By 1997, drum and bass had truly gone worldwide. DJs were travelling to all different parts of the globe to play this music. I remember in 1997 going to Japan to DJ for the first time, touring different cities, including Tokyo and Nagoya. The energy in Japan was electric, with people going crazy for the music. I remember at the end of gigs, many people coming up to the decks looking for me to sign records and T-shirts, it was insane. It made me realise that drum and bass was getting huge everywhere and people were loving it.
I also remember my sets started featuring a lot of different tracks from V Recordings, the label started by Bryan G and Jumping Jack Frost in the early 90s. In 1997, I was playing a lot of music from two main labels that I released tracks on, Metalheadz and Good Looking Records. But in 1997, my sets started featuring a lot of tracks from V, who had already released some classics. I especially liked V because, like Metalheadz and Good Looking, they had a unique sound, including the infamous Bristol sound created by the likes of Roni Size, DJ Krust and DJ Die, all featured on my new History of Drum and Bass Mix 1997 for @applemusic. 🔥🙏
Club nights like Metalheadz Sunday Sessions at the Blue Note and Speed at the Milk Bar on a Thursday night were also going strong in 1997. I distinctly remember playing at a night called ‘Movement’ at Bar Rumba, Shaftsbury’s, which was put on by Bryan G and a company called Bulldozer. That was a great regular night that featured all the DJs from the drum and bass scene and ran for a good few years. There were a lot of clubs in London that were elevating the music, The End, Turnmills and Bagley’s amongst others. 🎶🎧
1997 cemented strong foundations for the music, club nights and the scene in general. It was clear by now that Drum and Bass was here to stay and was expanding internationally.
Peshay Music
By 1997, drum and bass had truly gone worldwide. DJs were travelling to all different parts of the globe to play this music. I remember in 1997 going to Japan to DJ for the first time, touring different cities, including Tokyo and Nagoya. The energy in Japan was electric, with people going crazy for the music. I remember at the end of gigs, many people coming up to the decks looking for me to sign records and T-shirts, it was insane. It made me realise that drum and bass was getting huge everywhere and people were loving it.
👉: music.apple.com/us/album/the-history-of-drum-and-b…
I also remember my sets started featuring a lot of different tracks from V Recordings, the label started by Bryan G and Jumping Jack Frost in the early 90s. In 1997, I was playing a lot of music from two main labels that I released tracks on, Metalheadz and Good Looking Records. But in 1997, my sets started featuring a lot of tracks from V, who had already released some classics. I especially liked V because, like Metalheadz and Good Looking, they had a unique sound, including the infamous Bristol sound created by the likes of Roni Size, DJ Krust and DJ Die, all featured on my new History of Drum and Bass Mix 1997 for @applemusic. 🔥🙏
Club nights like Metalheadz Sunday Sessions at the Blue Note and Speed at the Milk Bar on a Thursday night were also going strong in 1997. I distinctly remember playing at a night called ‘Movement’ at Bar Rumba, Shaftsbury’s, which was put on by Bryan G and a company called Bulldozer. That was a great regular night that featured all the DJs from the drum and bass scene and ran for a good few years. There were a lot of clubs in London that were elevating the music, The End, Turnmills and Bagley’s amongst others. 🎶🎧
1997 cemented strong foundations for the music, club nights and the scene in general. It was clear by now that Drum and Bass was here to stay and was expanding internationally.
#applemusic #peshay #1997 #thehistoryofdnb #drumandbass
5 months ago | [YT] | 102