Eternity #33

eternity the controversial dance magazine Sounds of the future Issue no. 33 £1.80 Lonnie Gordon Clarkee Ellis Dee The Advent

Dr. Sachet THE VINYLCOLOGIST Surgery Open Audio Maze merchandise will be on the market, mail order and in shops later this year. A full range will be available in the winter, including MA1, MA2 fur jackets, waistcoats, short sleeve and long sleeve T-shirts, hot pants and Audio Maze underwear. Rave of the week without a question of doubt has to be World Dance. For the first time ever they were using a Turbosound Rig and it sounded Bomb-bastically loud. In the future this is the sound rig they will use. It was a full capacity of 8,000 people. Vibes were buzzing all night, and being one of the privileged DJ's to entertain a warm and uplifting crowd, I played a fantastic set - one of my best this year. A well deserved 10 out of 10 to all those involved in the hard work and successful outcome of this project. A final comment on Slipmatt - I was extremely shocked and surprised. He played an absolutely slamming Drum & Bass set along with all the other DJ's. The crowd was a mixed assortment of all types of Ravers and they showed their appreciation all night - proving that Drum & Bass is back on the up and up. Don't forget - the next World Dance will be BIGGER and BETTER - Guaranteed!! AWOL end of tour massive party at the Ministry Of Sound Due to the building work for the opening of an even larger warehouse at the Ministry, there is no confirmed date as yet for AWOL's 'End Of Tour' in the new room. There will be a massive new digital rig shipped in from America that is going to make everybody POOP THEIR PANTS AND PANTIES. Apologies to the group Intense, from AWOL and the Ministry Of Sound. They were not given credit on the album for the Fire VIP Remix which was a joint effort by Dr S. Gachet and Intense. It was not printed on the album, CD, etc. so will make amends on AWOL Live in the not too distant future. If you would like to catch up with any of the AWOL Crew, they will be at the Ministry of Sound every Thursday once the new warehouse has opened. Resident DJ's: Dr S. Gachet Micky Finn Randall Kenny Ken Darren Jay MC's: GQ and Fearless. Innovation at the SW1 Club Saturday 29th July Hot Hot Hot! DJ's were playing music ranging from Drum & Bass, Intelligent and Hard Step - (No Ragga Jungle)! Vibes were excellent, even though extremely hot that night. The DJ I heard before my set was Grooverider who played a combination of Hard Step, Intelligent and Jazzy strange and twisted beats, which totally moved everyone in the club including myself. Chemistry and Storm played a combination of Drum & Bass and Hard Step and kept the crowd on their toes. Chemistry and Storm have come a long way and are finally getting the recognition they so rightly deserve. My opinion on the Jungle scene I am not alone with particular thoughts on the Jungle scene. There are a lot of people who love Jungle music, but unfortunately there are a few undesirables on the scene that spoil it for the rest. A load of these people get on their gangster tips and intimidate genuine Ravers. That's why they only have to have one bad experience to do with Jungle and will not return. They will buy the records and listen to the music elsewhere, but are too paranoid to go to the Raves. I feel strongly for the people that this happens to. The minority few out there who spoil it for the rest they need to fix up or get out because it could ruin the scene. Gachet's Top 5 Prescriptions Artist - Label 1. Roll On - Andy C - Ram Records. 2. Universal Horn - Jam Master Jay - Moving Shadow Records. 3. PFM - LTJ Bukem - Good Looking Records. 4. Abstract Jazz - Johnny L - XL Records. 5. Daheads Ringing - Cantankerous - White label. Watch out for the following up and coming DJ's: Swift & Zinc DJ Bailey Madam Zu in Cornwall DJ Daisy DJ Probe DJ Flash. Tracks forthcoming on Labello Blanco Records and Urban Gorilla Track - Artist - Release Date - Label. 1. Legalised - Ragga Worries & Jooxie Knife - Late August - LB. 2. Family Foundation Express Yourself 1995 Rmx - Ray Keith & Nookie & Rouge Unit Rmxs - September - UG. 3. Bugcann - 9 Millimetres Rmxs - September - UG. 4. New Trax City World Is A Getto - Urban Shakedown Rmx' - Late September - UG. 5. Good To You - Rouge Unit versus The Dream Team featuring the voice of Princess - Late September - UG. 6. Where Are The Children - 88.3 featuring the voice of J Ella Ruth -November - UG. 7. Loosing My Mind Rmxs - City Connection - November - UG. 8. Slowdown Rmxs - Macka Brown featuring Robbie Craig - November - UG. Surgery closed until next month

the self evident truth of an intuitive mind Released 11th September 95 'Be prepared for one helluva debut Album'... (Record Mirror) DRUM & BASS from all sides... The brand new Debut Albums from T Power & Shy FX JUNGLE WELCOME TO THE NEW SCHOOL Released 4th September 95 'Shy is definately the underground breakbeat scientist' (NME) Just an Example Avaliable on CD, MC and Limited edition DJ Friendly Double Vinyl from Sound Of the Underground Records Distributed exclusively by SRD

No U-Turn & Saigon Records Being premature is not something I can normally put my hand up to and boast about, but today instead of turning up for my arranged appointment at two thirty, I decided to arrive at two. I knocked and knocked but nobody was home. The idea of arriving early was so I could keep another appointment at three, but some may say that I made a rod for my own back. So, as not to throw good time after bad, I decided to head off and keep the three o'clock appointment, which I managed to do. After a few chats on the phone I managed to return to the No U-Turn offices at about seven thirty that evening. Amazing isn't it. I set off on time so I can arrive half an hour early and I end up being almost five hours late. Upon arrival at the offices come 'studio', I was greeted with friendly faces, warm handshakes, a decent cuppa and a large electric fan to cool off with. This was followed by an encore of apologies from the gentlemen present for bearing their legs, and no girls (before my phone starts ringing). I'm not referring to their third legs either. The boys were wearing shorts due to the sweltering heat, and fair play to them is what I say. Anyway, let's move along. With my tea in one hand and my dictation machine in the other, I manage to collar Nico and persuade him to give us the lowdown on the label and from whence it came. Here's the story..... No U-Turn was originally set up by Nico and his friend, Neil. Neil put up the finances to set up the studio and get things going, but has now parted company from the label. The label is now run by Nico, Fiona and Pete. Nico developed his own interest in music at about the age of ten, listening to the Rolling Stones. Then - eight years later at the ripe old age of eighteen he managed to get himself a job as a 'tape op' at the Marquee Studios in London. Although the bulk of his work may have been making tea, he managed to learn about the professional side of the recording industry and this led to him becoming an engineer. But this was not to last. Nico eventually got fed up with the idea of working for a large record company, where you spent five months working on an album and decided to give it up and go travelling all around the world. Then in 1992, things changed: "About three years ago, I took the right drugs and heard the music and it all just seemed to work. I have been into it since then." Nico then spent a year in his loft learning how to use an S1000 and a CuBase. He wanted to know how to use it in such a way that a DJ could walk in and they could both talk the same language. He feels that this is one of the big problems at the moment as there are very few engineers who understand what 'amen' or 're-space' mean. He spent the year just trying to understand where DJ's were coming from, as he isn't one himself. Ed Rush was one of the main influences behind the label and was responsible for introducing Nico to 'Hardcore'. He turned up at Nico's house one day with some records and put on a tune which as Nico describes was, 'unlike anything he had ever heard before'. After this, Ed and Nico got together and started making some tunes. The first couple were released with no real label name but eventually they decided to think of a name which people could recognise their music by. The names of the labels were both chosen for very different reasons. 'No U-Turn' came from the actual street sign which you so often come across in London. eternity 20

Label Profile Nico wanted to use it as he said that the label felt like a 'very London thing' at the time, and that they could get a buzz out of seeing their logo everywhere. 'Saigon' on the other hand came from Nico's love of the film 'Apocalypse Now' (remember that one) and also because his girlfriend was in a show called 'Miss Saigon' at the time. The first release which came out on No U-Turn was a track called 'Can't hold it'. This was more on a House tip which was combined with Breakbeat. It did really well and to this day has done better than any tune which he has put out since. The first real No U-Turn record however was a tune called 'Bludclot Artattack' by Ed Rush, and this has set the pace for the other tunes that have followed. The difference between the two labels is only minor. No U-Turn is used to release the more 'Ragga' orientated tunes where as with 'Saigon', Nico is prepared to 'gamble' for use of a better word. The stuff which comes out on Saigon is more experimental. But don't be fooled into thinking that Saigon is the poorer label. Just listen to the Dom & Roland 'Definition ep' or the latest test pressing by Special K and you will be more than impressed by the originality of the music which goes out on the Saigon label. But what actually prompted the start of the Saigon label? "It really came from this friend of mine called Dom, as in Dom & Roland. Roland is his sampler by the way so there is only one of him. We had been making music for quite a while, and he made something which I thought was good, but it didn't fit with No U-Turn. I still thought that it should be a good record so Saigon was set up." Ed Rush, Kane, DJ Buz and DJ Gunshot have all had releases out on the No U-Turn label, but there are no specific DJ's who they actually use to promote their material, as Nico explains. "I rely on the DJ who I am making the tune with to have his favourite DJ's or people he knows to promote his tune. I don't really have any favourites, I just rely on what other people tell me." So what about dub plates. Who do you allow to cut your stuff? "The latest release, 'Guncheck', I left entirely to Ed Rush to decide who gets what and when. I think Frost got one first of all and then he gave it to the DJ's who were playing on 'Kiss' on the Wednesday show. It went out for about four weeks with those guys, and then guys like Randall and Grooverider got a plate. There will probably be test presses maybe three months after the initial plate came out." Contrary to what many may think, Nico doesn't see any particular advantage in being based in London. "For what I actually do, I don't see any reason to be in London. It is very easy to get a record or DAT from anywhere in the world within twenty four hours. The best thing about it is being part of a group of people who can all talk the same language. It doesn't matter where you live. If you can talk to people around you about the music then there is a scene. It has got its bonuses and it has got its disadvantages." Well one of the best things about this style of music is that there seems to be plenty of demand for it abroad at the moment. No U-Turn regularly receive phone calls from DJ's in Canada, Germany, America, Australia and Iceland all wanting the latest release. Only recently when Nico went to America he saw a release which had only just put out a week earlier in London, in a shop in LA. This just goes to show the kind of demand that No U-Turn and Saigon are facing from music lovers out there - wherever they may be. As we bring the label profile to an end, I will leave the final words to Nico. "The label isn't actually the important thing to me. The important thing is the whole scene and vibe of people making music. It is getting out there for other people to check out without there having to be loads of boardroom meetings and discussions. As long as I get to make music and keep being able to put it out, I am happy." Nico would like to give special thanks to Ed Rush, who he feels all of this is down to and also Neil, Peter, Fiona and basically anyone who he has worked with and understands the way he works. Forthcoming releases: Guncheck - No U-Turn Records (Cat no. NUT 12) Release date : end of September Written & Conducted by DJ Weasel (Tel: 0378 259620) eternity 21

It just has to be one of the hottest days this year and I have managed to make my way to Bethnal Green in the Eastern part of London. Sitting here in the sun soaked streets I await the arrival of 'The Captain' aka Ellis Dee or better known to many, (especially before his DJ'ing career) as Roy Collins. A white BMW convertible glides towards my direction - The Captain has arrived. After a brief introduction, cool drinks were the order of the day as we departed to 'The Captains' bunker (that's a hole in the ground, for them that don't know : ie, Roy's studio). Being an animal of the weasel kind I managed to get into the bunker quite easily - but I'll tell you now, if you're eighteen stone or have an abnormal body shape - don't attempt it. It's a name nobody in the scene can deny ever having heard of, basically because it has been there from the beginning - from the year dot. Just go away and look at your earliest flyers and you'll will see what I mean. Roy's interest in music first developed at the age of thirteen. That was when he first acknowledged a serious interest in music; buying records and doing a bit of music in school. The records which he was buying then were soul and dance, but not your, 'love ballad stuff', as he so aptly puts it, but your more dancey stuff'. In 1987 Roy heard Acid music on the radio for the first time and hated it. "When I first started playing music it was Acid. It wasn't House music really. I used to hear it on the radio and I used to hate it. I couldn't stand it at all. That was in 1987. Then I went out to a Rave one night and that was it. I just saw what the music could do, I was hooked on it then." Roy first actually started DJ'ing by doing people's parties in halls etc at the age of fifteen. Both he and his mate used to have a Reggae sound system which they used just to do small venues, but things changed when Acid House took Britain by storm. "When the Acid House scene came around, we knew someone who had a garage over in South London, and we converted it into a Rave club. We had that going for about 6 months before the police raided it. It was in our place at the Elephant and Castle that I actually first got recognised. The first night we did it I played from ten o'clock at night until eight the next morning. I did this with about a hundred pounds worth of records, by playing the A sides then the B sides. It was whilst this club was running that I thought of the name 'Ellis Dee', and from then people started asking me to play at parties for 'em. That was how Ellis Dee was born basically." Roy never actually got one big break which changed his career over-night because it was a gradual thing. It just got bigger with time. Whilst he was running his own Raves down at the Elephant and Castle, people were approaching him to play at their events, so when the police closed his place down it wasn't the 'be all and end all' of his career. "I started off by doing little warehouse parties and it gradually got bigger and bigger. I just progressed with it. It wasn't as if I was doing a small place and then all of a sudden I was banged in front of a ten thousand crowd. It just went up gradually." Although the Acid House scene was in its early days, there were still DJ's back then who were inspiring Roy.

with Ellis Dee "One of the main people who used to do it for me was a DJ called Colin Hudd. He is still DJ'ing now I think. In them days there weren't many people who could move the cross fader like Colin Hudd could, I'm telling you. I used to stand and watch him down at Rage, and he was probably one of my main influences." In 1987, Roy gave up his normal day time jobs which varied from motorcycle despatch and van deliveries to running his own garage, to pursue his DJ'ing career. "Because our club was doing so well, at the end of 87 I didn't need to work to be honest. We used to charge a fiver on the door in them days but it was just packed, honestly. People used to be climbing in from all over the place. We'd lock the door because there would be too many people in there and then all of a sudden they would be climbing over the back and everything. It was just murder." It was just after this that Roy found himself playing in one of London's pirate stations - 'Sunrise'. Each weekday, Monday to Friday, between twelve and two, Roy was dropping the latest tunes to the listeners. Although after two years he decided to come off because it was getting to be 'too much' for him. Although much of his vinyl could be purchased at the likes of Wired For Sound, and Blackmarket, Roy felt forced to join the ranks of the 'dub plate' army. "To be honest I did try to steer clear of the dub plates because basically they didn't produce a very good sound. But you have to have the new tunes nowadays and the only way to do it is via dub plates really. So nine out of ten are dub plates. I get quite a lot of vinyl though the post but I get a lot of shit as well (ha ha!)" Well as you could expect, Roy wasted no time in getting involved in the production side of things. His first tune was produced with a group called ' Rhythm Section' (which he was part of) called 'Check Out The Bass.' This managed to sell about two and a half thousand which wasn't bad for a first release. After this they managed to produce about another eight EP's which sold pretty well. But, by far their best release to date was an EP called 'Coming on Strong' which was released on their own label 'Rhythm Section Recordings.' This sold almost 2,000 copies and is still being asked for today. So with all this success why did Rhythm Section split? "A friend of mine bought a house off some blokes who were doing some music and he said that I should go around there and see them. The music that they were doing was good but it wasn't the sort of stuff that could be played at Raves, so I went around there and linked up with them." "Three months later we came up with this tune called 'Check Out The Bass' later followed by about eight EP's. But when the music started getting sort of ramified, like when the speech was going up and it was getting like chipmunk vocals we thought we would stop doing anything else because we weren't into it. We tried a couple of House things but we weren't really pleased with those, so we stopped doing anything under that name." Although it was rumoured that Roy was playing more on the 'happy' tip (much to his amusement) this was just a phase as he goes on to explain. "When all this music went dark and moody, the only alternative to me at this point was the 'happy' stuff really. The happy stuff was getting a bit cheesy for me even then but I didn't like the dark and moody stuff at all. But the drum and bass stuff which is around now is so much more credible, half of it has got a decent bit of music in, so that was when I decided to change. It just goes to show how good the dark and moody stuff was because it was only around for about a year. It's just a shame that the Jungle which we are playing now didn't come in when the moody stuff came in. If you dropped one of those records in a Rave now people would just stand and look at you and think 'what's going on here'? It was terrible stuff." Roy now describes his own style as a 'musical drum and bass' but is still under pressure from certain promoters to play on the happy tip. "Promoters do still ask me to play a happy set but I don't do it anymore. I used to do it, like at a teen-rave or somewhere where they are obviously not to be expected to understand the Jungle yet. But I stopped doing that a while ago now because if my heart is not in it then it's pointless doing it. I don't like playing stuff that I don't like." Well with all the confusion over the different music types within the scene, I am sure you can remember when it was all played under one roof. What is your opinion on the way in which it has all split up? "I don't know really, I suppose there are arguments 'for and against'. I can remember years and years ago just after the initial start of the Acid scene I could go to a place and play more or less what I wanted and if I felt that I wanted to play an old pop record, I could play it and probably get away with it. I miss doing that sort of thing. I used to like dropping 'Why' by Carly Simon just after playing an Acid record and they would have it. I was playing that on an original seven inch, but you couldn't do anything that diverse nowadays.

Interview with Ellis Dee Although Roy chose to avoid the question of any favourite DJ's for fear of missing anybody out, producers were a different kettle of fish altogether. "SS is doing really good at the moment. It just seems that he can't do anything wrong. Everything that I have had from SS lately has just been smashing it. Goldie - obviously. Flex and all the boys down at The Underground, by Randall and them - they are turning out some good stuff. I like a lot of the Back 2 Basics stuff at the moment as well as all the Moving Shadow stuff which is really good." There is a lot of confusion in the scene at the moment regarding the involvement of the PRS who as we know will be seeking our royalties for tunes being played/broadcast to the public. Can you shed any light on the subject? "I have been a member of the PRS for ages, ever since I was doing the Rhythm Section stuff. What they mainly do, lets just say is if somebody was playing my record at a club in Scotland, that club is legally supposed to pay royalties to the PRS. Everytime that tune gets played on a radio station or anything like that, the producer who made the record is supposed to get royalties. So, everybody that's making the music now should really be a member of it anyway. But, I do see the point from a promoter's point of view where he doesn't feel he should pay any royalties for records being played. The PRS has been around a long time and that has been standard procedure, but basically the Rave scene has managed to steer clear from it. But when things start to get big, people start looking and saying 'Hold on, you should be paying money for that.'" Well, this does throw us into a state of confusion. I mean 'let he who is without sin cast the first stone' surely a hell of a lot of those records are made up of samples from other people's records anyway, so what happens there? "It all depends who it is. If someone puts a big chunk of someone who was famous into their record then it would matter, but if they weren't all that famous then it wouldn't. It just depends on how much money the other person has got and whether or not they can be bothered to take it to court and all that rubbish. People will always sample off other people and not ask them first." Like many of the other UK DJ's, Roy has taken his DJ'ing talent abroad. He has conquered most of Europe, Canada on two occasions, the USA twice, and Australia. But how does he feel it compares to England. "It's always different when you go abroad because when they are getting you over there they are obviously trying to break new ground and some places that you go to you can see that they are not really ready for it. You can see people on the dance floor thinking 'Oh, is it any good this sort of stuff or not?' It's a bit weird when you go there for the first time. The rest of the world will come around to it sooner or later but it can be a bit embarrassing sometimes going into a club thinking 'Right, I'm really going to do the business here' and everybody just stands around. A few months ago I went to Australia with another DJ, 'Slam', and he plays Happy Hardcore. The first place we did was in Perth and I went on first playing Jungle. They were having it at first and then you could see a few of them drifting away at the edges, so I had to pull some records out of Slams bag and put 'em on to bring them back onto the dance floor." Well that was a close one Are there any other embarrassing moments? "Well, one time I was cueing up a record and I couldn't really hear throught the headphones because the mixer wasn't all that loud. So instead of having the headphone on just one ear I crouched down and had the earphones over both ears to try and listen to the other record. I didn't realise that the record on the other side was jumping. Easy Groove came up and clipped the needle and I said 'No, what are you doing' and he said 'The needle was jumping'. I couldn't hear it whilst I was cueing the other record and apparently it had been going on for quite a while. That was a naughty one! There was another one where I was at a World Dance. I went down to the crowd to shake a few hands and I almost lost my balance and fell off the stage, but to be honest I have been pretty lucky on the embarrassing tip as it goes." And what about your most memorable experience? "Fantazia at Bournemouth. I had done the last set there and it was at a big open air speedway. I was playing from about 60 feet up in the air, the sun was beating down at seven o'clock in the morning and that is my most memorable experience. It sticks in my mind and I'm sure that most people who were at that will remember it as well." Now we are all obviously aware of where the name Ellis Dee came from, but please shed some light on your other aka 'The Captain'. "Well in the early days when I was meeting new people, even if I had seen them for a couple of times, I couldn't remember their name. It was embarrassing. They would come and say 'alright Roy, how are you doing?' and I would think 'Oh what is his name' so when that happened I would just call them captain, like I would say 'Alright Captain'. It would make them feel good and give them a bit of respect. But since then it has gone from one end of the country to the other. I have even been abroad and people have come up to me and said 'Alright Captain' and I think 'Cor Blimey' - The Captain is here. So that is basically how all that came about." Well as we start to raise the drawbridge on the interview (eh Captain!) where do you see the scene going in the next couple of years and what plans do you personally have for the future? "The scene will definitely get stronger as far as the drum and bass and jungle thing goes. There are a lot more majors recognising it, but apart from that there is not a lot you can say about the future until it happens. Personally, I just plan to carry on making music really. I enjoy what I am doing. Oh and I plan to climb Mount Everest, ha ha!" The Captain would like to stand and salute the following - All the promoters especially Nick and Phil from Desire, Jay, Daz and Chris from World Dance, all the DJ's that he has worked with over the years, not forgetting Swan-e, Alivin (DJ Fly) and Aphrodite. As we were just parting company and saying our goodbyes Roy says 'Oh, what is your name again.' I just chuckled and retorted 'Just call me Captain.' On behalf of Eternity I salute 'the Captain' for giving us a most pleasurable afternoon. Thank you! Interview written and conducted by DJ Weasel 'I started off by doing little warehouse parties and it just gradually got bigger and bigger.'

EQUINOX @ Millwaukees friday 30th june 1995 A NEW ERA COMMENCES WITH THE NEW HAPPY ARENA. LOCATED AT SOULDROP TURN ON THE A16 BETWEEN BEDFORD AND RUSHDEN Milwaukee's is a club that holds plenty of memories for me. Last summer I hit Milwaukee's on a regular basis and from the first time I felt warmth there on arrival. I hadn't been over to Milwaukee's for a while so I was just bursting to be back to the club that really was the cause of my soul dropping a turn. When I found out there was a new Happy Room opening there I thought it was the ideal opportunity for me to review the club that holds so much memorabilia for me. Previous to the new Happy Room opening, Milwaukee's was labelled for being solely a Jungle Club. I fail to agree with this as DJ's such as Dougal and Vibes were often on the line-up. You can hardly label Dougal or Vibes as being Jungle DJ's. Also the atmosphere in Milwaukee's is far from being moody and the vibes seem similar to those found in Happy Rooms. On my arrival I was greeted as always by the friendliest of security. I think the general impression is that if you're of the female gender then you get don't grief from security. I can honestly say though I've never known anyone of either gender getting hassle from the security at Milwaukee's. Also to be greeted with a smile instead of a grimace sure does make a difference and definitely enhances the feel to the place. I found that the layout had changed, obviously with the opening of the new room. There is now a separate chill out area that allows you to chill out properly, before Milwaukee's was very hot so this is definitely a good alteration. The Jungle room is slightly smaller than before but still large enough. The Happy Room is fairly small in comparison and it also struck me as being very brightly lit. I did hear others make this comment. The decor is interesting to say the least, decorated in bright red and yellow squares and has the usual selection of lighting. Personally I'd like to see the Hardcore in the Jungle room and vice versa. Maybe I'm just a tad biased though. As always I darted from one arena to another meeting all and sundry on my travels. eternity 46

I started off in the Jungle Room with Stevie E Wonder doing his set. It was great to feel the buzz from the Milwaukee's sound system once again. It got me moving almost as soon as I walked in, even through the Jungle Steve E played was not quite my taste. Now Randall's set was a totally different story, playing my kind of Jungle. The tracks he played definitely worked well with the 25K sound system. The other Jungle DJ's for the night were Grooverider, Rap, Mickey Finn, Ellis Dee and Hardcore Massive, although I would have to say Randall's set was the one that stood out most to me. In the Hardcore Arena DJ's Vibes, Fat Controller, Dominate, DJ Unity and Mastergroove mixed for our pleasure. Sy was on the flyer for the event but tells us he wasn't actually booked. I had the pleasure of watching him scratch in Hyperbolic a couple of months ago, it was a totally blinding and his set didn't lose my attention once. Respect to a musician at work, but it was a shame you weren't there! When first entering the Happy Room it was almost empty, but by midnight things had picked up and people were stomping to Happy Hardcore. It was the Fat Controller that picked things up and followed by Vibes he sent me over the top. The Fat Controller's got hold of me so much that before I knew it I was behind the decks seeing for myself what was actually being mixed. Remember his classic track, "In Complete Darkness". If you know the track I mean you'll be pleased to know that there is a remix of it out in approximately 3 weeks. Whilst the Fat Controller was still mixing I had the sudden urge to give the DJ some well deserved appreciation, so I talked MC Lust into handing over the mic!! couldn't help myself!! The last Happy set was played by Vibes and I said it really did take me over the top. The tunes Vibes played were a varied mix of Happy and Bouncy Techno, the right combination. No wonder he gets so many bookings, he most certainly knows what a crowd wants to hear. Vibes is an apt DJ name for him because he puts out excellent vibes! He's always got time for Ravers. I was told he was dancing in the crowd at Slamin Vinyl before coming to Milwaukee's that night. Nice one Vibes!!! The last track he played was just what was needed to finish with. It started with some vocals of Madonna's and then broke into a Bouncy Techno track. The right ending to what turned out to be an eventful night, to say the least. I really do hope this little club gets the following it deserves with the changes made. Anyway try it for yourself, it's definitely worth dropping in at Souldrop Turn, just to see if your Soul drops and Turns like mine always does!! Respect to Milwaukee's, your attitude is the right one. Also shout to Des - Club owner, Paul - security, Freefall, Fat Controller, Shane Vibes, MC Lust, Swift, Rowdy, Sox, Rich, Trace, H, Naomi, Noise, Scot Wilson, Express and the absent DJ Sy. Also Geoff from Bedford's pirate radio. Not forgetting Andy the photographer and Gopher. Elaine, making the most of the Summer of Love!!! Photography by: Andrew Southard eternity 47

Intelligent Minds The Ostrich Syndrome - (is it worth sticking your neck out?). Embrace the truth within yourself, imagine and discover any good from bad and find it's all a matter of opinion, 'INTELLIGENCE CONQUERS IGNORANCE' (everlasting iguanas). Imagine your sights have been obscured by a fog, thus allowing you a foresight and vision to make the decisions you have already have delayed. We were obscured until we found a big map in McDonalds (you can probably imagine where we ended up, yeah Burger King, ha!), but with these decisions, the approach can appear to be constructive in a turning point which can incidentally open a wider understanding of the various styles of communication. Categorising has played a major part towards the many different opinions in which things change the life at one stage or another. Being lead to believe that certain things are disappearing and gradually disintegrating to nothing, in this case, not! It doesn't mean to say everything changes completely, but to reappear in a different form. (remember the saying Hula Hoops are round and they'll be around forever?). Many moons ago the scene split to what it is today. In our opinion it's due to progression and the qualities in which maturity and technology plays a key part in bringing the Jungle field to where it is today. The Jungle scene is infectious in a way, that's the reason why so many people want to talk about it and to get involved in an ever increasing business. What with producers and DJ's from other fields of music taking part, it's striving to sights of the most highest respectable nature. This is like it's receiving the recognition as being innovative and creative in its present form, with standards getting more competitive and higher as it progresses forward on to a promising future. The scene's not splitting but spreading its tentacles throughout the other parts that others have failed to reach (Heineken, respect. That reached BIG TIME). We don't have to prove anything to anyone to show it's alive and kicking, we enjoy what is there. Like various other aspects throughout the scene, most are blown out of proportion! Don't believe everything which is written or said. Make your own assumptions on what's happening around you. Another opinion with styles of music being named as Intelligent, Ambient, Drum & Bass or whatever you want to call it, even though people use these names it is a way of understanding and identifying the matters of personal taste and preference towards a style of music. Describing them this way you can relate to what kind of music preferred. That's a matter of opinion we like to put forward, not everyone will agree, think about it! The same goes with other forms of music in the various other dance spectrums. People should not dictate what is and what isn't, it's a matter of choice which an individual can decide. In everyday life of things are set in their ways and only you can decide whether to get caught up in that network. TO THOSE THAT KNOW WHO LIKE TO FLOW JUST LET GO Remember - Don't stick your neck out too far, you'll end up like an OSTRICH? Thanks for all the correspondence and support (and disagreements), if you have anything which brings to mind, drop us a line or two, to: Exorcist & Model c/o Blackmarket Records 25 D'Arblay Street London W1. Respects to the MASSIVE Eternity crew, Rebecca and to those that know, Bizzy. eternity 48

RECORD REVIEWS BY DJ G.E. REAL Things are hotting up again, and expect to see some steamers and stompers to be released between now and Christmas. You can be assured if they are going to be slammers then you'll definitely read them here first. Let's do it. Formation Records • Mash Up • The Black Remix. Starting with 'The Mash Up'. The plain dark strings intro is somewhat misleading. It sets your mind in a sombre mood and you think some intelligent business is coming along. Enter the ruffage, jump up and tearin' bassline with simple breaks playing in the background being mechanically chopped up but you really don't notice it happening anyway because the bassline is so predominant. Formation say the 'Black Remix' was that good they had to have it on their label. It's mad nasty and has a wicked effect of making you want to get groovy with the beats that play alongside it. 'I Know You're Going To Dig This' vocal sample introduces the tear down Drum & Bass section and dancehall mania will follow. Greensleeves Records • Ridly Don • The Terrestrial Barrington Levy • Here I Come. You simply must get your hands on Ridly Dons - 'The Terrestrial' and rinse it out. When you hear it for the first time you might think it's just another Jungle cover version from the all time Reggae label - 'Greensleeves'. Ignore it at your own peril. The tune is simple enough to understand, Ragga lyrics, hardstep drums and catchy bassline plus the 'E.T' phone home' alien voice being played occasionally but I've played it out on the circuit and request for rewinds follow. It surprised me anyway. 'Here I Come' by Barrington Levy is another tearin' tune which deserves to be played. Mr Levy's wailing lyrics adds such good flavour to the tune with the rhythm track having a good hook to it. Definitely a dancehall tune. Suburban Base • Remare R.I.P (Hype/Remare remixes). The long awaited remixes to 'RIP' are here with formidable remixes by the main man DJ Hype and Remare who created the original. The Hype mix no doubt will get played the most but the Remare version is worthy of a play also and then you'll find yourself in two minds as to which remix to play. Play the Remare mix for continuity and the Hype for a change of mood. If you liked the original, you'll froth at the mouth over these remixes. V-Recordings • Physical • Ray Keith remix • Timestretch • Andy C remix The Ray Keith remix of 'Physical' adopts the bassline from the original along with the beats and adding a tuff amen lick to it to get that extra rigidity to the tune. On a par with the original. 'Timestretch' by Andy C uses a simpler approach to the method of remix as not to detract from the original too much. To me this is a good thing because how many times have you heard a remix which has no relation whatsoever to the original?!... It's simple and effective and makes this two track remix EP value for money. S.O.U.R Records • Shy FX • This Style/Gangsta II (L-Double remix) The 'Style' track is just mashing up the place at the moment. When you hear the awesome and rollin' bass drop all massive must shock out to this one, if they don't then they must be deaf or dead or both. Play it and see what I mean. 'Gangsta II' has been touched up by L-Double who has put his usual and unique technique to this classic tune. You'll love both tunes for this is another 12" that makes good value for money. Also coming by Shy FX is the album 'Just Another Example' release date Monday 11th September. No Smokin Records • B-Jam • Funkala B-Jam comes up with another funky hip hop tune mixed in Jungle style and fashion and his second on No Smokin Records. The Intro is very emotive and conjures up images of a man and woman winding up themselves together to the slow rhythm... well it does for me anyway. The breakbeats are not too technical but are rollin' all the same with additional hip hop vocals samples to add that funky touch to it. A very pleasant tune indeed. Unfortunately on the promo I have, the B-side is blank, but I am assured that when released it will have a flip side track that has yet to be named. Unity Records • Stormin Norman • U.N.I.T.Y • Drum Driver • Sing Together Drum Driver • Chest Natty (Smoky Joe/Drum Driver remixes). Fourth, fifth and sixth releases from Unity Records spans across the board from hardstep to vocal and uplifting pianos. First we have Stormin Norman's 'U.N.I.T.Y' which has an overall Reggae feel to it by using sampled riffs and vocals and adding a rollin amen beat over the top but not in any manic style. The bass that plays is also Reggae adopted and gives the tune its unique flavour. 'Good Day' on the flip side is done in similar style and fashion. Drum Driver 'Sing Together' on the second piece of vinyl comes in two mixes, piano and hardstep. The piano version is awesomely pleasing and tuneful with female vocals to add that extra warm atmosphere it creates. You could play this over and over again and not get fed up of it. The hardstep doesn't go over the top or detract from the piano mix on the main side, all that is different is the use of harder breakbeats and a different bass riff which still makes for attractive listening. 'Sky' 95 re-edit, which was previously unavailable, appears on the A-side and combined with 'Chest Natty' on the flip makes this the most tearin' 12" out of three. Beats chopped mechanically, played up and down the octaves and 'Up In The Sky' vocal to give that complete feel. 'Chest Natty' has been remixed by Smokey and Drum Driver. Hard beats, rude boy vocals and jump up Drum & Bass. All these tracks are available August and September 1995. Releases worth purchasing. Keen Volume One. Three quality tracks hinging on the Dreadbass type bassline. You'll like it if that's still your sort of thing. Funky Element - Hip Hop Junkies - Dollar Records Two sexy Jungle/Hip Hop mixes of catchy basslines, rollin' drum beats and rap vocal samples. Must get it if today's type of Drum & Bass is your thing. T. Power - Turquoise/Mutant Jazz remix (DJ Trace) Sour Records. 'Turquoise' on the A side has got a wicked ride to it. It'll mash up any dancehall. Also available in September is T. Power's album titled. 'The Self Evident Truth Of An Intuitive Mind'. Release date Monday 4th. DJ Atom - Energy Sauce Aural Sense Records. Two rip up, hard Drum & Bass tracks. Must check it out and buy. Will reanimate any dancehall. Available from Jumpstart, Tel: 0181 5949314. Technical Itch Recordings Ruff Ride/Deep Sub Simply tearin, ruffage, hardstep drum beats and basslines, must get, must get played and must get rewind. Pure Science - The Misusers EP Strictly Jungle Records. Some more ruffage drums and nasty. Must get if you like it loud and proud. Easy Step/It's over - Ness Records. Heavy soul/funk/jazz influence on both tracks. 'Easy Step' has awesome beats and Reggae vocal licks to add flavour. The Chill Out Zone Hed E.U.K - Tranquility/It's A Dope Thang. This is what I call smart music (notice the absence of the word intelligence?). Warm strings, non-over zealous beats, catchy chords and a rollin' bass riff with a Jazz touch to it. Nice. Jazz Vibes - Lucky (Phatcat and Hipcat mixes) - Strictly Underground Records. Two mixes of an extremely Jazzy and sexy track. The Hipcat is more sombre and creates an atmosphere of a rhythm and blues Jazz club. Must listen to experience the effect. Also available are releases by artists 'Sound Clash', 'Hackney - Hardcore', 'DJ Scoobie' and 'Jungle Warrior'. Check them all out. SDR & Subsonic - Mixed Emotions/Technology (Wax Doctor remix) - Shoe Box Records. Plenty to relax in 'Mixed Emotions'. The changing moods of the song will alter your feelings throughout its duration. Wax Doctor remix adds danceability to 'Technology'. Heaven/Carlito's Way - Creative Source Records. The ultimate in chill out Drum & Bass. Just lay back and relax. Alex Reece - I Want You/B.Boy Flava - Metal Heads. Did you say the above record was the ultimate in chill out. Well, let me correct myself. Endemic Void - The Whole World/Tura The Tide/Infectious/Sub Ether - Language Records. After listening to all these tracks in this months newly formed Chill Out Zone, I'm completely spaced out. 'Endemic Void' have put the icing on the cake and has made me into a total space cadet with these four enervating titles. Competition time again! Well done to those who guessed correctly last month as to which car I drive. This time I'm giving away my CAR as the prize. No, I haven't gone loopy, just feeling enormously generous and I just bought a new one anyway. Runners up will get record promo's, mix tapes and lots of other promotional material that's piling up in my studio. This months question is: What football team do I support? Call: 0121 507 1582 for answers and any other subject you wish to consult me on. Teaser talk: Apologies to all those females who have been offended by Teaser Talk in previous issues and who have been complaining that I've been picking on a particular section of their sex. Well, rest assured, from now on I will make sure you all get a fare share of abuse and irreparable comments. I think that's quite fair... don't you? On a more serious note on the soldiers who fought against and were tortured by the Japanese. If they really expect apologies and compensation, then Britain should do the same for the torture and suffering inflicted on those during the years of the great British empire!!@*! They can start by giving the crown jewels back from where they came. Easy to remember your own pain and suffering. More easily forgotten is when you've inflicted pain onto others. eternity 82

Fabio Record Reviews Funky Horn - Neil Trix - Dub Plate. Neil trix is one of the most gifted artists around. A maker of wonderfully inventive trax. This track is his best this year, a slow deceiving build-up with percussion and vocal snatches the whole track is then turned on its head with the most devastating sax sample I've ever heard. Sounding like Gabriel's horn it rolls the track along like a steam train, with thunderous bass and great production keeping everything in check this track is going to take life at the clubs in the know. Let The Drummer Play - Tango & Pulse. The pace this music is setting at the moment is quite stunning. production values, arrangements and technical styles have come a long way since the early breakbeat days. This track is a prime example. A track that moves - Drum & Bass play off each other, a shrieking sax is filtered through vocal snippets, good use of the apache break and jazzy keyboard stabs. Wonderfully inventive, sultry and seductive at the same time. British music at its best. Neptune - Blame - Dub Plate. Blame just seems to be getting better and better. Around since the start of the breakbeat revolution, Blame has evolved through every stage of the music's journey. This track has the Blame trademarks Techno-esque sound waves, aquatic sounds, spacey keyboard drops and seeping string arrangements. A lovely bass melts down all over the track giving the track a beautifully rounded sound. An essential purchase for those who can handle it. Funk 78 - Motive One - Dub Plate. Funk seems to be creeping its way into today's ghetto bass style whether it's Hardstep, Jungle or Drum & Bass licks everywhere. Funk 78 is one of the best of the current bunch. Mellow keys start the track which then whips into a seriously smoking funk groove. Clipped bass and guitar licks and tight percussion go hand in hand before a great keyboard breaks everything down into a lovely summer groove. One for the Jungle funk elite. Free La Funk remix - JMJ & Richie (PFM remix). Remixing, well a true remix, is a really difficult thing to do. How many remixes outdo the original? Not many! The art of remixing is to leave the true heart of a track there and work around it. This is one of the best remixes I've heard in a long time. The PFM crew have taken JMJ's great original and bettered it. Long breathy vocal edits, rolling amen breaks and the best string drop you'll hear this year. Totally funky deep and soulful. A lesson for all would be remixers and a truly beautiful track. This will be in my end of year top ten. OUT NOW LP MC CD Jungle Book Intelligent Minds of Jungle Vol.1

KNITE FORCE RECORDS INHALE INNOVATION EXHALE IMITATION

PARADISE TUFFNECK ALLNECK ETERNITY 92

INTERVIEW with DJ CLARKEE Clarkee has been a household name in the scene for a good few years now. Being great fans of his lovely hard Techno, Bri & Ade decided to find out just what makes this man tick. Before you could say "Take me to Rotterdam and expose me to Gabba Techno for twelve hours" we had zoomed down to Dance Planet, bundled the good man and his sidekick Rowley into the back of a transit and driven to a remote location, known for the purpose of this interview, only as 'Bri's Place'. Armed with syringes full of Sodium Pentothal (truth drugs, for dimwits) and an unreasonably powerful torch, we proceeded to extract the following highly classified information. It seems it all began for Clarkee in early 89, whilst on holiday in Tenerife, he and Murray (E.S.P) with a few other friends experienced early rave. They enjoyed it so much that they went back three times in all. In between they started going to places like 'The Astoria' and some early illegal parties, like Helter Skelter in Banbury 89. "I just liked the music, before that I listened to anything, Hip Hop, Dance, Rock - anything, but this just captured our attention at the time. Rather than just going to a club and listening to the music, when you actually went out to the illegal ones it was just like a bigger buzz. The people you would meet, the music and the illegality of it all - it just sort of captivated us."Pretty soon Clarkee was a regular at (E.S.P) Milwaukees, watching D.J's like Grooverider & Doc Scott playing. As a result he was buying loads of records every week and thought "Yeah I wouldn't mind a go at that"After purchasing two Technics turntables, without any pitch control, Clarkee started practising. Having no pitch controls meant having to speed up and slow down records by hand. This obviously gave Clarkee an excellent grounding in the art of mixing. As Murray, a close friend, was at this time running Milwaukees he suggested to Clarkee knocking up a tape, if he was good enough he would give him a slot. As a result of this Clarkee got his first break. Playing the warm-up slots at Milwaukees he soon had a good crowd going with him. Soon he was playing the second slot and people would ask why he wasn't on later, but all he could do was to redirect them to Murray. Needless to say after a while the demand for Clarkee was such that he soon had the best slots of the night. Some people have been known to criticise Clarkee for jumping on the Techno bandwagon, but although he hasn't always played Techno, this was his original style."I always used to play European Techno & Italian Techno, sort of Hithouse and things like that. So I did start (off) playing Techno when I first started, bollocks to all those people who say I jumped on the bandwagon". "When the UK Breakbeat scene came along, with acts such as 'Shut up & Dance' and people like that, everyone sort of got dragged into it. Then, two to two and a half years ago I started to get sick of the music, I wasn't enjoying what I was playing. I went back to bringing more and more Techno into my sets and eventually I just thought 'fuck it' I'll just play Techno." Being individual in his style, Clarkee's music is not necessarily influenced by others, although people like Lenny Dee and Scott Brown always inspire him to push the boundaries always just a little further. Really he can only be regarded as a pioneer for the harder style of Techno he is famous for. "I could easily go into a party and play 200bpm, really hard but if it's a Happy Hardcore event then everyone would just stand around and say 'what the fuck's going on!' if you play something on their level and yet still push the boundaries further, then that's what I try and do, rather than going in full steam ahead. I always try to get away with as much as I can without pissing the crowd off." As a pioneer it was only a matter of time before Clarkee would start writing his own tunes. Dance Paradox is the label he is signed to, he has had several tunes out, which have all been received well. Surprisingly one of his most successful being a Jungle/Breakbeat tune which LTJ Bukem and many of London DJ's played. Recently he's done a remix for Hectic Records which hasn't been used yet, cause it's too hard, so Hectic, sort it out!! Clarkee's idea of being offered a recording deal by a major is for someone like 'Industrial Strength' or 'Ruffneck Records' to sign him. If approached by someone like Pete Waterman etc, then he would definitely not sell out. I would do anything they wanted, as long as it was what I wanted to do. They would have to accept the music that I make, I wouldn't tailor my music for mainstream requirements."Clarkee's talents have been spread far & wide recently, with trips out to Switzerland twice, Germany and now America. Whilst in America he played in Baltimore, Cleveland, Washington & New York. They appear to have a 88/89 idea of musical tastes, playing various different styles throughout the night. "All the nights I played at they played House, Hard House, Acid, Trance, Jungle and a bit of Hardcore, it's just like completely different styles all night". When I first started I played Techno, so bollocks to all those people who say I jumped on the 'Bandwagon' eternity 93

INTERVIEW with DJ CLARKEE "It's just like it used to be in this country, so in that respect it was good, it wasn't old music it was Up-Front, on the whole it was wicked actually." Whilst in Cleveland Clarkee was fortunate enough to play a slot in place of Scott Forbush who runs the club there. He DJ's there every week and has played for likes of Mayday and at the Nightmare events so they are quite used to the harder Techno. Clarkee's set went down really well, this was all on a Sunday night, 1500 people rocking to Clarkee on a Sunday night! Caffine one of the biggest promoters in New York also played host to Clarkee and with famous names like Lenny Dee and Frankie Bones being regulars at these events Clarkee really looked forward to playing there. Unfortunately two weeks prior to flying out there the club was closed down by the police. The new venue wasn't really working, they just did not have enough people to fill the warehouse they were using. This was made up for when he played in Washington on a Monday night, about 1200 people were dancing to Garage and House for about 3-4 hours. "I was standing there thinking I've only got Hard Trance & Acid in my box, I thought I better have a few drinks here to settle my nerves, thinking 'Oh shit, I'm going to get lynched here'. After half a pint of Southern Comfort I was half pissed, 5 records before I was due to go on they started trancing it up, finishing off with a couple of Acid tracks. I played Hard Trance & Acid and it went down really well." In October Clarkee will be going back out to America so he obviously did something right to get a return invitation. Clarkee feels that the scene in this country is now stronger than ever, with people like Evolution catering for our future generation and filling the Sanctuary with 2000 kids. Whilst discussing the musical aspect of the industry it soon became apparent to us that Clarkee was none too enthusiastic when it came to segregation of musical tastes. "For me raving is going out & doing something which, although it's commercial now, not everyone is doing. There's a certain element of it still being slightly dodgy. It's not listening to any one sort of music, just the music is a major part of the whole night." He strongly believes that a dance party is about listening to all forms of music as long as it is dance orientated, he agrees that the different DJ's playing different styles is all good. Variety is the spice of life. After intensifying the light somewhat and increasing the dosage of Sodium Pentothal we probed Clarkee's mind further to try and force out of him a view on Techno Purism. "I don't see why there should be any segregation within a genre of music, it's like the essence of Techno is a four four kick drum with opposite hi-hat patterns and experimental noises or whatever. So long as it's within that sort of structure to me it's Techno. I couldn't explain to you what purist techno was because I've got no idea. Everybody's perception of it is going to be different." No joy there then, when asked about Four Beat he feels that some people think four beat is techno. "It's a load of bollocks, all Four Beat is, is Hardcore with a kick drum in it. That will never be Techno, it's just down to the structure, the way the tracks are made. "Clarkee was now sweating, after checking his blood pressure we pressed on. With five years now behind him, he no longer suffers from nerves before he plays, unless of course it's a huge crowd where he hasn't played before, like maybe Rez last year. He regards it as more like excitement rather than nerves. "Once you've done your first mix, you're laughing then, or even the reaction when you come on. If you've got any nerves when you come on and everyone goes ape-shit you think 'Oh I can't go wrong here'. Although sometimes I feel embarrassed that people look up to me." Covering between two and six events per week can be exhausting for Clarkee and it can sometimes take him up until Wednesday to recover, by which time it's time to get ready for the weekend again. Although he does most of the driving himself he also has the support of some good friends. Raging Rowley the Drive Master to name but one of many. Most of the material that is used in Clarkee's set is from Spin-a-Disk records in Northampton, although some of the records he gets are sent to him through the post. Some people say to him 'you play Gabba' but although he does occasionally play Gabba tracks it's not very often and certainly not whole sets of it. Clarkee describes his own style of play as "Bangin' Techno". Aggressive is how his Techno is sometimes described 'Nazti music' etc. 'Pile of Pants!' Some tunes might have obscenities, it's the only true form of Hardcore left - Hard Techno is, everything else has been commercialised into mainstream. Hard Techno will never, ever become commercialised, there will only ever be a hardcore of people who are into it. So if it has got a few expletives in, then that's why it's Hardcore." There are still a few things about the scene which Clarkee feels could be improved. When promoters moan for being asked for a deposit and contract when making a booking, a bit more consideration and hospitality would be appreciated. As the effect of the Sodium Pentothal was starting to wear off, we quickly asked him to express his views on the controversial topic of MC's. "There's a few good MC's. Sharkey, Ribbs. Especially Ribbs, he is also a good DJ, he knows the structure of the music, when the beats are going to roll back in or whatever. That is a very important part of being an MC. If an MC talks over the mix then that pisses me off, you can't hear anything but his voice over the monitor." In the future he would like to make more records in his own studio, maybe do some video production or graphics, also play abroad more. "British crowds are the best though, just for sheer enthusiasm, insanity. I'd rather see a geezer in an E hat, white gloves and glowsticks over some tosser in leather trousers and a tight fuckin vest - any time." Clarkee would now like to thank all the nutters that follow him and support him. Far too many to mention, you know who you are. We hope this insight into this Techno pioneer has been as enjoyable for you as it was for us. Clarkee can be contacted for bookings on 0585 586979 tapes also available. After our lengthy interrogation, a somewhat dazed Clarkee and friend were dropped off at a remote location somewhere near the M6. Hope you got home safe 'n' sound. Abduction & Interview conducted by: Bri & Ade for Eternity.

FORMATION RECORDS Formation Records Proudly Presents HIGHLY RECOMMENDED L.P. OUT IN SEPTEMBER 1995 FORMATS: CD · LP · MC EXCLUSIVE NON RELEASED MATERIAL DJ FRIENDLY DOUBLE PACK VINYL L.P. WITH FREE 95/96 DJ CALENDAR (WITH VINYL ONLY) AVAILABLE FROM: OUR PRICE, HMV, VIRGINS, ANDYS RECORDS, TOWER RECORDS & ALL OTHER LEADING INDEPANDANT DANCE MUSIC SPECIALISTS NEAR YOU INFO LINE: (0116) 253 0048 · FAX: (0116) 262 1080 Distributed By S.R.D. (0181) 802 3000 Formation Merchandise Telephone: (0116) 262 74 75

IN THE MAIN WAREHOUSE SUPREME RANDALL DJ DANCE DR S GACHET DOUGALL VIBES RAMOS GROOVERIDER DJ SY BILLY BUNTER HYPE SLIPMATT MC'S MAGIKA MC MC MAN PARRIS MASSIVE STIXMANN IN THE TECHNODROME MARIE CHANTALL THE AGGRESSOR T23 H.M.S. SCORPIO THE MUSIC MAKER COLIN FAVER CLARKEE LOMAS BRISK MC RIBBZ HELTER SKELTER Saturday 7th October 1995 All night 9 pm till 7 am KEEPIN' THE FIRE BURNIN' September 1989 - September 1995 Over Half a Decade of Dance A no expense spared Spectacular brought to you by a Splendiferous Organisation hurtling through history. A protrusion of Pleasure from the Past, propelled into the Present and Speeding into the Future At The Denbeigh Leisure Park, V7 Saxon Street, Bletchley, Milton Keynes Firstly, we would like to take this opportunity to thank those of you who were lucky enough to get a ticket for our last event, The Best of Both Worlds, and for making it one of the best events of the year, 'This night was absolutely wicked'. If you were one of the unfortunate ones to miss our last Sell-Out Party, then now is your chance to make amends. Helter Skelter, now acknowledged by DJ's and Party People alike, as organisers of some of the Best and most Original Warehouse Dance Parties anywhere in the U.K. Invite YOU to our next All Night Dance Party on Saturday, 7th October. Our purpose will be to send forth, thousands of chosen disciples on an epic 36,000 second, voyage in a spirit of togetherness, secure in the knowledge that their faith has been rewarded. With 22 of the Countries finest D.J.'s performing to delight all your acoustic desires. As always, NO expense has been spared in bringing you Three separate Arena's catering for everybody's tastes. Our production quality has remained unequalled to this day and many are finding it hard to follow the standards we have set. So come and lose yourself in the frenzied excitement of Helter Skelter's own unique encapsulated environment. A most memorable night, is promised, for everyone attending - SEE YOU THERE!!!!! TICKETS £18.00 EACH 24 HOUR CREDIT CARD HOTLINE 0115 9342037 FOR MORE INFORMATION RING 01295 275361