haven of scum and villainy that is Camberwell. A used record shop in every sense, you won’t find new releases here unless it’s a fluke but you will find a small queue outside at 10.30am every Saturday when the New In racks are restocked from collections bought up and down the country by owner Tom.

Their policy of pricing to sell keeps stock turning over constantly and they will wait several weeks before putting a rare record on their Discogs page, (closed at the moment due to the shop being shut) preferring to let visitors and regulars have first dibs. They also do a fine line in extremely cheap CDs and have a record cleaning service. I’ve done several in-store DJs sets including a goodbye set for Pete on his last day working in the shop and also Philippe‘s 40th birthday party in the local pub after closing. But my favourite was when Jonny Trunk and myself delved into a collection of soundtracks the shop had bought, playing our favourite tracks after which the records were sold to punters who came to listen.
https://www.ratrecordsuk.net/

(Markey Funk below, waiting for the shop to open)

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The Music & Video Exchange, Notting Hill and Greenwich, London
The old M&VEx shops were the second hand Mecca’s of London, Camden, Soho, Shepherd’s Bush, and four or five shops in Notting Hill alone. Sadly only one remains in that location these days, the Dance & Soul and Classical shops being folded into the Rock & Pop premises over the last decade. The 80s and 90s, even part of the 00s, for these shops were digger heaven with bargain basements of records for £1 a pop (or less) that would take you days to get through and would always yield treasure of some sort. In the golden days of the vinyl promo I would save up several months of unwanted 12″s and take a full bag in there and wait whilst the staff went through them and quoted a price. “Cash of exchange?”, always exchange, which was double the cash value in vouchers to spend in the shops (including the book and comic ones). The trick was to have a few really hot current promos in there which would get you more than if you waited another month.

Back in the early 90’s I blew my first ever pay cheque from a full time job after I left college there. The bargain basement in the Notting Hill shop was the first time I ever saw a wall of Paul Young’s ‘No Parlez LPs, a foretaste of the ubiquity of that album which now enjoys its own account on Twitter. In the 90s I bought an original UK Stereo copy of Dudley Moore’s ‘Bedazzled’ from the Soundtrack shop, probably the most I’ve ever spent on a single record. I remember finding a Mike Oldfield 12″ acetate for £1 in the basement, it’s one of the only records I’ve ever ‘flipped’ on eBay, it made a lot more than a pound and ended up in the hands of an Italian fan.

Sadly those days are long gone although they do still buy and sell the same way, marking the records down by a pound each month or so until they’re eventually bought or end up in the bargain bin. The Greenwich shop has mysteriously survived and thrived over the years and every buyer will know the pain of trying to remove some of their old stickers, especially the burgundy brown ones, which would ultimately rip, mark or tear the covers of the records you’d just paid for, even if you used lighter fluid.
The Greenwich shop also has a really good Instagram account.
https://www.facebook.com/MusicandVideoExchange/

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Reckless Records, Sister Ray, Sounds of the Universe, Soho, London
Not much survives of the glories of Soho past, the original Sister Ray shop is gone to the developers, as has the M&VEx that was there, Groove, Cheapo Cheapos, Mr Bongo, Selectadisc, the 2nd Reckless shop, Unity, Quaff, Ambient Soho (my first job in a record shop) and a ton of other small dance music shops.
Plenty still cling on though within its square mile, Reckless being my favourite because of its used nature and the general scuzziness that still lingers from the old days. Both Sister Ray and Sounds of the Universe (formally Soul Jazz) have moved about over the years but are always reliable for new and old releases from specialist dance music to reggae to rock with everything in between. SOTU also has a great downstairs packed with books, DVDs and more music and the label puts out some cracking compilations.
https://www.reckless.com/       https://sisterray.co.uk/     https://soundsoftheuniverse.com/

DJ Food SOTU

Audio Gold, Muswell Hill, London
A specialist hi-fi retailer, hire company and repair shop with plenty of records to boot. I’ve only been a few times but loved it and my old mate Robin from Hexstatic works there. They had collector Shane Quentin and myself in for a special flexi disc set for the last RSD and treated us to free pizza afterwards – always worth a visit and the staff are lovely. https://audiogold.co.uk/

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The Diskery, Birmingham 
This is a dusty diggers paradise, one of the oldest record shops in the UK, it’s housed in a ramshackle building with back and upstairs rooms you can root around in to your heart’s content. Downstairs is the main shop with LPs, 45s and 12″s and the back rooms have boxes of 7″s to rifle through.

DJ Food Diskery
Upstairs, if you brave the rickety stairs and don’t go in the room with the ceiling about to fall in, is a lottery of broken audio equipment, soiled and sleeveless dance singles and more. Last time I was there I found a rare Universal Indicator 12″ (early Mike Dred/Aphex Twin) discarded and coverless in a pile for £1. They also occasionally offer tea or coffee if the shop isn’t busy and once I even got a mince pie at Xmas.  The Diskery Facebook page

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Kingbee, Vinyl Exchange, Piccadilly Records, Manchester
Kingbee is out in Chorlton, a few stops from the city centre on the train. Well worth the trip, it’s a packed-to-the-gills used shop with decent prices and lots of choice. I was once looking for a white label 12″ of A Certain Ratio’sGood Togetherand, seeing as I was in Manchester thought it was more likely then anywhere else, and there it was in the bargain bin for £1. https://www.kingbeerecords.co.uk/

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Vinyl Exchange is your northern equivalent of Reckless or the Music & Video Exchange, used records in every category you can think of, all a bit scruffy, some a bit pricey on the wall, tons of cheap bins, CDs upstairs, vinyl downstairs, just dive in. https://www.vinylexchange.co.uk/

Piccadilly Records across from Vinyl Exchange, is just one of the best records shops in the UK selling new music. Similar to the Rough Trade East model, they have meticulously worded/reviewed info on all the underground /independent titles with a depth of knowledge that only comes from working in a record shop and hearing everything and anything that comes through the door. Their mail order online is also excellent https://www.piccadillyrecords.com/

DJ Food Dig Vinyl

Dig Vinyl, Liverpool
Upstairs in the Resurrection clothes shop now (it used to be down in a basement when I first visited), Dig has an excellent, well-priced selection of random dance music and much more. I bought loads when I was there last time but spent very little. https://digliverpool.co.uk/

Rarekind, Wax Factor, Brighton
Rarekind is your hip hop-centric diggers shop with new independent releases as well as tons of used stock including jazz, funk, soul, library and soundtracks. Friendly and with loads to get stuck into, even my partner (who’s a hardened digger herself) had to go and get coffee last time we were there as I was taking so long. It didn’t help that there was a tiny techno shop upstairs too. https://rarekindrecords.co.uk/

DJ Food digging

Wax Factor is one of my dream shops, books and records combined, I remember it from the 90s and it’s still there, virtually unchanged. The amount of 7″s in the adjoining room is astounding, if you can’t find something you want in there you either haven’t looked hard enough or don’t have the time to sift through. They don’t appear to have much of an online presence unfortunately but the reviews here say it all https://www.yelp.com/biz/wax-factor-brighton

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Monorail, Mixed Up Records, Glasgow
Monorail is your quintessential indie shop, expanded out into the left field realms of avant garde electronica and soundtracks. It reminds me a bit of Rough Trade West in London but it has better decor, it’s also located in a very cool part of the city adjoining a bustling bar and restaurant and has an excellent mail order service. https://www.monorailmusic.com/

Mixed Up is further out in the Hillhead area, down a small side mews and is well worth the trip for used records, all in great condition at reasonable prices. I always come away with something from there and have been down on the floor rifling through the 7″ boxes many a time.  https://www.mixeduprecords.com/

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Island Vintage Vinyl and Vinyl Head, Ramsgate Island Vintage Vinyl is a father/son-run business with specialist hi-fi and audio equipment and used vinyl, super-friendly-service and tons of stock, especially good for dance music and vintage rock https://www.islandvintage.co.uk/

Vinyl Head is probably the funkiest looking shop I’ve visited in the UK, it’s full of cool design objects, mobiles and has a huge Octopus snaking its tentacles across the floor. A lot of the stock wasn’t priced when I went there which is a usual no-no for me but I found plenty of stuff. The shop’s Discogs is here (with prices, obviously) being that you can’t visit the physical location at the moment.

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DJ Food – The Mother Lode for Out Of The Wood, WNBC

Your MotherDuring Mother Nature’s current reminder that we’re mere tiny specks in the scheme of things it felt right not to go to the Book & Record Bar to record my guest slot for Out of the Wood radio. Seeing as the date for the set was Mother’s Day I thought I’d use this as a theme so here’s a mother lode of tunes to see you through and remind us that we should always respect our mothers.

Tears For Fears – Mothers Talk (Extended version)
Fun-da-mental – Mother India (Moody Boyz Spirit of the Tiger mix)
Ramsey Lewis – Mother Natures’s Son
Hodges, James and Smith – Momma
DJ Food – Your Mother
Goldie – Mother (excerpt 1)
Genesis – Mama
The Herbaliser – Another Mother
Funkadelic – Music For Your Mother
Parliament – Mothership Connection
Paul McCartney – Momma Miss America
Jonny Guitar Watson – A Real Mother For Ya
Pharcyde – Ya Mama (J Swift UK remix)
Roxanne Shante – Big Momma
Queen Latifah – Mama Gave Birth To The Soul Children (The Infant Mix)
Lyn Collins w. The J.B.s – Mama Feelgood
James Brown – Mother Popcorn
Kool & The Gang – Mother Earth
Derek & Clive – Alfie Noakes
The Mothers of Invention – Motherly Love
Pink Floyd – Atom Heart Mother (excerpt)
Blue Pearl – Mother Dawn (The Orb Buckateer Mix 1)
Goldie – Mother (excerpt 2)
Julian Cope – Peggy Suicide is Missing
The Rolling Stones – Mother’s Little Helper
Can – Mother Sky
Jonny Zamot – Hey Mama
Lonely Island feat Justin Timberlake – Motherlover

The Bureau of Lost Culture

Bureau of Lost Culture

Stephen Coates is a busy man, aside from his The Real Tuesday Weld recording project and his X-Ray Audio talks, exhibitions and book he also has his hand in radio with The Bureau of Lost Culture alongside co-conspirator Paul Heartfield. This takes the form of interviews with people who were present and took part in corners of the counterculture who may not have had their stories heard. First person accounts can differ from the accepted narratives and everyone will have personal experiences associated with events and times that have gone undocumented.
One such example is Nick Laird Clowes, musician and composer with The Dream Academy among other talents, who gives some quite extraordinary experiences in the first part of an interview with Stephen. Recounting going to the Isle of Wight festival at just 13, hanging out at Oz magazine and tales of the underground London scene through the eyes of a fresh-faced young teen, his tales seem to flow endlessly and will make some yearn for simpler times.

If you want more of the same then there are plenty of past shows archived on Soundcloud. Ranging from groupies to psychedelic visions, punk, flexi discs, mescaline and much more.

Update: Part 2!

Contrøverse – Liquid Love/Solid State EP

Contraverse LP

Love this cover for the Contrøverse – Liquid Love/Solid State EP on InFiné.
“The Barcelona-based producer, former member of the experimental duo Downliners Sekt, is back with a solo project and 2 new deceptively simple tracks made for the dancefloor, stitching together his myriad influences. 
As an appetizer, listen to his Broken Mojo Mixtape taken from his own new material, blending together vintage African and South American patterns and flavours with a touch of haunting full analog synthesizer modules. EP available on all digital platforms now.”

Brian Eno fan art

Brian Peano Universalcollage

The things you find on the internet whilst trying to avoid things you really should be doing… Universal Collage posted his image of Brian Eno as Schroeder from Peanuts today and like all the best mash ups it’s a lovely, simple collision of two worlds that would most likely never intersect. I wondered what else was out there…

The Brian Eno Book 1973 by Chris Wright aka http://www.turbo-island.co.uk/ did the rounds a few years back .
70’s era Eno at the keyboard again, this time in the style of the Bash Street Kids (could have been his backing band had The Winkies not got the gig).

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Feather boa and synth Eno seems to be a popular choice with this excellent rendering by Steve Scott from Jelly.

eno_stevescott Jelly London
This oddity below was on Etsy, I have no idea if it’s new or old but he is a Taurean so it could be a 70s relic that someone has dug up.

I’m sure most people are familiar with Adam Buxton’s take on what could have happened in Berlin whilst recording Low, if you’ve not seen it then it’s one of the funniest and affectionate takes along with his Cobbler Bob sketch.

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Below is a comic illustrating one of my favourite vocal Eno songs, Blackwater, by Lyall Wallerstedt. It contains the line, “ooh what to do, not a sausage to do”, followed by, “ooh what to do in a tiny canoe” , which always makes me laugh.

BACKWATER_PG1image-asset Lyall Wallerstedt
There’s also an Eno cartoon from 1996 by Tom Hart that is very odd, the context of which seems to be lost in time.

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Anyway – that’s an hour of my evening wasted, to round it off here’s a mix of the funkier songs from his back catalogue that I did 10 years ago. The Soundcloud version has over 17,000 plays but the Mixcloud one only 200 – weird, huh?

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Acid Valentine mix for 45 Live

To mark the release of the excellent new Type 303 release on 45 Live RecordsSticky Disko / Analogue Acidbath – I was asked by label head and fellow acid 45 collector, Pete Isaac, to make a promo mix to celebrate. ‘Acid Valentine’ is my love letter to both old and new acid on the 7″ format, showcasing a lot of contemporary releases as well as a clutch of old classics too.

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I’ve been getting into B sides a lot recently, going back to the well-worn bangers of the day and turning them over for dubs, forgotten tracks or alternate mixes seldom played out. So you get Arcade Fantasy from A Guy Called Gerald rather than Voodoo Ray, the Suck Mix of Bam Bam‘s Where’s Your Child and the Dub Mix of Longsy D’s This Is Ska instead of the overplayed A sides.

Acid Valentine 1
Of the newer releases, most are recent or from the last 5 years or so and pressing runs are way lower than back in the day. DimDJ’s Aerotrak was only produced on flexidisc in an edition of 50 from Greek label Kinetik and Chevron‘s Smud 7″ wasn’t even sold, just given to DJs who had supported the Balkan Vinyl label. All that to say, the scene is in rude health and 7″s both old and new are still turning up, I thought I’d pretty much grabbed everything from the classic late 80s era but there are still a handful out there to find…

To grab a copy of the Type 303 7″ just go here

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Andy Vella design interview

R-76722-1356639563-9261.jpegA few weeks ago I posted a selection of sleeves from the acid house era of Desire records‘ releases which, for a brief moment, showcased some of the best house music to come out of Chicago. The uncredited designer, Andy Vella, was tasked with wrapping these releases in a distinctive house style and, curious about how they came about and who made them, I did some detective work and tracked him down. He is best known for his work with The Cure for the Fiction label (of which Desire was a subsidiary) and I fired him a few generic questions first, to give context and history:

Where, when and what did you study?
I studied at various places, which to be honest were less than effective, however, luckily I ended up at The Royal College of Art and my creative life started to fly.

What was your first notable design that the public would have seen?
The first bit of work the public would have seen was the 60×40 fly poster for the cure’s ‘Primary’ single (it got to number 44 in the charts 1981), I do remember being 18 and walking down Oxford street thinking, ‘that looks familiar’, then realising I had worked on it.

The Cure Primary poster

How did you come to work with the Cure and Fiction Records?
Pure fluke really….and as luck has it I am still working with them.
(From the biography of Andy’s website: “It all began when Andy, then a teenage student in Worthing, had a chance encounter on a train with Porl Thompson, some-time guitarist in the Cure. The pair would go on to form the Parched Art design company, but not before Andy’s photographs had caught the eye of the Cure’s front man Robert Smith who asked him to design the covers of the album Faith and its single Primary.”

Looking you up on by name on Discogs, there’s a gap between 1981 and 1988 and this seems to be the golden period of your collaborative work with Porl Thompson for the Cure under the ‘Parched Art’ banner. Obviously it’s not a complete list of your work though as you aren’t credited for any Desire sleeves at all. 
I went through a phase of not putting my name on lots as I thought it was uncool.

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Whose decision was it to start releasing dance music on Desire, up until the mid 80s it had been sporadically releasing indie rock I think?
Chris Parry, he was also the manger of The Cure and supremo A&R maestro.

Where you into the music? Did you go clubbing in those days?
I loved it. I used to go and hang out with all the guys in Chicago Trax (Chicago of course), they were great and so accepting of me, Fingers Inc, CAN YOU FEEL IT…Yes, Ben Mays, Bam Bam, Destry, Lil Louis was always hanging about.
I remember Chris gave me £20 and an ecstasy tablet and said go to the Café de Paris and design me an album sleeve (In the Key of E) it was great, changed my whole world, shame as later that night ended up in Harry’s and DJ Fat Tony and his mates esp. some bloke who is now a famous author (I should name him) kept referring to me as a rent boy with total hatred in their eyes. Glad I had had the mitsibushi tab otherwise I probably would have thrown them out of the window, homophobic DJs and posse for you.
The world will come and eat you up boys.

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You used photocopying extensively for those early sleeves, not just for distorting type but also for texture too, What influenced you?
Being experimental was always key in my design, trying things out.

You were working in largely uncharted territory with very little except the smiley logo and the early DJ International graphics from the US as any kind of look for the genre, were you left to interpret the music in your own way?
Always like a challenge, recently I designed a book for Glen Matlock about the Sex Pistols (Filthy Lucre tour) and like then, coming up with design/art that does not follow the cliche known style is what good design should be.

Were you working in isolation or did you have assistants? Were you aware of what other designers were doing in the field like Trevor Jackson at Champion and Gee Street or the Designers Republic at Warp?
At this time just working on me own and the artists in Chicago, they loved this stuff.

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You had a thing for type wrapped around curves, I’m presuming this is was all pre-computer and hand-cut and pasted?
Sure was, its so easy now, every letter cut out and pasted down.

There seem to be several releases that re-use old sleeves folded inside out, was this a money-saving exercise?
It was me being really early into re-cycling, this was in 1989, the printers throw this stuff away, I hated the idea of this, so re-purposed it and used it inside, my fav is ‘In The Key Of E’ printed on the reversed board with the Desire house bag on the inside.

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The Charles B ‘Lack of Love’ release has multiple different covers in different colours, was this to distinguish different versions or because of printing errors?
I can’t remember that, maybe I liked the idea of the sleeve forever changing, I did used to swap the printing plates about.

RMC Humanity

Double Trouble and Rebel MC (both together and separately) were most prominent on the label after ’88 and both hugely successful. The licensed US releases stopped, and your stretch lettering and snakeskin look with them. Why was this?
Not sure, guess it was because it was way more commercial. Later on I designed all the Rebel and his Tribal Bass label and created very nice roots-based paper cut-out graphics, based on African art.

RMC Richer

Did you work for any other labels around this time (aside from Fiction) or do other work for dance music like flyers, posters and T-shirts we wouldn’t have seen?
On the back of working with Rebel MC and creating the drum and bass rootsy style, Island records snapped me up and later I worked with many companies and designed all the paperback book covers for Bloomsbury publishing.

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The rest of your work seems to have been more in the indie rock sector, was Desire a case of being in the right place at the right time?
Just love designing and creating.

Are you aware that some of those early releases are now considered classics of the genre and worth a lot of money?
That’s nice, eh?

Do you have any favourites from this time, both musically and design-wise?
All of them, I had a blast and still am. I guess ‘In The Key of E’, it’s a great compilation too. Roger Dean of Yes fame always loved ‘In The Key of E’ and asked me to send him a signed version of the cover, I was flattered beyond belief as he was the hero of every school kid when I was growing up, so nice!

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Andy’s website is here with an extensive gallery of work, you can see him reference the eye from his ‘In The Key of E’ LP cover above at least twice.

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Detuned vs Touched Music

Box+10xDE.10+bag+stickers

The final phase of the De:tuned 10th birthday releases (or is it?) is a collaboration I’ve been hinting at for a while with Touched Music. To mark World Cancer Day 2020, Detuned and Touched have created a limited number of ultimate box sets for fans and collectors. A handmade, laser-etched wooden slipcase to house all 10 releases from the recent Detuned 10th anniversary DE:10 series will be offered with a variety of options including a full set of finished 12″s, a full set of test pressings and black or silver versions of DE:10.10. All options come with a unique tote bag colourway and sticker sheet and they are VERY limited.

10xtest pressings set up Box side on Box side + spines10xDE.10+bag+stickers Bag 1