!! Pause for the Cause: London Rave Adverts 1991-1996 Vol 2 !!

 

Luke Owen of Death Is Not The End has swiftly followed up Pause for the Cause: London Rave Adverts 1991-1996 Vol. 1.  with Pause for the Cause: London Rave Adverts 1991-1996 Vol. 2 - another bumper collection of pirate ads from back in the rave days, including some more audio contributions from me. And here's the blurb I came up with: 

 "Back in the early ‘90s, whenever the pirate radio MC announced “a pause for the cause”, I usually pressed pause on my cassette recorder. That’s something I would regret years later, when ad breaks had become cherished mementos of the hardcore rave era. Luckily, back in the day I often left the tape running while I went off to do something else. So a fair number of ad breaks got captured accidentally for my later delectation. Not nearly enough, though. So in recent years I started combing through the immense number of pirate radio sets archived on the internet.  Sometimes the tracklists would note “ad break” or “ads”, helping to narrow the search. But often I’d just stumble on a bunch in the middle of a pirate show preserved on YouTube or an old skool blog.  A few of my original unintended “saves” and latterday “finds” are included in this wonderful collection by audio archaeologist Luke Owen. It’s the latest in his series of compilations of UK pirate radio advertisements, with this volume focusing on the audio equivalent of the rave flyer: MCs breathlessly hyping a club night or upcoming rave, listing the lineup of deejays and MCs, boasting about hi-tech attractions like lasers and projections, mentioning prices and nearest landmarks to the venue, and occasionally promising “clean toilets” and “tight but polite security” (“sensible security” is another variation). Some of these ads are etched into my brain as lividly as the classic hardcore and jungle tunes of that time. (Most rave ads incorporate snippets of current music, of course – big anthems and obscure “mystery tracks” alike).   Names of deejays ring out like mythological figures: who were Shaggy & Breeze, Kieran the Herbalist, Tinrib, Food Junkie?  Putting on my serious hat for a moment, I think these ads are valuable deposits of sociocultural data, capturing the hustling energy of an underground micro-economy in which promoters, deejays and MCs competed for a larger slice of the raving audience.   But mostly, they are hard hits of pure nostalgic pleasure, amusing and thrilling through their blend of period charm, endearing amateurism,  and contagiously manic excitement about rave music’s forward-surge into an unknown future. The best of these ads give me a memory-rush to rival the top tunes and MC routines of the era."    

You can hear and buy Pause for the Cause Vol. 2 digitally and as a limited-edition cassette at Bandcamp. 

One of my contributions to Pause for the Cause #2. 

Here's my Guardian piece from last year on the first two collections of UK pirate radio adverts that Death Is Not The End put out. 

And here's a longer interview I did with Luke about his label and the interest in pirate radio transmissions.

Since then Death Is Not The End has out a collection of a different era of pirate radio - Brooklyn Pirates: Neighbourhoods in the Sky, 2014-2021 - compiled by David Goren, an audio archivist based in Brooklyn. 

Pause for the Cause: London Rave Adverts 1991-1996 Vol. 1

Luke Owen of Death Is Not The End has just today released a new volume in his compilation series collecting pirate radio ads from the '90s. Here's my blurb for Pause for the Cause: London Rave Adverts 1991-1996 Vol. 1.

 "Back in the early ‘90s, whenever the pirate radio MC announced “a pause for the cause”, I usually pressed pause on my cassette recorder. That’s something I would regret years later, when ad breaks had become cherished mementos of the hardcore rave era. Luckily, back in the day I often left the tape running while I went off to do something else. So a fair number of ad breaks got captured accidentally for my later delectation. Not nearly enough, though. So in recent years I started combing through the immense number of pirate radio sets archived on the internet.  Sometimes the tracklists would note “ad break” or “ads”, helping to narrow the search. But often I’d just stumble on a bunch in the middle of a pirate show preserved on YouTube or an old skool blog.  A few of my original unintended “saves” and latterday “finds” are included in this wonderful collection by audio archaeologist Luke Owen. It’s the latest in his series of compilations of UK pirate radio advertisements, with this volume focusing on the audio equivalent of the rave flyer: MCs breathlessly hyping a club night or upcoming rave, listing the lineup of deejays and MCs, boasting about hi-tech attractions like lasers and projections, mentioning prices and nearest landmarks to the venue, and occasionally promising “clean toilets” and “tight but polite security” (“sensible security” is another variation). Some of these ads are etched into my brain as lividly as the classic hardcore and jungle tunes of that time. (Most rave ads incorporate snippets of current music, of course – big anthems and obscure “mystery tracks” alike).   Names of deejays ring out like mythological figures: who were Shaggy & Breeze, Kieran the Herbalist, Tinrib, Food Junkie?  Putting on my serious hat for a moment, I think these ads are valuable deposits of sociocultural data, capturing the hustling energy of an underground micro-economy in which promoters, deejays and MCs competed for a larger slice of the raving audience.   But mostly, they are hard hits of pure nostalgic pleasure, amusing and thrilling through their blend of period charm, endearing amateurism,  and contagiously manic excitement about rave music’s forward-surge into an unknown future. The best of these ads give me a memory-rush to rival the top tunes and MC routines of the era."    

Here hear -  and buy - Pause for the Cause, which is available digitally and as a limited-edition cassette. 

Death Is Not The End has a regular NTS Radio show and this Sunday Luke will be playing a batch of radio ads not on the new compilation (including a few more of mine). It broadcasts at 8pm GMT on Sunday 10 July, then will be available on the archive via this link sometime early next week.

One of my contributions to Pause for the Cause. 

Here's my Guardian piece from last year on the first two collections of UK pirate radio adverts that Death Is Not The End put out. 

And here's a longer interview I did with Luke about his label and the interest in pirate radio transmissions.

Since then Death Is Not The End has out a collection of a different era of pirate radio - Brooklyn Pirates: Neighbourhoods in the Sky, 2014-2021 - compiled by David Goren, an audio archivist based in Brooklyn. 

talking pirate radio adverts

A tweet from Death Is Not The End saying that the cassette version of London Pirate Radio Adverts 1984-1993 Vol. 2 is shipping out tomorrow reminded me I said I'd run the full chat with audio archivist Luke Owen here. So here it is: 

How did you get interested in pirate radio in general and in pirate radio adverts in particular?

I began tuning in to pirate radio from my early teens in Bristol in the late 90s - there was a lot of action on the dial back then and I was sucked in. It was a portal into the drum and bass/Full Cycle stuff happening in the city when I was too young for the clubs, and it also nurtured my love of reggae, dub and Bollywood soundtracks at a relatively young age. The ads were often infectious and endearingly DIY, and some were memorable to the point of fever loops, I can still remember one or two word for word. 

I came upon the Pirate Radio Archive website a couple of years back, and there I found a trove of recordings from across the 80s and 90s through which I could transport myself back in time to some of those broadcasts I had been brought up on. I had been running Death Is Not The End since 2014 as a record label and NTS radio show focused mostly on "deep digs" into early gospel/blues/folk, field recordings and various archival finds. Coming across these recordings I was immediately stuck by the desire to do something with them, and put together a mixtape for the Blowing Up The Workshop mixblog and subsequently released it on DINTE as a cassette. It was a bit of a left-turn for the label perhaps, but being both archival and field recordings I thought it fit. I'm interested in "folk music" having a broader contemporary remit, and what it can mean in context. To me, recordings like these pirate radio broadcasts can represent archival folk music of sorts - they are raw, impromptu and communal musical experiences. 

For me, the appeal of them is multi-leveled – there’s nostalgia, there’s period charm, there’s the amateur nature of them, some of the comedy ones are genuinely funny…   But I also think they provide a valuable and historically important archive of subculture and British ‘lifeworlds’, especially minority populations (e.g. you have the Greek salon ad on Vol 1 ).

Yes, a lot are hilarious and some to the point of being genuinely a bit unhinged in places... A big part of the uniqueness of pirate radio is in the ads I think - it reflects the alternative culture through the lens of local business and events in a way that often contrasts with the staleness of "commercial" radio as much as the music itself. The whole thing often just seems to thrive on amping up the madness a bit, because they can. The London Pirate Radio Adverts collection was also intriguing from a local history perspective. I've always been interested in the changing landscape of areas, the previous lives of buildings, music venues, long gone record shops etc. By chance a lot of the adverts I collected for this happen to be for clubs and bars in places in South East London and East London that I've come to know quite well since moving here in the mid-noughties so that's another facet of it for me. Also, Immigrant communities making use of pirate radio as a means to supply an essential community service is an inherent element to pirate radio as a whole I think.

I like also the range. You have the slick-aspiring ads (with a tiny bit of Smashy + Nicey about the patter,  quite common with pirate deejays before ’92 when it got a lot more ruffneck and hooligan in vibe -  or they’ll hire that voiceover guy that also appeared in cinema adverts, the one with the incredibly deep voice,  he pops up a few times on your tapes). And then the much more amateurish efforts.  

Redd Pepper? I'm never quite sure whether it's him or an imitator... He sure must have gotten a lot of work around this time regardless. There's another guy who seems to have been the voiceover guy for a large portion of reggae & dancehall/soundclash events in the past couple decades (this is him @ 5.40 on Side A) and is still going strong. I'm going to do my best to track him down, I think I might have a friend of a friend who hired him for an ad once.

I think there's sometimes a conscious effort to get someone with a posh accent (or affecting one) for some of the dances that are billing themselves as classy & exclusive affairs. Then you've got some hilariously oddball voices, and a really bad Scouse impression that I have no idea what it's trying to achieve! I think pirate radio in general is prone to jokes and reference points that only the small group of listeners (or more likely mates of the station and the DJs) are "in" on, and this can bleed through to the ads as much as the chatter.

They often seem to like putting FX on the voice.

Yes, the use of delay on pirate radio station voiceover and adverts seems to be a point of reference that's bled in from sound system culture. I think it also helps the adverts "pop" and the feedback has the handy effect of papering over cracks where they may often sound too muddy and amateurish otherwise. I've also added tape delay here and there to aid with the transitions from one track to the next - the idea was initially for this to have the flow of a mixtape as much as possible.

Most of the ads on pirates were for raves, clubs, records shops, occasionally a compilation or a 12 inch release … But  it’s interesting that quite a few of them are for non-music-related businesses -  there’s one I came across for a bakers, you’ll get ones for hairdressers or a restaurant.  Or on Vol. 1 the shop fittings ad for Trade Equip  and the one for Fidel’s Menswear.

In a way I find the non-music related ads as some of the most intriguing and charming. It shows that the stations were often genuinely part of a thriving localised economy, and not just for soundheads. It seems a bit mad to think of a small high-street business advertising on the radio these days, and I suppose with the advent of social media marketing we're probably seeing the last of small businesses in print advertising to a large degree - it's just not attractive as you don't get to monitor the traffic it's generating and target your audience down to the minutiae, but it leaves a document of that business that can be preserved from a local history perspective (whereas when a business folds their online presence will likely disappear with it).

Even on the music history level alone, though, they are  valuable – there’s a sort of established history of rave where certain legendary clubs get mentioned  over and over (Rage, Labrynth, Innersense) and the same applies to the raves, labels, record shops. But these ads capture just how many clubs, raves etc there were, in all different parts of London or UK… many that have been forgotten or only ran for a short while. And there are addresses, times, prices mentioned.

Yes, the provision of full addresses, and often bus routes and the general specifics for the clubs and venues always gives me a pang of nerdy excitement. The addition of local landmarks, "under this flyover", "next to Tescos" etc. gives me extra info with which I can go sleuthing on Streetview and look at the ghost of the club mentioned in the advert (and for extra nerdery I can swipe backward in time on street view to see it's former guises too).

The raver’s dateline courtesy Chillin FM advert is very interesting and surprising!

Yes I was surprised to come across so many ravers datelines! I wonder if this is something you had come across before? Hooking up and meeting potential partners never struck me as a priority to pilled-up ravers but I must be mistaken... It was relatively before my time, and I suppose it's easy to be swayed by the dominant narrative of early rave being a drug-fuelled oasis away from meat-market bars & clubs, but there was clearly a market for it! I can't help being reminded of Father Ted's priest chatback line whenever I hear it, also.

I think you mentioned in that Crack interview how most people paused the tape when the ads came on…   so there’s a limited number of ad breaks that have survived intact.

Yeah I guess it makes sense that the music is what the majority of the listeners are there for, and the ads can do one - or indeed be edited out later. The sources I had were pretty much all online, so I suppose you could say that a portion of those who have ripped/digitized their tapes didn't stop their recordings when the ads came on, and rather they have cropped them out in the process. But in general it's the same principle as to when you would record a TV show on VHS - a waste of valuable magnetic tape space. 

What number did you accumulate before you started winnowing them down?

Maybe 100 total? It's been a bit of a blur to be honest. At some point I think I was losing it a bit.

It’s good that you have ads that aren’t just rave / hardcore / jungle, but others kind of music that were big then – like mellow house and progressive house etc.

It's easy to imagine pirate radio as exclusively a place for jungle, hardcore, reggae and dancehall etc. but yes it's refreshing. I particularly am interested in the popularity of rare groove and how that fits into the mix. The Under 18s Disco advert strikes me for it's mix up of styles - 'ragga, house, rap & swing'.

What is your favorite ad out of all the ones on the two cassettes?  Or top 2 or 3.

I think probably the Videobox rental shop is up there, it's the faux dialogue that just makes me smile. The Rolls Royce & A Big House in 89 is just fantastic for the list of celebrities who have "been invited", and that you simply need to go into your local hairdresser for £1 tickets.

we'll be back after the ads

Observant readers of these blogs may have noticed my burgeoning interest in the adverts that punctuated the shows on hardcore jungle pirate radio stations. I've been combing through my own tapes (cursing the preponderance of recordings where I pressed pause when the ad break started) and  trawling through sets that are online. The best adverts are distilled slivers of vibe and scene-character, and contain genuine sociohistorical interest. But mostly their nutty nonsense and DIY charm gives me a delicious memory-rush. 

So I was well chuffed to come across a fellow obsessive in Luke Owen, the man behind the archival audio label Death Is Not The End. In the last month or so, Luke has put out London Pirate Radio Adverts, 1984-1993 Vol. 1 and the just-released London Pirate Radio Adverts, 1984-1993 Vol. 2 - both of which are available digitally at a name-your-price rate and for a modest amount as a limited-edition cassette or in CD form. 

Here is my piece for The Guardian  on the compilations, featuring quotes from Luke,  pirate radio historian Stephen Hebditch, and DJ/producer Nick Power who played on Pulse FM and other pirates, and who made one of my favorite ads for his own record store Music Power Records (it can be found on the Vol. 1 compilation).

In a week or so I'll run the full chat with Luke about his project, which I hope will continue. 

And do check out Luke's earlier collection from last year of sound snippets from the Bristol pirate radioscape of the late 90s. 

Three of my favorite pirate ads. 

                                           

The chap who voiced those Telepathy ads (there's a whole series of them running through the entire era) was called Sting and he was the founder of Club Telepathy and also owner-operator of Deja Vu FM. 

Back to Nick Power - as a producer, with DJ Ku - who worked as an assistant in Music Power Records -  he made these little beauties 

                                            

His label Ruff Tuff  & Wicked Stuff also put this minor classic out:

And this little piss-taker

                                        

In addition to his DJing and retail mini-empire (two records shops and store selling disco and sound system equipment), Power - being of Greek-Cypriot background - also pioneered clubbing in Ayia Napa, long before it became a UK Garage destination. 

frozen futures and final sicknesses (see you in 2018)

 

On news stands now, the latest issue of  The Wire contains a long review by me pairing the comeback album by Marc Acardipane a/k.a The Mover with  Sick Music 2018, a compilation of contemporary drum + bass on the Hospital label that I surprised myself by enjoying much more than I'd expected.  As well as an enthused review of two fine records, the piece is an investigation of  the fate of vanguard genres (in this case, gloomcore gabba and D+B) when their accelerationist drive stabilises into a steady state.





The Mover - Undetected Act from the Gloom Chamber.

Also in the April issue, a reet treet for all nuumologists: Michaelangelo Matos's Primer to Pirate Radio Deejay Sets. He's done a fine job laying out the evolution from circa 1989 through to the post-dubstep diaspora and his forensic sifting through the messy mass of archival tapes deposited online by old skool fans has uncovered a trove of true gems. This is probably my favorite of the Matos selections that I've so far checked out.



Finally, in case you missed it, I recently uploaded the best of my own stash of pirate tapes, which I'd digitized some years ago but never got around to turning into YouTube clips.