No matter where I went, there was someone rejecting my ideology. What was interesting was these reactions made me want to do it even more because we had smoothed over that void, smoothed over what was missing. After all, our motto was, "A happy face, a thumping bass, for a loving race."
I listen to music every day and that is a fact. My son pointed out the other day that there's not a day that goes by without him listening to music in our house. I'm still an avid punter when it comes to either checking out bands or buying new music.
My radio show is actually the conclusion to my week. Which means there'll be 20% of what's happened to me during those five days, on my show. If I don't do my radio show I actually feel lost! It's like the bookends - the beginning and the end of the week and the whole thing comes together. So for me it is important.
I just think giving back is in tandem with the way in which I was raised, with the, 'It takes a village to raise a child' mentality. Sometimes with the knowledge you have, you just don't know how powerful it is. I think I'm in a reasonably interesting position to recognise that. Plus we're now living in a completely different time to the one in which I grew up in. Because of my peers as well, it's the whole reason I'm doing what I'm doing. In terms of putting things back into the community, it's almost like running my sound system again.
We, black British, were searching - as the first generation that was born and raised here - for our own identity. We already knew what the Caribbean thing was about. We grew up with the racial tension and unrest. They were either touching your head for good luck or kicking you down the stairs for being too dark. But that was part and parcel of how we grew up in London. But in terms of our identity, it was more about us claiming it y'know?
Music and fashion really do go hand in hand. This is even going back to the reggae days.
I think the production thing was a stroke of luck really. But for me, I had to do it, as it was always part of the plan. But my biggest claim to fame was to recognize those who were at the time unrecognised. Soul II Soul was like a festival to all these artists who wanted to be a part of it. We travel to all these different destinations and everyone gets off where they need to.
Black musicians were either trying to be American or trying to play down their Caribbean roots.
We were being put somewhere interesting from being involved with analog, to working with digital. Those two worlds just collided and it felt great! That was probably the key inspiration in terms of me going on to not just making dub plates for my sound, but doing the unobvious and "selling out" to the masses. I subsequently got a record deal because of that.
Personally I was just sick of the mimicry of American culture that was going on because it wasn't natural for us. We had grown up listening to reggae music in our communities. People were enjoying what we were doing with out music - we didn't have to work to sell it to them.
Growing up with my brothers, I was like an accompanying mascot to them. The whole heritage and culture of soundsystems is all in my blood y'know? Then obviously from DJing, I just went onto building my own sound and producing my own music.
While we travel as much as we do; this city is still really unique to us in terms of how eclectic it is. There's the variation of pockets when you're travelling around London that you don't necessarily find in the centre, but I'm talking about the city as a whole. For us, the inseparable links to the arts, being innovative and creative in an area like this is very transient as well.
