"I think you should play a good combination of vinyl and the latest plates," she said in 1999. Storm was never a dubplate elitist, though. It was face to face there, and if someone turned up, you might be lucky that you were there at that time and they allowed you to cut. It was exciting, I met so many DJs down there: Frosty, Kenny Ken, Shy FX, Roni Size. Because that was the beauty of Music House as well, you’d meet people you’d never met before. "The more you went down there, the more you became part of the community. People would say at Music House, Does anyone know that guy with the gold teeth? Yeah, we do. "People were like, Who are these girls with all these Reinforced dubplates? They go around with this guy with the crazy gold teeth. "That was really important, what dubplates you had in your bag showed where you came from," says DJ Storm. The dubplates a DJ would cut also affirmed their identity to the scene: the music they had access to would reveal a chain of musical and familial connections. If you wanted it, you waited, and it forced interactions, which were great because, after spending five or so hours with someone, you understand them on a different level."
You didn’t send a DAT to them by post or send a cab down there. "Music House brought all the styles together and made you sit together. ‘It forced people to have to sit with they may not normally socialise with," J Majik told Drum & Bass Arena. In the early 90s, more and more DJs began to walk through its hallowed doors.Ī place that rapidly acquired a social dimension, as DJs from all areas of the d&b scene met and got to know each other while they waited in line for their plates to be cut, Music House (and other cutting houses, such as JTS Studio) became an information network and hub in a similar way to pirate radio. While dubplate cutting began in earnest in the UK in the 1980s, it was the Music House cutting facility that popularised making jungle plates. It was a way for DJs to compete and keep crowds coming back, especially during a pre-internet era when pirate radio, raves, and record shops were the only places you could hear new music prior to its release. Just as floor-rumbling bass and reggae samples were highly prized in the jungle scene, so too was having tracks that no one else had. You couldn’t get these tunes, no matter how hard you tried." Groove used to get it first, then me and Randall and Scotty-and that was it. Goldie never used to give his tunes to more than two people. and no one else would have access to them.
He had instant access to Photek, Dillinja. Groove would go and play a set down Blue Note, and some of these tunes would come out eighteen months later. "We had access to music that no one else did, so it was really important that we went out there and did our thing," Fabio continues. ‘That would create a buzz on the track-that’s how you’d do the hype. ‘Groove would play something brand new, and everyone would talk about it,’ explains Fabio. Before the existence of CDJs, a dubplate allowed a DJ to play a just-finished track before its official release-sometimes months and months upfront.
Successful soundsystems in Jamaica, and then in the UK, could draw ever larger crowds with the promise of exclusive, exceptional tracks and the dubplate idea, like other facets of reggae, was carried over to jungle/drum & bass.įabio & Grooverider were the first DJs from the acid-house era to cut their own dubplates-closely followed by Micky Finn. Originally consisting of dub or vocal reggae tracks, having a selection of plates in your record bag was a form of one-upmanship that could give you an edge: after all, the DJ with the baddest tunes wins the battle. An acetate pressing of unreleased music, produced especially for DJs and soundsystems, the dubplate was the secret weapon with which top selectors could annihilate their rivals in a soundclash. Exalted among the many musical innovations that Jamaica has given the world is the dubplate.
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