Some years ago I worked on a project with one of my idols DJ Supreme from the group HIJACK. If I remember rightly it may have been DJ Woody that put me onto him. I was working on my film, ‘THE MEN & THEIR MUSIC’. This was in the early 2000’s.

Living in Zurich now Supreme sent me some footage over for my project. He later saw the film I was working on alongside the trailer that I had made public at the time. Some years later he asked me to work on a film with him depicting his experience / life and musical journey. For those that may not be familiar with DJ Supreme’s legacy go ask any member of the Skratch Piklz about his influence.

Soops as he known played a massive role in the development of DJing and scratching styles. He and DJ Undercover turned scratching into a language. Most of us got to hear it via the records that came out by them via the group HIJACK. A group that certainly spearheaded alongside the likes of Blade and gunshot the sound Europeans coined Britcore. A term that I really hate.

Why well in those days buying records there was no UK section or USA section. In specialist shops there was the import section, but in those days you would find a hijack record next to Public Enemy record and so forth. The record was measured by weather it was good or bad, and Hijack for me was in the good end of the spectrum of Hip Hop music.

The film was really to mark the departure of supreme from the music scene so that he could go forth and work on new challenges. Instead it sparked a new interest in him and telling the stories of some of contributors to this culture.

One of things I have spoken about many times with the artist I have worked closely with over the years is this thing called ‘Artist’. I have always worked with or been fortunate to be around some people who fall under the title of ‘True Artist’. For me this is not about doing something because it’s cool or because it’s the in thing its where individuals or parties share this common will and calling to create. No matter how old you get or by the media how unpopular you may be today these artists will always have a uncontrollable urge and desire to create.

I think this was the challenges that supreme ended up facing once again. This lead to him working on the recent 25 years Anniversary project putting out the HIJACK LP. Although I was not part of that I watched closely. Me and Soops was working on a project together and in the middle of that I got caught up into a terrible personal situation that I had to leave and deal with. Supreme in that time also faced some personal issues, he was being called and drawn back into making music.   A year ago he played me some of the material. I heard the song with Curoc from the group Son of Noise another group that came in the height of British hip hop. I instantly said that if I would a video it would be for that song.

One year later. Supreme took me out with fader and gave me a call and we discussed about the possibilities of making this video. Right now I’m caught up in rebuilding my home. Living in a building site but still this song is something I wanted to do.

We fixed a day and met up in London to shoot. I would say 2 weeks of planning went into this. Tomsta and Curoc in London picking out some locations. There was some picture I had seen of Supreme and Curoc in Europe wearing the classic double goose a jacket that I have talked about before. A jacket that represents the ultimate golden era image of hip hop. It is a jacket associated with real street credentials. This is jacket that sadly many lost their lives over. So knowing its history I wanted to use this jacket to make a statement. With the right people wearing it, I think viewers will feel the power of these two heavyweights in Hip Hop music and that we could create an iconic image that has been missing for many years in this scene.

My vision was to create a wakeup call for a scene that just felt dry to me, maybe because its my age. I grew up captivated by Hip hop culture; it was always exciting to me, I’m pretty sure for those that also came up in it the same time know what I’m talking about. Those times were times of innovations in sounds, sampling, mixing and scratching. Radio and the press was in your face. The social climate of the time played a huge factor. In the early 80s to have £15 to buy a pair of Nike Bongos was something very special you had to wait a long time to get them. Now people have no hesitation in spending stupid money on Nikes.

It was a time of real crews, posse’s and firms. Hijack always had this image that like Ultras gave you the impression that they were ‘top boys’, not to be messed with. This is what I aimed for in this video. For me the success of this video is owed to the song first, music by Supreme, scratches by Supreme, Renegade and Mada all who were part of that golden age and repped that south London sound, Curoc’s performance played a huge part of this video success, although he was slightly unaware of what was capturing. He delivered the best performance in my opinion for the last 15 years captured on any hip hop video. I have said I challenge anyone to post a video equal to that capturing that gut feeling and iconic imagery of that golden age period and make it now without it looking like it’s a retro video. Everything in this video is right for me. The combination of myself, Supreme, Curoc the right song and additional help and support from Andy Higgs and Tomsta. I cannot forget the cameo’s. Featuring members from Son Of Noise, HQ, Hardnoise, Katch 22 and Standing Ovation this video pays tribute and salutes those that were part of that fantastic sound.

One of the details Im happy we executed was the contrast between the 2 main characters Supreme and Curoc and those stood behind them on the Bridge shot. It’s the little details one should pay attention too. Although very still everyone in the shot apart from Curocs son is a made man. Shaka Shazaam practically caught my eye. When you think back to the 80s and early period of the 90s fashion played a massive part in hip hop culture. This didn’t mean spending lots of money on outfits but creating a look that identified your character or what you was into. The UK in those days had its moment and lead in the way of urban hip hop style. Shaka proved that here in the UK and our 40s that we can still create have very British urban style and have integrity. The contrast between him and the main performers donning the double gooses only helped amplified what I believe will become noted as an iconic performance by Curoc.

It’s a real shame that we do not have the machine or thing industry we once had in this country. The printed press or the magazines like HHC too support projects like this, sadly i feel that’s significant moments likes this will pass unacknowledged by the media. It was a great pleasure directing and editing this video. It was a greater pleasure that it’s been so well received and has lit a fire in so many. I can say for sure this is could be the first page in a new chapter in British Hip Hop.

My part in this project is dedicated to my good friend never forgotten Mark B RiP

Today after reading a post on facebook talking about the Octopus Breakbeats , the DJ tool that later became the Ultimate Breakbeats. I thought Id write this. The significant impact of these records alone did not only change the face and wave of Djing throughout the 80’s they still to this day play as much as an important role as they did when they first came out.

Here in the UK the Mix tape culture of New York played a vital role as did DJ’s such as Cosmic Jam who had first hand experience of what was going on in NYC when Hip Hop was being conceptualized.  The DJ played the most important role in this movement. As you saw in the Diamond D post previous, the art of cutting up breakbeats was born in the Bronx. Dj’s like and ill pick one, BAMBAATA would dig through a wide range of Genre’s of music to select grooves and what we know as breakbeats. These records would be played at the Jams and certain tracks would shine, later becoming the holy grails of breakbeats.

BreakBeat Lenny a record dealer who would go to the jams, caught onto this movement leading onto the development of the Octopus breakbeats. With his team of Diggers and Editors. Break Beat Lou and TR Love lets not forget, they would search out records for these compilations. Lou also known as Louis Flores was the man behind the edits on the records. Lenny the financier.

In the 90s I was filming on VHS the things me and my crew would get up too. I should rephrase it, it was Spara’s Crew. We followed him. This lead me to pursuing my passion for film and things creative.  Now long before there was a Facebook, Myspace or even dial up internet and even Serato I would be shooting film. Ive been consistently doing this for over 20 years. One of the very few people to do so, and probably the one person you never hear of.  I never get interviews nore press, I don’t get sponsorship or funding I do it my self.

As I discussed with my brother in arms Dexter Thibou of the Beatminerz only last week. I created my own lane. Fuck You if you do not give me a chance or believe in my ability or vision. I’m still here. I was into the Zulu Nation ideology, especially in the late 70s and early 80s I liked that. I loved Public Enemy and BDP’s inspiring music. I wanted to become empowered. When the world is against you or you feel like so, you got to stand up and fight for your beliefs. This is my DNA and time has proved that and I still carry the same values.

Shame on all those that read this and the ones that turned there backs on me on the past, if you got a problem see me.

Anyhow what matters is that the real artists, my piers I looked up too believed in me. I want to thank all those that welcomed me into their homes and allowed me to film them.

Above is an extract from one of my early films shot here in the UK and USA. The topic the Ultimate Breakbeats. The impact and influence they had here on us and the impact they had on DJ’s in Mecca New York.

I will say here in the UK, in those days  information to us was very limited. This was shot well before Break Beat Lou and my self befriended each other. He has since cleared up some of the stories behind the records. I do have that film too.

Break Beat Lou will be in the UK over August 2015. If you are interested in booking him – Feel free to contact me.

Enjoy a rare piece of film by my self. I would ask in respect do not go ripping this footage.  Big thankyou to Jazzy Jay, Grandmaster Caz, Charlie Chase, Grand Wizard Theodore, Afrika Bambaata, DJ Pogo, Billy Biznizz, Cutmaster Swift & Casz

Without a shadow of a doubt working with Jazzy Jay has opened some doors for me, especially when it comes to the crew DITC. Over the last 5 years I had built a friendship and relationship with one of my all time idols Diamond D.

Going back to the release of his first solo album. Like many people I was totally blown away from the amazing music and his rhymes. It was an album that fully embodied and represented this Music we call Hip Hop, not only did it capture its time but it gone on to stand the test of time to be known as one of the greatest Hip Hop albums of all time. It became the benchmark for all aspiring producers to one-day reach.

I was one of those aspiring digging in the crates every week producers. I was in a crew made up of me and Mike Richards called ‘the Butcher Shop’. Birmingham City Legend DJ Sparra, former DMC champion, was mentoring me. He was part of a crew called Rerun. Their lead MC was known as Juice, Juice Aleem as most people know him. Leaving Sparra’s home we was discussing Diamond D, 1992 Album ‘ Stunts Blunts and Hip Hop’. This is where I want to be I said, unless I’m this good I cannot put a record out.

Fast forwarding some 18 years later. In which over that time I become more known for film making and documenting this culture. I got to meet Diamond in London. Although our meeting was brief, Diamond become familiar with my work and what I represented.   This lead to me shooting a few things with him that maybe in the near future we will put out in the public domain. A couple DJ sets beautifully shot.

 Diamond then took part in my upcoming film ‘Looking for the Perfect Beat’. Whilst I was shooting the movie, I had painted a portrait of my NYC father Jazzy Jay that Diamond had seen. He liked it and wanted a painting by me for maybe a future record release. Returning back to the UK, I got busy editing the film. Then Diamond announced he was working on his new album, and there was opening for someone to do the album cover. I submitted some artwork, which got selected, leading to Cover artwork of his 2014/15 album THE DIAM PIECE.

Returning back to NYC to try complete filming my project past November 2014 Diamond asked me if I had time to shoot something for him. He asked if I could do something for the track featuring one of the greatest punch line M.C’s Granddaddy I.U. ‘THE GAME’ personally my favorite track on the album had fallen at my feet. For it production value I love the open space D created, the drums are not hard but lyrics, cadence and voice of DADDY I.U give it all the power it needs to be a very big sounding track.

The evening before the shoot, we all coincidentally met at the 41^st Zulu Nation Anniversary held in Harlem.   Along side Daddy I.U, Black Rob, Minnesota , Fred Beanz and Break Beat Lou. Diamond informed me that he had booked out a bar for the shoot and that was to meet 3pm in the Bronx.

The following day joined by Fred Beanz and Breakbeat Lou we met up in the Bronx for the shoot. We had got there before Diamond and crew and arrived at the venue. THE LEGACY BAR where we was met by the owner who was an fantastic host and went out of his way to help and support the shoot.

In classic me style I recruited Fred Beanz to assist me with the shoot and gave him about 10 mins training. Hence his 3 times cameo appearances, a thank you for his efforts and sorry for dropping you in it on my part.

Let take into account that we started the shoot at 3 pm and NYC gets very Dark early that time of year. Time was very limited. To a certain extent Diamond gave me some freedom to try a few things. Some worked some didn’t. Anyhow as a back up plan I met up with I.U to shoot some out door shot very very early one morning.

Returning back to the UK I had done a rough of the video I think the first week I got back. Unfortunately some things happened and I was out the picture until the start of this year. The whole week alongside Diamond we worked together fine tuning this video.

So for all those that have a passion for things creative, keep doing what you do, never give up your dreams or goals, patience is a virtue. Even when things get tough things can happen. Karma.

Whilst in New York last November working on the film I found the time to shoot a video for my friends Johnny Juice’s new project HiCoup.

HiCoup in his own right has been on the circuit for a good while.  I had never met him before the shoot.  I had only heard the E.P that Juice produced.  It’s a fantastic project led by Johnny Juice a accomplished producer and DJ.  Seeing him at work in person I can say that he is no way a beat maker, who churns out track after track asking artists to pick one.  He carefully selects who he works with and grinds in the studio to help develop a sound and artist.  His way is by no means a 1hour take.

There was a song on the E.P that stood out called ‘Crocodile Tears’.  I had spoken to Juice prior to leaving out to NYC and said if there was time Id shoot something for him.  I had been in NYC 2 weeks.  This was my final day.  I still have people to shoot for my project.

The sun was light very bright first thing in the morning, the weather was turning so there was a really nice frost.  Knowing how long things take I suggested to Juice we can shoot 6am in Brooklyn’s Forte Green.  I had shot there earlier on my trip.

HiCoup and manager where based in New Jersey.  I was very surprised when they called me to say there were at my spot dead on time.  We headed out to Forte Green and knocked out the video before 8am.  Only if every shoot could go down as well planned as that.

I had completed the video the first day I arrived back.  Now that HiCoup has approved and posted the video onto Youtube I can post it onto my page, enjoy.

DOWNLOAD THE E.P HERE

These Handz return with this fantastic new release produced by Sparkii Ski and Deejay Grazzhoppa.  Sparkii reminded me that I supplied him the sample for this many years ago.  So maybe my opinion might be slightly one sided.

Its been nearly 2 years since the group formed, Over a albums worth of material and countless singles.  Here is a group i think that needs some serious attention.  One of the very few groups today that structure there songs, including things such things as ‘Bridges’ a long forgotten movement in a song. I did here that there is possible a vinyl release on the horizon  Look forward to that.  We will be stocking that for sure here at king of the beats.

Check out this video. Chris Read called me about this event and was giving me the full lowdown on the project.  He has been able to gain access to Boosey & Hawkes and Cavendish catalogues from the archives of famed library music specialists.  Producers will have access to dig through their entire achieve and pick out music to sample.  In the 90’s and 2000’s Chris was one of the very few people in Birmingham City that really supported my work.

for further information in taking part in the event check out the website  : whosampledthis

D.I.T.C are really getting it together for 2014.  From the much anticipated Diam Piece Album by Diamond D here is the lead single from the soon to be released D.I.T.C remix album. Remixed by DJ Premier who returns here with a very strong piece.

REE DOWNLOAD LINK: ditcent.com/index.php?option=co…id=9&Itemid=155

After being premiered by DJ Premier on his radio show this weekend here is the full track, “Diggin’ In The Crates (DJ Premier Remix)”, available for to stream, including a FREE DOWNLOAD link direct off the new D.I.T.C. website!

The original version of this track is where it all officially began for the D.I.T.C. crew, back in 1991, a full 6 years before “Day One” was released on the crews own label. “Diggin’ In The Crates” featured on the Showbiz & A.G. debut and self pressed joint, the Soul Clap EP…the rest as they say is Bronx Hip-Hop History. For the D.I.T.C. Remix Project, Showbiz called in long time friend and crew member, DJ Premier, who’s absolutely smashed it with this new version.

Fans of this remix are going to WANT the vinyl release, so make sure you subscribe for pre-order info. eepurl.com/dDNmk

The D.I.T.C. Remix Album is dropping on DITC Ent. and Slice Of Spice Records, with CD & Digital available from 7th May, directly from the new D.I.T.C. website (see link below), and Vinyl from Slice Of Spice, soon after, including bonus vinyl and high quality collectible merch. STAY TUNED!