This edition goes out to Gary Haisman who passed away this month and Paul ‘Trouble’ Anderson. Gary, never did get that interview for this edition but Rave on!

Centreforce Radio supports ASK FOR ANGELA.

Anyone working in the pub, club, restaurant industries.
A DJ was approached while working by a young girl and asked, “Is Angela working tonight?” – having read about the #AskforAngela initiative he knew instantly what she was referencing, said yes, told her to jump in the DJ booth with him, (she was extremely nervous…) and in turn asked the nearest security guard the same question. Luckily, he too knew, and the young girl was escorted through the back of the venue and into a taxi immediately. Her “date” upon returning from the bathroom was asked to leave by management, he without delay turned violent and security stepped-in.
Basically, #AskforAngela is a scheme in place (established in the UK) which aims at reducing sexual violence and vulnerability by providing WOMEN and MEN with a subtle phrase to assist getting them out of potentially dangerous and helpless situations. First-dates, Tinder-dates or frankly getting home alone after a night out can unfortunately (history-proven) be a risk. I urge all DJs, venues, those in hospitality/night-life to look into the concept and educate yourselves and your staff. It may seem extreme, but sometimes you may be someones only option.
Please share, it could save someone.

So, what another incredible month as we all raced towards another year of opening up presents, to find, yes, more socks and slippers, eat and drink too much and shuffle around the kitchen cooking the crimbo dinner with the sounds of the Centreforce DJ’s on the radio…cheers Peter P you made the cooking easier.

December was certainly an eventful month for Sterling what with DJ Rap, Booker T, Graeme Park and Louie Vega all guest’s on his Saturday show. Sterling also has a bunch of people lined up for 2019 to, so keep it locked. And if you miss a show there will be re-loaded opportunities too, so 2019 is going to keep us all busy.

Beauty and the Beats

Friday 7th was Centreforce ladies night, otherwise known as Beauty and the Beats. A gathering at Centreforce Towers to raise awareness and, some cash for Breast Cancer.
By midnight the ladies efforts had managed to smash their original £500 target and they were kicking down the doors of the £1200 mark. Full credit to Carly, Danielle Montana, Jenny Bean and Haifa, along with the Hazel Minns, who organised the event.

Rage from Chase and Status needs no introduction and we know that this was a big deal for Master Pasha. And this fired off. For sure the Rage will return in 2019.

Original Centreforce DJ Jazzy M had his first guest in too and this was none other than the brilliant Dina Vass. Perry K also had his Raindance show, this included inviting Richard Raindance onto the show to talk about the old days and the new and, being a promoter behind some of the biggest and best raves that went off into the 90’s. On the same night Centreforce welcomed back Roger the Doctor, whom many of us will remember from the station when it first broadcast back in ’89. And then, as if our stomachs were not already swelling, Mark Radford of Audio Rehab made his debut, as did Tenacious and wow!

Street Sounds Christmas Party 19/12/18

The Street Sounds team comprising of Centreforce DJ’s Peter P and Andy Smith, along with Mister Street Sounds himself Morgan Khan took over the studios for their Street Sounds Christmas party. On the night the show was streamed live via Facebook and several artist’s that had been on the label came along to be either interviewed or perform. One such artists was the amazing Georgie Bromfield-now that was special!

A bunch of competition winners also attended on the night, which was nice to happen and there’ll certainly be more of this sort of thing in 2019. Keep it locked to hear the various comps because we may well see you at Centreforce Towers in the future.

The Street Sounds Team with the guests.

Morgan Khan with singer Georgie Bromfield.

Any boxing fans in the gang? For sure there is, so having boxing legend Charlie Magri in the studios as a guest with his son Master Magri was a treat, something special, a proper right hook with some clout!

And so the station pushed onwards toward New Years Eve. 2019 promises much, much more! Keep it locked!

The CENTREFORCE SHOP is open for business. Go the website to have a peek.

https://centreforceradio.com/shop/

There’s a range of brilliant items available, including a limited amount of copies of Specific State ’89, that are signed by a selection of Centreforce DJ’s and the author Ian ‘Snowy’ Snowball. Grab a copy whilst you can!

A WORD FROM The Centreforce Towers

Hazel Minns ‘Part of my role as Marketing Manager is a new role and means I’m responsible for our branding and creating a strong identity for Centreforce Radio that will be instantly recognisable. This is coming together and our latest artwork reflects our vision and values – it’s exciting, strong and bold, all of which encapsulates Centreforce. I love working with our designer Simon, as we bounce ideas off of one another and are on the same page when it comes to design. We are working on producing limited edition branding for 2019 as it’s our 30th year and we are also redesigning our website and both are going to look awesome, we can’t wait to get started!’

IT AINT NOTHING BUT A HOUSE PARTY

1st March, CENTREFORCE WAREHOUSE REVIVAL FOUR: SLIP BACK TO 89 for the all original Centreforce DJ line-up that includes Keith Mac, Roger the Doctor, Danielle Montana, Hugs and Seeker, Pasha, Gary D AND MANY MORE. The party will be held in the Hanger Hackney!

We’re takin you back, right back to 1989 when Centreforce first went on air. This is not to be missed and it probably won’t ever happen again.

One for your diaries: 26th April, Marshall Jefferson’s OFFICIAL BOOK LAUNCH for his autobiography Diary of a DJ. The venue Cargo’s in Shoreditch, the DJ’s: Marshall Jefferson, Terry Farley, Nicky Brown, the Dolly Rockers and more.

This event is powered by Centreforce and we know it’s going to be special. You’re going to want to say you were there the night Marshall Jefferson launched his autobiography. Secure your tickets ASAP!

The Look, See, Delve, BOOK CLUB

DJ RAP-On her new book Intelligent Woman and being the First Lady of Jungle/Drum & Bass.

Pic by Chelone Wolf

The short version of where I grew up is that I was born in Singapore, I’m half Italian and a quarter Irish and a quarter Malay. My mother then married an English guy and he was a general manager for a hotel’s that were all over the world, this meant that we moved a lot and by the age of twelve I had spent time living in about 10 different countries.

I didn’t have a lot of musical influences when I was growing up because I was brought up in a convent. I was training as a classical pianist so the music I had was more Bach and Beethoven for me.

It wasn’t until I was about 12 that I started having musical influences. I got into being a Mod and bands like The Jam and The Who and then Acid House came along. I was in London at this time and started raving in 1986 and this led to going to raves by Energy and Genesis. It was all house during this period and Drum n Bass and Happy Hardcore hadn’t even been invented yet. From this time I got to know the guys from Rat Pack and I think of them as family, along with guys Jumping Jack Frost and LSD-they’re like my brothers on arms.

It was all house music and I would lock onto the pirate radio stations like Centreforce and Fantasy-they were the two biggest ones for me. I was on Fantasy and my partner, I believe was on Centreforce for a little while. The two stations had a friendly rivalry going on back in the day. Pirate radio was how I got my break.

I met DJ Hype in City Sounds and started talking to him about wanting to get into being a DJ. He told me that he knew a guy called Foxy who was behind Fantasy and he helped get me into that scene. My first DJ gig was in a pub for Fantasy.

Before I got into deejaying I had started producing. I had done Ambience-The Adored in 1989 with Geoff B. To promote the record we decided to DJ but on different pirate radio stations because that would ‘spread the word’. I just continued from there and for me its always been producer first and DJ after. My career just kind of sky-rocketed and I went from playing on a pirate to playing everywhere.

Once the scene started introducing new genre’s I got into playing happy hardcore. I was going to a club called AWOL and listening to this darker sound that was being played by DJ’s like Randall and Kenny Ken. I was really attracted to the production of that. At the time I was making records with Aston and I said to him that I really this drum n bass sound and suggested that we combine our styles and make drum n bass music. This led to us making and releasing Spiritual Aura. I felt that drum n bass was more mature than the hardcore stuff. There was something sexy about the darkness of drum n bass and for the first time it was an opportunity to really explore sound design.

I did my album and because of this found myself going to live in America. There had been a song on the album that had caught the ear of an A&R guy called Mick Clark. He’d already signed people like Mantronix, Grooverider and Soul 11 Soul and he knew that I wanted to make records that wasn’t just drum n bass. He got me a deal with Sony, got me producers and we made some great records together-it was an awesome time and I ended up being to play for the likes of Bowie and Green Day. It was also a hard time and I got homesick and I missed my boyfriend.

Billy Bunter asked me to write my book a couple of years ago but I didn’t feel it was time to do it. I didn’t feel ready to deal the things that I felt I needed to deal with. There’s a lot of serious things and then there were changes coming along with things like ME2 and people addressing mental health. There was a movement with people waking up a bit more. I felt this sort of thing created a space for people like me to talk about such things without having people telling you that you’re fucking mad. So, with this in mind I decided it was time for me to write my book. I also felt what I had to say may help other people going through whatever they were going through. But the book is also about a woman who was there at the birth of this dance music scene and who was in with the boys but who got their respect. It’s a story that’s like the Son’s of Anarchy meeting Drum n Bass.

The title Intelligent Woman was linked to the release of the record. It made sense to do that. There were other titles considered but Billy is just a genius and he really cares about what he does and how he markets things. We both connected over that and are both perfectionists.

Intelligent Woman is officially launched on Friday 7th December. Whilst I’m here in the UK I’m hoping to spend some time in the Centreforce Radio studios. Being on Centreforce is one of the things I’ve always wanted to but have never got around to being able to do, so thank you for the opportunity.

BANGERS AND SMASH-FROM THE RAVE-WAVES

DJ RAP-Run Dis Ting. This track was released on Get Hype Records in November. DJ Rap collaboration with Erb N Dub and is described as ‘total dancefloor devastation’. The track also features Scrufizzer, the legendary MC from the UK Grime scene. His vocals add that edge that allows the track to cut like a razor sharp knife and this helps to demand your attention.

Check out Beatport to listen and purchase Run Dis Ting.

DJ Rap ‘It’s important for me to let people know that I am doing new stuff too and am not just stuck in the past.’

FEATURED DJ’S AND MC’s

Introducing this month’s Centreforce family members

Jimi Polo:

I’m from Chicago, the South Side. House music started for me around 1985/86. It was me and Tony Bowie as Libra Libra, we did I Like It and Shake Your Body and I Am Music and we were signed to Chicago Connections Records. It just went on from there.

Because I was from Chicago I went to clubs like Mendel High School and the Music Box. I met Marshall Jefferson at the Crystal Palace, which was located on the south side. They were good times. I did a bit of deejaying back then but it was Tony who could really DJ. I learned a lot from Tony and we were a good team.

In August 1988 I came to London to try and give it a shot there. I had visited London a year earlier with Justine Berkmann, the guy who opened the Ministry of Sound. We hung out a lot around that time. I lived in the UK for a bit but also France, Italy, Germany and at the moment I’m in Croatia. When I first came to the UK the acid house thing was happening. I played out at some of the raves. I got to know Adam (Adamski) and he stepped things up with a harder sound. He was doing the techno sound. People put labels on the music we were doing, like acid house, which to this day I still don’t get. I mean us guys back in Chicago had had that sound going on for a few years already. We had guys like Adonis and Bam Bam making that sound already. But we didn’t call it acid.

The UK raves took off and it lasted for a period of time and then it started to cause problems for some people. The raves then started to get shut down and it was harder for people to play. Things then started to change in the early 90’s.

I worked with Marshall on the House of Virus music. We talked and worked some things out. It was such a good thing to work with him because we went back so far. It was a really good experience working with a brother from back home.

I recently did a show on Centreforce Radio and that was fun to do. It was playing vinyl and it was spontaneous. It was good to do and I like what you Centreforce guys are doing.

Jet Boot Jack:

I’m a north west London boy and have been around the Camden area mostly. My interest in music started in my teens. I listened to dance music and got into buying records and going out raving. What really kicked it off for me was Megabass, which was a mix of early house, techno and hip house. It was all mashed up and mixed and I liked that. It was really advanced for the time and I waited keenly for each release.

I liked a lot of different music too: Led Zep, Hendrix and I was having music lessons in classical and jazz. I play bass guitar too, so music has been a big part of my life since I was quite young. But the Megabass stuff really fascinated me.

A couple of years after hearing Megabass I started listening to DJ’s on the radio and dance music was really interesting. I liked all the Prodigy stuff-their music really spoke to me.

I feel lucky that I grew up around Camden because at the time it was the centre of a lot of music scenes. I used to go to Jungle and places like Bagleys. I was around when hardcore transitioned into jungle. Garage was a big deal too and at the time it was really small and there weren’t many tunes available to be played.
I saw how the scene became fragmented. You were either a garage boy or a jungle boy, but I liked and listened to it all. This means I now have a wide knowledge of dance music from that era. I also liked all the hip hop stuff, Tribe Called Quest and Big E.

I then got into producing. It started out as doing it just for my own amusement. It came quite naturally to me. I then got into producing some local rappers and worked on hip hop. I then got into making house music and started putting out vinyl. My music got good support from the likes of Norman Jay.

When the bottom fell out of the vinyl market I switched over to digital. It was a bit like starting from square one again. Myself and a lot of people had to learn everything about this new area. Things seem to get a more competitive too and I got put off of the scene for a while.

All the time I carried on being a DJ and I made mash up’s really just for me to play. In 2015 I made a decision to start giving away my music. I didn’t now what kind of reaction it would get. I was Jet Boot Jack by this time. That was taken from a 1980’s computer game. I liked the connection between boot and bootlegs and jack made sense because of jack as in house music.

The bootlegs I were doing got really good reactions and really took off. People really liked what I was doing and I started banging the tracks out every week. I’ve put out 109 tracks in three years.

I’m now on Centreforce and its so refreshing to fall in with a crowd where there is no competition. Everyone seems to have that old skool mindset and that’s good to be around and to be a part of. It’s special!

BACK CHAT From the Centreforce Family

This months Back Chat with Cymon Eckel of Boy’s Own.

I grew up near Windsor and then when I was nineteen in 1986 I moved up to Battersea. It was because of the Windsor connection that I knew Andy Weatherall and then I met Terry Farley and Steve Mayes through clubbing and going to gigs. Terry was the one from West London and it was him was into the football (Chelsea). The football thing is a classic one for me and the Boy’s Own connection because even now after thirty years, I’m still bumping into people on the dancefloor, who associate me with Chelsea. The thing is Chelsea has been a massive part of my life but I don’t actually follow football, even though all of my family are Chelsea and a lot of my pals are Chelsea.

When I moved into London it was all about the Electro, Go Go and Hip Hop. There was a fantastic warehouse in Lotts Road (near Stamford Bridge) that had a few parties. There was a white guy with long dreadlocks who played this stuff that we really liked. That turned out to be Go Go and a real mixture of influences. It’s no surprise that acid house happened because of this the rich mixture.

House music didn’t exist for me until Shoom. At Shoom you’d hear William Pit and Jibaro. There was such a diverse thing happening in there and that was majorly influenced by Alfredo. The acid house scene then started to get defined from 88 to 89. We were listening to music that was new and fresh to us but had been heard in the states for a much longer time.

It was Terry, Andy, Steve and me who started Boy’s Own. At the time Andy and me were living in a flat together. We were just hanging out and going to places like the Mud Club and the Wag and any of the early warehouse parties that we could find. I’d see people like Gary Haisman and Jonny Rocker and there was a quite a firm of them that included Terry and Steve. A relationship developed between Any, me and Terry and Steve and I think we all went to the Mud Club together and something was sealed. It was Terry and Steve who’d seen The End fanzine and they thought it was brilliant and showed it to Andy and me. The End talked about clothing and politics and incredible books. Hats off to Peter Hooton and those guys because they came up with something really good there.

It was Terry who suggested we start our own magazine. We agreed and would spend hours in our flat, getting stoned, drinking tea and coming up with ridiculous things to put into the magazine. All we had was sheets of paper, handwritten pieces a photocopier. We’d search for images that we’d then cut out to use and electroset. It was far away from desk top publishing but that was how we started Boy’s Own. We’d then go to the Mud Club or Shake and Finger Pop with copies of Boy’s Own under our arms and we’d try to sell them to people. This was in 1986, so pre-acid house.

What was special was the way that youth exuberance, passion for things like music, clothes and football all came together along with other people at that time. It was the stuff that teenage males should be about.

Andy, Terry, Steve and me all had our roles in Boy’s Own. There was a chemistry and we all fitted together on every level. I did a lot of the photography and management and put the parties together, source venues. I’d be the one who went into the city to talk to people. I got the nickname Sir Les of Liggerlot. This was because I was getting into the VIP areas and hanging out with the liggers. Andy did most of the art direction, Steve brought the football element and the left wing politics (we were all socialist minded) and Terry was the mad music head along with football.

There’d be times when you go to someone’s house after a club or a party, you hadn’t known them a few hours earlier and yet when you walked into their place there’d be a copy of Boy’s Own on the coffee table. People identified Boy’s Own as the thing that represented the scene. I think people respected what we were doing and liked what we were doing and they recognised that we weren’t taking ourselves seriously, which at the time stood out because all the clubs took themselves very seriously.

I look back on the Boy’s Own period fondly. It was a wonderful time in my life. There were so many highlights. I remember coming home and there was a message on the phone from Chrissie Hynde asking Andy to do a remix on a song.

And we’re still going and have the Boy’s Own Productions website happening. The fanzine gets published there and there are things like tee shirts available. We also advertise the parties that we are still putting on. We don’t do revival nights, we were never about that. We were always about looking towards the future.

My son Oscar is now involved too. He does a lot of the photographs because that’s what his interest is-he has the right attitude. He’s also heavily influenced by Boy’s Own. His crew, who are all 18/19 are too. They are part of a small under current of London kids who are not part of that flash culture that is influenced by the Kardashians. Oscar and his mates dress down and are really on it musically and watch culture and keep an eye out for the next thing.

Check out www.boysownproductions.com for details on how to by your copy of the Boy’s Own The Complete Fanzines, 1986-92

Keep it locked for the next edition of 883 MAG.

Let’s Get Busy!
Snowy (Centreforce Features and Reviews Editor)