Click to play
Tell
us
your
part
in
the
Acid
House
parties
and…
and
how
you
got
involved?
Back
in
nine…
early
88
growing
up
in
Blackburn
were
tough
times,
you
know,
politically
it
were
tough
the town
were
drowning
it
in
poverty…
the
ideology
of
entertainment
and
recreational
lifestyle
it
had
a…
it
had
like
a
time
cap
on
that,
you
know
after
2
o’clock
at
night
everything
were on
lockdown
it were
basically
illegal
to
be
out
at
that
time
and
I
think
growing
up
as…
as
a
youngster
at
that
time,
you
know
heavily
influenced by
music
brought
up
in
that
kind
of
background…
my…
my
dad
were…
my dad
sung
my dad…
mum
played
piano
and
I were
the
youngest
in
the
family
and
I
had
this
desire
to
share
music
I
suppose
at
the
time
and
I
look
back
at
it.
You
know
that…
it
was
a
case of like
how
do
we
do
that?
We were
brought
up
in
you
know,
kind
of
like
a
nightclub…
the
nightclubs
in…
in
this
country
at
this
time were
so
structured,
you
know.
The…
the
racial
tension
an’ the
the
violence…
the
and
that’s
what
happened.
That’s
what
were
going
on
in
Blackburn
at
that
time
It were
quite a
violent
town.
But
you
know it
had a really
busy
nightlife.
It
had
about
5
or
6000
…
people
descending
into
Blackburn
town
centre
every
weekend,
but
at
that
time
I
would
just
remember,
you
know,
going
back
to
the
original
question.
How
did
I
get
involved
in that?
I
think
I
got…
it…
we
got
involved
in
that
because
we’d
had
enough.
We’d
had
…
enough
of
going
into
this
kind
of
like…
you
know,
the
nightclubs
and
all
commercialism
behind
it
all
and
stuff…
and
all
the
dress
restrictions.
You
weren’t
allowed
to
do
X
Y
and
Z
and
it
was
just
time…
we
met
in
a
pub
called
Vulcan.
The Vulcan
in
Blackburn,
quite a
famous
pub
it was.
Let’s
just
say
on
the
cultural
level,
you
know
generations
of
people
went
through
that
pub.
And
that’s
where
we
met…
…
in
there
one
afternoon,
and
there
was
a
ahh…
about
half a
dozen
of
us.
We
all
had
a
similarity.
We’ve
had
enough
and
we wanted
to
do
something
ourselves
and
at
that
time
we
weren’t
sure
what
we
wanted
to
do
exactly,
but we wanted
to
do
something…
and
we
wanted
to
create
our
own
kind
of
ethos
around
music
and
stuff…
because
like
I
said,
you
know
that….
for
the
last
couple
of
years
really
gotten
that
idea
of
doing
something,
you
know,
we’d
been
in
Manchester
we’d
…
we’d
been
around
the
sound
systems…
absolutely
amazing
times
even
before
the
Blackburn
rave
scene.
And
it…
were kinda
that gathered
up
inspiration
that
collectively
got
a
few
of
us
together
…
to
make
a
decision
to
put
a
night
on
and
it
was
quite
interesting
at
that
time
because
it
were
like
well
who’s
gonna
…
do
what
you
know,
there’s
5
or
6
that
there…
and well
somebody’s
gotta
…
run
the
door
and
who’s
gonna
…
and
I was
youngest
out
the
5
of
us…
who’s
going
to
play
the
music
and
it
were
just
like…
hand
it
over
and
it
weren’t
something
that
we
planned
to
do
and
and
there’s
another
guy
Mark
Whittaker
with
with
us
and
he’s
older
than
me…
same
again…
heavily
influenced
by
Universal
Sound
and
that’s
what
we
wanted
to
create…
kinda
…
a
Kaleidoscope
of
sound.
…
That’s
always
there…
it’s
nobody
else’s
…
it
it’s
not
restricted.
It’s
not
under
these
governing
laws,
you
know
where
after
2
o’clock.
everything
is
wrote
off.
So
I
think
from
that…
that…
day
making
that
decision
you
know,
unaware
….
of
it
at
that
time
what…
it
went
on
to
potentially…
what
happened
potentially
was…
just
slightly
shift…
shifted
the
whole
dynamics
of
the
nightlife
in
this
country.
Yeah,
and
just
for
those
of
you
who
don’t
know….
people
who
don’t
know you
listen
to
this…
….
What
did
you
….
what…
your
role
became….
was a
DJ…
It did.
It
did
become
a
DJ
it become
a
guy
putting on
records…
and
which
was
an
amazing
thing
at
the
time
because
you
know,
the
the
transition
of
the
format
music…
what
was
going
on
at
that
time…
the
DJ…
It
weren’t
cool.
to
be
a
DJ
back
in
the
day.
It
wasn’t
cool.
It…
only
nerds
become
DJs,
you
know.
And
then
all
of
a
sudden
we
created
this
platform
where
everybody
wants
to
be
DJ,
you
know,
and
I
think
that
in
itself,
you
know,
it
was
just
about
the
sound…
the
sound
that
were
being
generated
a
universal
sound
with
no
rules
behind
it,
you
know,
or
what
the…
what the…
It’s not
Pop
Disco
Funk.
It
was
just
about
bringing
the
idea
collectively
together
with
this
new
beat…
kind
of
4
on
the
floor
sound
that
would
penetrate…
penetrating
our
underground
streets,
you
know
in
the
night
life
and
what
that
it’s
what
we
did.
It
were
like
some
kind
of
like…
it
was
like
we
created
like
a
cult
if…
if…
that’s
the
right
word.
It’s
just
if…
if…
if…
I
think
back
really
to
those…
that
time
I
mean
after
1990
onwards
there
was
a
lot
of
records
coming
out
for…
for
clubs
and
for
raves
but
before
that
it
was
a
bit…
little
bit
limited
wasn’t
it?
Yeah.
It were…
absolutely
…everything
wer’
limited
…and
this
is
why
I
say…
go
back
to
this
kaleidoscope
of sound
what
was
created
outside
of
commercialism…
outside
of
popular
music
you
know,
so
we’re…
not
only
were
the law
broke about
2
o’clock
that
everybody
started
to…
started
to
begin
to
come
out
at
2
o’clock.
The
music
behind
it
was
also…
alot
….
of
it
was,
you
know,
all
your
big
companies
you
know,
yer’
Sony’s
your
EMI’s
…
all
them
companies
really….
it
wasn’t
about
them
anymore.
Everything
became
independent.
So
you
sourced
…
that
track
out
on a
independent
and…
and
I
think
nobody
really
knew
what
was
on
these…
kind
of…
we
were
buying
labels
that
were
just
white
labels….
nobody
knew
you were
looking at
the
serial
number
on
the
label
trying
to
identify,
you
know
what
track
it
were…
and
what…
what
company
released
it
and
I
think
that
was
the
beauty
about
it.
Nobody
knew…
but
it
was
about
you
as
an
individual
or
at
your
collective
friends
that…
that
and the
similarities
and the
collective of
that
kind
of
music.
It
was
only
about
the
music
because
there
was
absolutely
there
was
no
interviews
with
the
person…
no
more
posters
on
your
big
pink
bedroom
wall…
It
was
just
the
music
and
that’s
what’s
incredible
because
it
…
wasn’t
about
the
DJ
either
it
…
wasn’t
about
promoter
…
…
You
know,
it
wasn’t
about
the
venue.
It
wasn’t
about
your
click
it
was
about
collectively
coming
together
at
that
time.
And
I
think
that
energy
at
that
time…
it
again
it
shape-shifted
…
…
not
just
the
music
industry,
but
you
know,
I
think
the
culture
of Britain
it did.
Full Transcript:
Tell
us
your
part
in
the
Acid
House
parties
and…
and
how
you
got
involved?
Back
in
nine…
early
88
growing
up
in
Blackburn
were
tough
times,
you
know,
politically
it
were
tough
the town
were
drowning
it
in
poverty…
the
ideology
of
entertainment
and
recreational
lifestyle
it
had
a…
it
had
like
a
time
cap
on
that,
you
know
after
2
o’clock
at
night
everything
were on
lockdown
it were
basically
illegal
to
be
out
at
that
time
and
I
think
growing
up
as…
as
a
youngster
at
that
time,
you
know
heavily
influenced by
music
brought
up
in
that
kind
of
background…
my…
my
dad
were…
my dad
sung
my dad…
mum
played
piano
and
I were
the
youngest
in
the
family
and
I
had
this
desire
to
share
music
I
suppose
at
the
time
and
I
look
back
at
it.
You
know
that…
it
was
a
case of like
how
do
we
do
that?
We were
brought
up
in
you
know,
kind
of
like
a
nightclub…
the
nightclubs
in…
in
this
country
at
this
time were
so
structured,
you
know.
The…
the
racial
tension
an’ the
the
violence…
the
and
that’s
what
happened.
That’s
what
were
going
on
in
Blackburn
at
that
time
It were
quite a
violent
town.
But
you
know it
had a really
busy
nightlife.
It
had
about
5
or
6000
…
people
descending
into
Blackburn
town
centre
every
weekend,
but
at
that
time
I
would
just
remember,
you
know,
going
back
to
the
original
question.
How
did
I
get
involved
in that?
I
think
I
got…
it…
we
got
involved
in
that
because
we’d
had
enough.
We’d
had
…
enough
of
going
into
this
kind
of
like…
you
know,
the
nightclubs
and
all
commercialism
behind
it
all
and
stuff…
and
all
the
dress
restrictions.
You
weren’t
allowed
to
do
X
Y
and
Z
and
it
was
just
time…
we
met
in
a
pub
called
Vulcan.
The Vulcan
in
Blackburn,
quite a
famous
pub
it was.
Let’s
just
say
on
the
cultural
level,
you
know
generations
of
people
went
through
that
pub.
And
that’s
where
we
met…
…
in
there
one
afternoon,
and
there
was
a
ahh…
about
half a
dozen
of
us.
We
all
had
a
similarity.
We’ve
had
enough
and
we wanted
to
do
something
ourselves
and
at
that
time
we
weren’t
sure
what
we
wanted
to
do
exactly,
but we wanted
to
do
something…
and
we
wanted
to
create
our
own
kind
of
ethos
around
music
and
stuff…
because
like
I
said,
you
know
that….
for
the
last
couple
of
years
really
gotten
that
idea
of
doing
something,
you
know,
we’d
been
in
Manchester
we’d
…
we’d
been
around
the
sound
systems…
absolutely
amazing
times
even
before
the
Blackburn
rave
scene.
And
it…
were kinda
that gathered
up
inspiration
that
collectively
got
a
few
of
us
together
…
to
make
a
decision
to
put
a
night
on
and
it
was
quite
interesting
at
that
time
because
it
were
like
well
who’s
gonna
…
do
what
you
know,
there’s
5
or
6
that
there…
and well
somebody’s
gotta
…
run
the
door
and
who’s
gonna
…
and
I was
youngest
out
the
5
of
us…
who’s
going
to
play
the
music
and
it
were
just
like…
hand
it
over
and
it
weren’t
something
that
we
planned
to
do
and
and
there’s
another
guy
Mark
Whittaker
with
with
us
and
he’s
older
than
me…
same
again…
heavily
influenced
by
Universal
Sound
and
that’s
what
we
wanted
to
create…
kinda
…
a
Kaleidoscope
of
sound.
…
That’s
always
there…
it’s
nobody
else’s
…
it
it’s
not
restricted.
It’s
not
under
these
governing
laws,
you
know
where
after
2
o’clock.
everything
is
wrote
off.
So
I
think
from
that…
that…
day
making
that
decision
you
know,
unaware
….
of
it
at
that
time
what…
it
went
on
to
potentially…
what
happened
potentially
was…
just
slightly
shift…
shifted
the
whole
dynamics
of
the
nightlife
in
this
country.
Yeah,
and
just
for
those
of
you
who
don’t
know….
people
who
don’t
know you
listen
to
this…
….
What
did
you
….
what…
your
role
became….
was a
DJ…
It did.
It
did
become
a
DJ
it become
a
guy
putting on
records…
and
which
was
an
amazing
thing
at
the
time
because
you
know,
the
the
transition
of
the
format
music…
what
was
going
on
at
that
time…
the
DJ…
It
weren’t
cool.
to
be
a
DJ
back
in
the
day.
It
wasn’t
cool.
It…
only
nerds
become
DJs,
you
know.
And
then
all
of
a
sudden
we
created
this
platform
where
everybody
wants
to
be
DJ,
you
know,
and
I
think
that
in
itself,
you
know,
it
was
just
about
the
sound…
the
sound
that
were
being
generated
a
universal
sound
with
no
rules
behind
it,
you
know,
or
what
the…
what the…
It’s not
Pop
Disco
Funk.
It
was
just
about
bringing
the
idea
collectively
together
with
this
new
beat…
kind
of
4
on
the
floor
sound
that
would
penetrate…
penetrating
our
underground
streets,
you
know
in
the
night
life
and
what
that
it’s
what
we
did.
It
were
like
some
kind
of
like…
it
was
like
we
created
like
a
cult
if…
if…
that’s
the
right
word.
It’s
just
if…
if…
if…
I
think
back
really
to
those…
that
time
I
mean
after
1990
onwards
there
was
a
lot
of
records
coming
out
for…
for
clubs
and
for
raves
but
before
that
it
was
a
bit…
little
bit
limited
wasn’t
it?
Yeah.
It were…
absolutely
…everything
wer’
limited
…and
this
is
why
I
say…
go
back
to
this
kaleidoscope
of sound
what
was
created
outside
of
commercialism…
outside
of
popular
music
you
know,
so
we’re…
not
only
were
the law
broke about
2
o’clock
that
everybody
started
to…
started
to
begin
to
come
out
at
2
o’clock.
The
music
behind
it
was
also…
alot
….
of
it
was,
you
know,
all
your
big
companies
you
know,
yer’
Sony’s
your
EMI’s
…
all
them
companies
really….
it
wasn’t
about
them
anymore.
Everything
became
independent.
So
you
sourced
…
that
track
out
on a
independent
and…
and
I
think
nobody
really
knew
what
was
on
these…
kind
of…
we
were
buying
labels
that
were
just
white
labels….
nobody
knew
you were
looking at
the
serial
number
on
the
label
trying
to
identify,
you
know
what
track
it
were…
and
what…
what
company
released
it
and
I
think
that
was
the
beauty
about
it.
Nobody
knew…
but
it
was
about
you
as
an
individual
or
at
your
collective
friends
that…
that
and the
similarities
and the
collective of
that
kind
of
music.
It
was
only
about
the
music
because
there
was
absolutely
there
was
no
interviews
with
the
person…
no
more
posters
on
your
big
pink
bedroom
wall…
It
was
just
the
music
and
that’s
what’s
incredible
because
it
…
wasn’t
about
the
DJ
either
it
…
wasn’t
about
promoter
…
…
You
know,
it
wasn’t
about
the
venue.
It
wasn’t
about
your
click
it
was
about
collectively
coming
together
at
that
time.
And
I
think
that
energy
at
that
time…
it
again
it
shape-shifted
…
…
not
just
the
music
industry,
but
you
know,
I
think
the
culture
of Britain
it did.