An excellent continuation from this fresh new Hard NRG label. Hardfloor style B-Sides make this a complete package. DJ Mag.
As the reviews show, the hard copy music magazine critics of yesterday took favour of my Hardfloor style ‘Other Sides’, which looking back, helped us get to both sides being Hard NRG by RIB007.
Red Herring – The Captain’s Hardfloor Inspired 303 Workouts
The ‘Red Herring’ is my favourite of the Hardfloor inspired grooved TB-303 slices of Ribs. Listening to it now, I can hear the story going on in there. It even has a Jon ‘Bell’. These tracks saw the need of a second TB-303, and help evolve the boundaries of the Tinrib acid line onslaughts.
Drum Grooves – Chris Edwards
Big thanks to our percussionist,who helped me understand drum grooves at an early stage, especially at the DnB and Garage music experiences @ with us being the only two white guys there, then to have Sunday roast the next day with Kenny Ken and the likes. While electronic drum groove (shuffle) works well, Chris showed how live grooves can be moved in and out of the music on another level with feeling. Swinging it. (Unless of course found huddled on the floor behind the drum kit, trying to work a way out from the drum stand prison bars lol!)
The drum grooves work so well below 140bpm, and paved the way for Captain Tinrib and Steve Thomas’ projects such as
I still have no idea how Chris made it through an hour of the later years 150-155bpm live walls of sound. Moar Cowbell. Full boar with underarm toms. 30 mins solo? Yes, he does. You are a legend and we can safely say we had some great times. Thanks man.
P.S. We still have to finish our track, ‘Gacid – Acid Gash’. Do you have a copy? I’ll have to find it… Its probably on DAT… Let’s debut at the Frog & Nightgown lol…. ready to go again?
Beaufort 8 first play at Trade, London by Tony De Vit:
I remember the first play of this release at Trade. Our true pioneer of the harder side of underground dance music, Tony De Vit, advised to bring an acetate down (20 play only vinyl master,) and he’d play it in the club so we could hear it in full glory. And wow what an experience.
Your Captain lived in Wembley back then, and I caught the first metro line tube into central London in the early hours, fresh, with sleep! It was quite a mission to get into Trade in the early hours, especially to get to the DJ Box, survive the onslaught of coloured strobe lighting, and get noticed without disturbing the DJ’s flow! There could even be a queue to the DJ Box door! When you ventured into the Trade engine room, I remembered it being like another world, with a very different sound to the main venue. With all the excitement, this decompression chamber could spin you right round from such a sudden change of environment! A perfect spot for a DJ to focus. 🙂
After handing the new release to Tony on acetate, a few sherbets later after exploring the club, smiling to friendly faces busting some moves, the sound of this mighty wind blew across the venue! While I thought the track needed something more, it was aimed as an approachable build up tune and Beaufort 8 definitely sat well with the surrounding tracks, accepted by the Turnmills clientele who had never heard it before! A smile on the Captain’s dial. 🙂
This kind of moment was gold for me, giving a free tingling feeling from the result. I still hold fond memories of these experiences.
Whilst daunting to even set foot in such an establishment at first, the atmosphere of Trade and Turnmills was second to none, I loved the Spanish theme when vision came back!
Trade to me was about the music and good times, (with the odd muscle Mary chucked in.)
Music House – Holloway. London’s Underground Dub Plate/ Acetate Institute
The journey of cutting a track onto a 12″ acetate in a ‘dentist’ style waiting room in Holloway was often on the calendar. With our totally different sound to the Carribean Reggae and Old Skool Jungle that is normally shaking the building and cut there, we always gained a few stares of wtf, and who are these guys… Even getting it cut was an achievement with the advanced queuing rules when unknown to us. DnB royalty were often added to the magical VIP queue, however that worked! While we could get the acetate cut at a tidy establishment, we were always attracted to our friends Leon and Paul at Music House, Holloway! Rough & ready, as underground as you can get. A great service.
With the new digital age, and no need for a physical piece of vinyl to test your new music out in a venue, I imagine this would be very hard to repeat. The only way you could hear the latest new track early before its release was to follow the DJ venue to venue, to hear he who holds the acetate!
I hope you find this shared music process of yesteryear of interest. Captain Tinrib. x
A documentary of Music House’s service to the underground dance music scene: