goldie

Goldie - Autobiography Some people might call what I do drum 'n' bass. But I'm not going to narrow it down to what the music industry thinks is commercially viable. I'm not really into narrow thinking. Making this music is like poker. You begin with five cards. You don't play poker with two cards. That's just the rule of the game. Once you learn how to play you can bend the rules. I've been in this game for as long as I can remember, seeking out bits of punk rock, pop and reggae when I was still a kid in Walsall. When slap bass days arrived in the mid eighties I started to get into Loose Ends, Change and Maze travelling for funk all-dayers. I even gave Rastafarianism a shot earning myself the nickname Goldielocks, but then the hip-hop scene blew up and you can't spin on your head if you've got locks. So I said see you later to that! Hip hop allowed me to express myself artistically for the first time. Doing graffiti art made me learn how to make something out of nothing, and it got me involved in the music scene. I spent time in New York exhibiting my work and appeared in Africa Bambatta's feature film 'Bombing' as one of Britain's top graffers. That rocked. In '86 I moved out to Miami and started a business selling engraved gold teeth. By 1990 I was on the move again, to London, where something very special was about to kick off... The club was Rage at Heaven. Everyone was just going for it. The adrenaline was pumping around the place. I heard DJs playing a weird hybrid sound, there was still the late rave stuff but here was a new sound, a mad fusion of the old and new. I'd always been the sort of kid who wanted to belong and felt like I'd found a home. In '92 I produced my first track as Ajax Project while I was doing some design and A&R work for 4Heros's Reinforced label. My next tunes Killermuffin and Menance were put out under my early moniker Rufige Kru1 on the Metalheadz label. But at first I was just this deranged kid at Rage with gold teeth shining, this nutter talking a million miles an hour. I remember clutching the cage, watching Fabio or Grooverider take the record I'd made out of the box and put it on the deck and thinking "Fuck, fuck"! By late '92 a darker sound was taking over. By '93, recording as Metalheadz, I had released my darkcore anthem Terminator, lifting the buzz saw synth riff from Joey Beltram's Mentasm alongside the mutating breakbeats that began to characterise darkcore. It was just like rebelling with the music. The darkn

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UK 242US 61DE 29ES 20HR 16AU 14