[Music] I can see myself [Music] [Music] good afternoon everyone welcome along uh Inspire and be inspired it’s been a few weeks since we’ve been here thank you for joining us I can see from the amount of likes and notifications I’m getting there’s quite a few of you on board already so good afternoon thanks for being here uh if it’s the first time you join in a very brief introduction my name is Andy Ward I am coming to you live and direct from my house here on the Costa Blanca and when we had the uh momentum every week I talked to friends and well-known people in the music industry as well as the world of business and we discuss um their story we have motivational uh conversations and we have the occasional life hacks as well today we have a gentleman who I’ve known for some time and is quite possibly accredited as being one of the most famous people in the house music scene the rave music scene remain at one point in time but there is a lot more to Mr Mark Archer than uh being the man behind the mask and we’re going to find out all about that now um I’ve got lots of notifications and pings going off in my ears if you are commenting if you are liking then please feel free to do so because those will come up in front of me and I will be able to say hello to you um we actually get many more people watching the recordings than we do join us live so I’ll thank you for coming back and checking this out and even if you’re watching the recording you can leave a comment for Mark and let him know some of his favorite moments stand the Earth uh I like to make this as interactive as I can so Mark won’t mind me just taking a few moments to say hello to a few of you who have taken time to comment I can see Mr Mark Ashley says what a legend catriona Hutchinson sends some hearts uh Aaron forgive me if I’m slaughtering that surname uh thank you for being here he says good evening Mark and Andy looking forward to this all day my good friend Gary Langford says good evening Ralph in Germany says morning and uh Paul Foster also says good evening and my good friend Mr Dave’s says hello without further Ado ladies and gentlemen I will bring my guest on to the stream and say welcome along Mr Mark Archer how are you buddy you okay I’m good thank you uh it’s great a great turnout a great turnout for you man your uh your reputation precedes you I am uh very happy and uh just to bore people for 20 seconds tonight I am only broadcasting on the Inspire and be inspired page usually I do uh restream which allows me to um broadcaster various platforms that seems to kind of throttle the um visibility and just by broadcasting on the one page tonight we’re getting a hell of a lot more um visibility and interaction or as I say Mark that might just be down to the superstar that you are I wish Okay so where to begin you’re aware of what this is about it’s a couple of gentlemen uh drinking uh a beer in a pub and discussing the good old days except neither of us have got beers I I would love to sit here with a glass of wineberry always clouds it closes and the tongue gets a little carried away so um we’ll start off a little bit more about yourself uh tell us uh the year that you were born uh 1968 okay so 1968. uh many many interviews that I’ve conducted down the months of uh all been amongst people of pretty much the same age group so much of the backdrop to our histories is the same and yet every story is is unique so 1968 born and bred in Stafford well it was in in Staffordshire a little wasn’t even a um a village it was that small it was a hamlet near Wolverhampton okay uh called Bishops wood it’s like um you know where they do the well they used to do the V festival at Western Hall it’s literally a stone’s throw from there okay but my parents um my dad was from um um pan in Wolverhampton and my mum was from wednesfield so you know most of the family are from from around the West Midlands right I get yeah so I’m just clicking a few Windows here so I can read more of these comments because they’re coming through thick and fast and uh only child brothers and sisters no I’ve got a an older brother um I mean we we were like when we were little very much like twins you know people are often mistaken for twins even though I was a lot smaller than him um but he he you know he’s come he’s into completely different kind of stuff than me um you know did totally different music uh he joined he joined the RAF um when he was about uh 18. uh okay you know sorry um uh what’s the age difference between you he’s two years older than me okay right okay so uh did he have a big influence on you musically um social is not the word I’m looking for you know yeah I mean he’s he’s music types he was into like Jean Sean jar and and okay stuff like that um I mean he was the person who introduced me to craft work but at the time I didn’t get the you know the the link between craft work and the music that I was into um even though you know numbers is direct influence to Planet Rock which was you know like a big tune for me I didn’t I didn’t get it then obviously went you know now I don’t think I don’t think many people would have if they’re honest you know yeah hindsight it’s okay to uh join the dots very tenuous links but back then not many people of our age especially you know you’ve you’ve uh just a few months couple of years I myself but as I say very much of the same era so your earliest memories of music the music scene uh you say a small Hamlet so what did you have behind dances it’s called these guys Honestly though most of the places I’ve lived in has been absolutely nothing at all I mean we we moved from there when I was 10 and moved to us another small village just outside of Stafford um you know so it was only like school discos and and things like that but up to that point I kind of like I was into just music that I liked you know the radio was always on um but when we moved it was you know you like heavy metal or you’re going to get beaten up okay there’s no strings even if I like to have you metal for a bit uh and then they’re moved on like the it was it was strange like the year that school were into heavy metals that I was in the year below were into like you know the new two-term thing and I really liked that kind of stuff but you wouldn’t you couldn’t let people in your year know you know otherwise it’d be troubled um so so we’re kind of like yeah you had the Harrington or the Harrington sorry you had the Arrington underneath the liver jacket with the denim yeah yeah yeah the big hair and did all the head banging and everything yeah you know I mean you know I bought quite a few metal records a lot of mote Deep Purple that kind of stuff you know I’ve still got the odd one or two but only it only tends to be the ones that got brakes on them okay I get yeah so uh you say that about breaks um the the two turn and the scar movement [Music] um would have progressed then slowly but surely and the 80s sound with the electronic being into uh Jean-Michel jar the influences of your brother and then the new romantic scene coming off the back of that those sounds must have really do you recall those Sands making your ears prick up oh yeah I mean when I look when I look back at it like the late 70s the the one the tunes I really liked was stuff like you know by Chic but didn’t realize that until like you know a lot later I went through like that the heavy metal thing and the two-tone thing and then um got into like uh Tears for Fears their first album the hurting and like a lot you know the the early electronic stuff and then obviously like you know the Electro uh hit the shores and that was it for me you know I just just followed it through so we’ve hit we hear this story so many times but it’s always interesting to get different perspectives um take us back and uh try and paint the picture of what it was that you if you can recall of how he took your feet from underneath you because it was the same for all of us well there was a there was a lad um at school and it’s quite a weird story because where I was born the little Hamlet Bishops would went to school he knew everyone in your class you know the class size is really really small and there was a lad there called Sean Lester and a few years before we left the village he just moved away you know no one knew where he’d gone and then we moved when I was 10 and started a new school and it was even though it was like a bike ride away it seemed like a million miles away from where I used to live go to this new school and there’s Sean Lester like he just appeared and went through middle school and then moved on to high school and one one day he came in and he got his sports bag and he got like all these names written all over them and we’re like what what’s that is it like goth or something not notes it’s Electro and it got like b-boys Shannon two sisters all the artists stuff like the early Electro albums and he bought their cassettes in and there was literally three people in our year that liked Electro and everyone thought we were weird um and and I’ve not got any of the albums you know I didn’t know anything about them it was hearing them from Sean um and they saw the lad Andrew’s room and they used to bring the cassettes in um and listening to them and it just you know this where where have I been why am I missing this and they’ve got like the front of the at the front of the town hall on your knees head banging that’s where you’d be yeah yeah yeah thumbs in my uh Gene Loops this needs to stay as well yeah oh dear oh great day it takes me right back to my school this goes um the the head bangers used to get their little 20 minutes at the front all going crazy and then it’s all right now get the Depeche Mode done or the uh poor hired Castle or something like that yeah yeah yeah so uh any any music instruments uh up at this point that you doubled with I mean that that was probably just before I really started producing so it would it would have been about um 86 87 and it was it wasn’t like a conscious I want to make music I wanted to actually find out how they did things on these Electro records um there was a track on Electro 3 called we conterrupt by the Imperial Brothers and it got a cough but it kind of played a tune with this cough in the track and I always wondered you know how how do they do this and I saw he was in in the Dixon’s window there was a Casio sk1 sampling keyboard and you you’ve got like a sample button on it and you held it next to the speaker press sampling it records the sound and on the record it had the cost right at the end so I did it and it played a tune-up and that was it that satisfied my curiosity on how you know now it worked worked out how they did it so then went on to sampling single bass notes you know like uh stab samples and things like that and trying to copy the patterns and work out how they did stuff wow okay so as I did say at the top I do try and make this as interactive as I can uh everyone watching thank you please do feel free to comment I won’t interrupt Mark while he’s talking um he’ll come back and answer any questions like Dave asked what school you went to in Stafford we’ll answer that at some point uh Dave Wilcox comes in he’s uh busting a formation uh I think that looks like a formation records logo on his profile picture and he says my hero are you talking about me what are you talking about obviously no no he’s talking about you obviously um all right so you mentioned you so you said 86 by this time you would have already left school uh how are you earning your money um I I I’ve started it at um a yts scheme um because I had no idea really what I wanted to do um I was I was pretty crap at school to be honest um no idea what I wanted to do but my dad was a decorator um and he became an instructor on the the yts scheme so they taught you like bricklaying woodwork metal work and decorating um so I I joined that yts scheme and you did like a work placement and I got a placement first I’ve got a placement to earn a trophy engraving shop um where it was like the little Sports trophies and you engraved the names on on the plaques and stuff but that that uh I don’t think I did too well there because I was supposed to unload all the the boxes then flattened down the cardboard and burn it out the back and I didn’t unload everything and burnt loads of his stuff so I didn’t stay there long um and got a got a placement a decorating firm in Stafford and and I was there for like two years and but work tends to dry up you know certain periods during the year and because of it was like a lasting first out kind of thing so I got I got laid off from from that and bumped into a guy who from the breakdown stage I met in Stafford um and yeah I’ve seen how ours are doing and I said I’ve got like this little sampling keyboard now I was messing about with it and he got a set of decks I said why don’t you bring it around you know we’ll like do some little like jam sessions um so he’d like cut between two drum tracks and I’d play like primitive bass lines over the top we’d record it onto a cassette then played that cassette back through his mixer and I play more samples he’d do some scratching and we did like it’s really very primitive yeah yeah incredibly primitive but at that time a studio just opened in Stafford um and it was in like the local newspaper and we decided to take this cassette along with us to the studio um you know get no idea what was going to happen and we got signed up there and then amazing incredible and you say you got signed up on under what premise just so actually so at this time if you paint the paint the picture of what was going on what was the the scene like what was the Hut scene at the moment then well it was it was 88 but it was like before you know like that acid house thing gets kind of hit the charts there was a lot of the you know like bomb the base um Mars Pump Up the Volume stuff like that and the guy who ran the studio he’s obviously saw some young Lads come in we were wearing you know the ma1 jackets with the VW badges pinched from someone’s car and um we bought this cassette in and he was he had an uh an engineer at the studio and probably thought you know I can get these guys to front a bit of a project so we went in there wanting to do acid house he’s like no no no no no what you need to do is do this and try to get us to do like bomb the base kind of like hip-hop influenced house Tempo stuff with loads of scratching on okay I get yeah so you say we do you want to elaborate do you want to elaborate on who we were well it was originally myself uh Dean Meredith um and a guy called Garrett um and we call ourselves rhythmo d and after the first time we were in the studio Gareth didn’t like the way it was going and he in instantly like left so it was myself in and Dean what was it that he didn’t like about it it was just we went in wanting to do like a specific kind of thing and we got no no no you’re not you need to be doing this and he he just wanted to do acid house he didn’t want to do like bomb the base so he was like no no I’m not into this um you know later on obviously he he regretted it slightly because of you know what happened with the whole alternate sarink thing um but you know these are these are the breaks you get given don’t you you know you make choices and that’s what that’s what separates the greats from the from the also Rams we’ve got a little conversation going on here a little backwards and forwards between Mr rustley and uh Nikki good evening my love thank you for being here talking about do you do the painting at home and uh Nikki’s saying yeah I’ll make him do it he can’t get away of anything so I’ll just leave them to have that a little conversation between the two of them fantastic um okay so yes you uh you went in there and immediate reactions to what you were doing success immediately um or do you have or do you have boxes and boxes of real bad early demos I wish I wish I had boxes of I’ve got like almost one copy of everything that I’ve I’ve done the first release I’m not not proud of at all it’s you know it wasn’t wasn’t the direction we wanted to go in and we knew nothing about recording production anything like that so it was it was mainly done by the engineer um who was a proficient engineer but not into that kind of music you know you you really need someone who knows the style that you’re trying to go for you know otherwise they can’t they can’t replicate it at all they can’t get close so for the ignorance forgive me if I cut you off for the ignorance is it the balance of the Sands or actually finding the sounds what would you say you need them to be in tune with we have we had difficulty explain what we wanted um and and I think then new equipment was coming out which he maybe not have been totally okay with so we wanted to Loop break Beats and it it got to the point where we were like hand triggering them down to two inch tape you know because I don’t know whether he didn’t know how to how to You Know sample a break exhort the sampling was was individual like drum sounds and things like that which weren’t weren’t the right sounds they weren’t the right effects you know it was it was it was a catalog of loads of different things um and it we just weren’t happy with the with that first release um but we managed to start gaining uh experience on how to do things ourselves in a really uh badge fashion we were learning Snippets but not the whole of it so there was a a period of time when we didn’t know how to use it’s a bit geeky there was a code that used to be run down to tape so that when the tape played back it sync everything up so as you recorded everything was in time we didn’t know how to do that bit the ASCII code that yes so we had we’d Run Like A Drum track down on one channel and then when we went to record again we’d start recording and then press start on the Atari and use the arrow keys to keep it in time so there’s the when we finally did an acid house album there’s bits where things start just slightly drift not not terribly but you know when you you know when you can hear it yeah you know and it just it just annoys you but it was it was a learning process you know what I don’t think like starting in 88 I don’t think it was till about like 95 96 when I actually did something Dot was how I really wanted it you know that like you’d finally honed your skills and you you yeah you know like like the Nexus 21 material I finally made a tune that was not all samples trying to replicate a Detroit thing I you know I’d learned how to do it well um what I’ve discovered from many many different conversations that it’s very easy to forget um just how fast things moved in that time period between 88 to 90 91. uh I’ve quite [Music] um uh what’s the word I’m looking for I’ve been quite open in admitting that my memory uh was very jumbled of the the sounds that were coming out uh the clubs that we were going to in 88 and 89 I was um thinking that we were well ahead of ourselves and you forget that how it goes on so when you go back to those days things and it stating that complete obvious because we’re all going to remember you didn’t have the immediate um plethora of information that we’ve got at your fingertips now so it was a really painful learning curve wasn’t it and that’s where that’s where there are so many um I would assume so many different uh Inspirations and copycat ideas in so many different because people say oh that’s exactly what I wanted to do and then they’ll do it but it would just be a carbon copy of something else yeah but he was also I think because people were exploring um the equipment that they had and you’d hear something and didn’t know how they’d done it you try and replicate it do do it like a completely different way and maybe like invent something else so that’s why the music was you know going so fast because people were like constantly learning new tricks new ways like that like when the time stretching thing came out you know people didn’t know how to do that and all of a sudden everyone’s like on the time stretching thing and it was just like moving so fast can you recall um who you would say I mean you know I I said jokingly before we went live you know I’m grateful for you give me your time because you must have been interviewed a million times but uh have you ever said before or does it come to you who your biggest influences were back then who you can immediately say that you know you always knew that these were the people who you were looking towards I think the obvious ones were the Belleville 3 with uh Kevin Swanson Derrick May and one Atkins um I was I was I was bought um a box set which is up there somewhere for my 21st birthday and it was it was after I’d done like the the rhythmod thing we did like acid house albums and stuff like that we did like um break beats and samples albums and we’ve done the first bizarre Ink album which was kind of edging towards techno but with a very Like Larry heard kind of influence to it um I need to roll you back there then so it’s our ink so yeah tell us how this how this came about because you know you’re saying things like this in the back of my mind I’m thinking bizarre Inc obviously I know bizarre but so what was your involvement there then you didn’t start Desiring yeah a bit bizarre it was me and Dean but he’s each one of those things it’s like like with the slow motion thing you know so many people like oh no way I never realized it was you you know it’s unless you read you know the writers names and the credits and stuff on records it’s just an artist title and and that’s that’s that you know I would have thought that’s something I would have known that’s crazy so bizarre ink then tell us about how that began so so we we were doing the the hip-hop and the acid and and we wanted to do something with it more of a like a Larry heard washing machine almost techno kind of edge and a word that was always banded round it was bizarre it’s like oh no way that’s dead bizarre so like oh you know there was like soft House Incorporated and you know there was always there’s a company at the end of stuff so we’re like bizarre ink um so me and Dean did we did a the first album technological then took one track off that for for the first 12 which was technological but on the on the B side of it um it was like a hip house tune called It’s Time To Get Funky um and now you know that was like a bit of a it sampled like old jazz funk and stuff and had Housey piano and Grand Park and Alistair Whitehead used to play the the cool cat in in Nottingham um but we never realized you know any of our records were selling at all okay um but it got to a point where I’ve been working with Dean you know for like over a year and he wanted to go solo um unfortunately rather than just say look at you know I wouldn’t mind doing tunes on on my own um he managed to get me the sack from the from the recording studio that that I was at um so me and him were like employed as Engineers there um so I spent a few months on on the Dole uh pondering you know is that is that it my recording career uh over um and the the way they they got it that I was gonna leave was I was uh nicking discs from the from the studio so the studio manager really didn’t want me anywhere near the building at all he just told me drop the keys back you know don’t don’t want you back here but I plucked up courage a couple of months later phoned him up and said I really want to do a techno album um after hearing the the box set which had got like Derrick May tunes on there coming soon Atkins and that really like this is what I want to do um so I took the box set into the studio all the Techno records that I could find um you know like the there’s the the Virgin compilation on um 10 records Detroit the new dance sound um samples many drum Loops as I could you know individual bass noises and and that that’s pretty much how Nexus 21 was born right so um I’ve listened to everything you’ve just said I’m still quite embarrassed the fact that I didn’t I forgot about the whole bizarre ink thing and okay so I’m over that now that I’m the worst interviewer ever I’ll put my zero research I like this to be as natural as it can okay so uh you mentioned you mentioned about the the album uh eventually you’d uh would it be sometime after that that you you’d meet up with Neil um well we we recorded the Nexus 21 album on on Blue Chip right um did the the first single still life keeps moving um so this was around the summer of 89. um and because of the whole you know me getting the sack from the studio I’d stop like all through 88 and early 89 I was hanging around with Dean and a certain group of friends I’d started going to different clubs and with my then girlfriend and some other mates you know it was like a kind of totally separate thing um and blue chip Studios there was you know there wasn’t really a need for recording studio and Stafford you know there was no music scene so he wasn’t getting enough people through the door to pay for for either you know the rent and um the higher purchase on all the gear so the towards the end of 89 the the studio closed um so again I thought that’s it my recording career over um but I’d started going to it was like a small wine bar in Burntwood called number sevens um and I’d always tell wherever I used to go to a club I’d take a copy of of still life with me you know just in case the DJ hadn’t got a copy and and I took a copy there up to the DJ who was Neil Macy and I went to hand it to him and he went through his box and pulled it out and he’d already got a copy which like oh my God someone’s bought a copy of one of my records you know um and I got over the weeks got talking to Neil and and he explained and that the the guys who were running uh cool cat records out of Birmingham was setting up a new label and and they’d asked him to to join the company as you know like a a r because he had his finger on you know what was what was going on and then one week I went up to to talk to Neil and he said oh the boss is over there by the bar you know go and have a word with him and I’m a very shy person can’t you know it’s going up to someone I don’t know is very difficult so I went over to the bar and stood there and watched him have a conversation with who I later Learned was Pat Ward and now having a conversation and obviously knew someone was standing there and they stopped talking and a lot of them really sorry to bother you I’m March from Nexus 21 and he’s like oh we’ve got your album in our office I was going to try and find out to get in touch with you we’d like to sign you and the Blue Chip had just like stopped um so it’s like you know from one thing stopping this was like possibly you know signing to a brand new label uh why don’t we convert to Birmingham for a meeting let me just interact interject here the the amusing thing whatever the word is is how unassuming that little venue was pretty much in the middle of nowhere really a tiny little venue um that was quite well known but uh the significance of that of that evening is is immense um and so it blows my mind really and Neil Macy is a legend I’m trying to get him to have a chat with him because he’s very instrumental in a lot of things Birmingham related so the Divine timing the gods were on your side yeah and it’s it’s just like the studio in Stafford opening when we’d done that cassette all the way through my early career it’s just extremely happy accidents you know like bumping into Neil bumping into Neil rushed and you know him actually having the album and and wanting to get in touch um had a meeting and he played us rhythmatic Neil Howard indulge symbols and instruments moods and it’s just like he hearing that stuff and be like where do I sign yeah you know and and after being signed to Blue Chip where we didn’t see a penny for any of the music that we um we did um we later found out that we were doing it for studio time which was you know okay um you know Network straight away offered you a a recording Advance you know we thought well we actually get money for this this is incredible so uh plowed it straight back in and bought a sampler which you know like a acai s950 it’s like my first proper piece of uh equipment so this is the back end of 89 into 90. okay and still still based in um in Stafford at this point yeah yeah in in in no salt so on a lot of the records it says uh recorded At Last Song Studios which is no sort of spelled backwards and it was basically just my bedroom at my mom and dad’s Cottage brilliant some of the things that used to go on then the pseudonyms and so on and so forth which I mean you’ve trumped you’ve trumped it all which we’ll get into eventually uh just very briefly sending a shout out to Mr blackwax uh Mr Ashley still comments in you’ll be able to read these back uh good evening Emily uh someone not too far from yourself she says loved Cameron Dante back in the day um Paul Bradley says III as does uh Mark Ricketts also tagging Victor Broome and uh Rubes says I love the biorhythms 3. so um and then Paul said Paul Bradley says if I had to do an interview with my record collection behind me I’d have to lie on the floor wow it’s all about it’s all about quality not quantity looks like we’re having a vinyl up here uh okay so I’m I’m Keen to say always you know in these conversations We’re Not Gonna cover the uh you know that every aspect of of the journey and a lot of this has been documented um tell us if you can if you know whenever you’ve spoken to people you think you know what I’ve never really covered this part or there’s something that happened there that I never get the opportunity to talk about any any key moments back then that you can think of that were you know in hindsight when you piece it back together you say about happy happy accidents or the way things progressed how things could have possibly been different if you’d have made a different decision at any time um I mean you know generally with with life you never want to change anything because you wouldn’t be where you are you know one breath different and and things could be totally totally different um I mean if if being brutally honest if I could still be here now you know where I am with with Nikki and all the rest but I’ve I’ve gone through the whole Nexus 21 and alternating working with somebody different than than I would have done um so I guess I have to ask them because I’m I’m aware of friction uh back then and issues I’m not sure how raw that is or how in detail you’ve ever spoken about that so I’ll allow you to tell what part of that you want to tell um before I was booted out bizarre Inc um myself and Dean you know we weren’t keyboard players we were the kind of guys who’d take a bunch of Records into a studio and be like I like that bit I like that bit I like that bit um so the the guy at the studio put out an advert for you know people who could operate computers and were also keyboard players programmers and the advert was answered by um Chris and Andy Machin who later joined Dean to become a bizarre Inc um so after I was booted out and there was a the period of me being um on the Dole when I went back to the studio the studio manager said well you’ll need to work with Chris because you can’t play keyboards so we were kind of put together even though he wasn’t you know like a friend of mine um so you know we’re working with someone who’d been a part of getting you the boot was a bit difficult but you know he you could play music to him and say like I like that could you play something similar to that maybe instead of going down at the end go up at the end such and such and he’d fire like a load of riffs and then you’d eventually like land on something yeah that and then record it um because he wasn’t into like house or techno or anything he was thinking he was into Depeche Mode and stuff like that [Music] um but it’s similar with like you know relationships where you’ll meet someone you’ll have like a a shared interest but when it got to the point where we were constantly doing gigs together you know staying in hotels together and stuff it kind of got a bit bit strained and the relationship you know I I tend to we’d go to gigs to to do live Pas I’d go out the front to dance he’d stay in the dressing room as soon as we’d finished he’d go um and you know there was a lot of musical differences um and I had a Clear Vision of where I wanted to go with things and because he wasn’t into the music a lot of the things that he put forward weren’t necessarily right for the the project and there was always a battle you know if if you’re because I did a lot of extra tunes on my own that ended up as b-sides and things like that and he’s like if you’re gonna have that on the record then I want this on the record and then it’s you know it doesn’t fit so the relationship after you know the the few years that we were working together became very strained um and I was I was just churning Tunes out you know the DJ next stuff that I was doing um I was doing a lot of stuff that turned into alternate Tunes um not eating their frequency Armageddon re-indulge all tunes that I did you myself but they got used as as alternate tracks um and we split everything 50 50 to save to save the argument then it got to a point where I’d recorded a track under the name uh Zen Mancha mm-hmm it was like the first like Progressive house was was the term that was was used and around like late 92 early 93. on the cover so I got a baby that was yeah that’s that was the second zema to release the first one was on red vinyl okay um and it was basically an Ode to Golden in in Stoke so it’s called the miter CP me trying to be clever um and and it sold well um but he wanted half the money from it and it because it was nothing to do with our Nexus 21 alternate agreement um they decided to try and sue me so uh and that you know you’re not you’re not going to work with someone who who wants to sue you so that was that was that and it ended you know very bitterly unfortunately which spoiled a lot of you know what what we’ve done all the gigs and you know going to Detroit together and stuff like that so it’s it wasn’t great so that was um it within the timeline um again you’ll have to forgive my ignorance and my lack of research where did that fit into the peak of you know the success that you were having and and you know the infamous Shelley’s episode and and so on so that I mean that was like around 93 so you know we’ve done like all the gigs together and you you know we did have a laugh it wasn’t like you know we couldn’t stand each other you know there was times when if if we were in each other’s company too long you know things are just get a bit tense and but you know there’s so many gigs like the the Shelley’s one for instance um you know we did have a have a laugh and obviously a lot of success together you know going on top of the pops and stuff well we we had a conversation with um Neil Rushton who told us the story about the progression of the the promotion and and the um hype he’s probably the wrong word but I think you’ll agree hype as well fits well be behind it all um and so then when alternate blew up and this the scene changed in hindsight people have said I’m sure you’ll agree that that kind of bastard dies the sound ever so slightly and yet you yourself such an incredible credible musician and producer um can stand with your chest puffed up because you know you’ve you’ve created so much credible body of work did that ever used to annoy you the fact that you went you were seen to go down a more commercial route if that’s the if that’s the right phrase did you ever struggle with with the The credibility or did he have I just put that in your head now no no um the weird thing is is with the success we did a tune so for instance uh infiltrate which the reason we did infiltrate was because the overload EP sold well because it was an eight tracker um pure value for money for DJs you know you instead of buying like One Import which has got one decent track on you know why not buy this UK release with eight tracks on you know you you’re gonna get more of a set out on it so it sold well without there being loads of promotion um and then Neil suggested oh you know what it’s about time you did a follow-up so it wasn’t like a a great concern until after you know infiltrate took off the way it did um and then you’ve got a kind of dilemma where the tune after it once a tune’s gone into the charts if you do a tune that’s less successful you’re then branded as a one-hit wonder and that’s it I know all about that I know all about that and you’re totally swept under the carpet and that’s that’s it so without like making a carbon copy of something you know like say like two unlimited or technotronic they do like three releases all incredibly similar because they’ve got a certain formula activate was still something that we really wanted to do you know as I was still the samples that were used in it the reason why we were doing it but we were still trying to make something bigger than infiltrate but but not by selling out or making a real cheesy tune um I think but it wasn’t it wasn’t none of the records you made with cheesy at the time it was as the scene progressed and people moved on to other things in hindsight then yeah it’s always it’s always the way isn’t it but it’s like ah you know that’s so so so pasty I mean through the 2000s we were like a dirty word you know getting slated in so many interviews you know people absolutely slating us um and it got to a point where you know there was a point where I I was embarrassed to say that you know that that’s what we did because of the slating we were getting and then it seemed to kind of turn around and everyone was using us as an influence and then he was like okay to like alternates but for a while it was it was horrible so you say you did it did it trouble you deeply you know honestly or or did you just brush it off because you’ve already said that you were you were quite shy so did you know did it I I had a I mean I had a hard time during the the 2000s to be honest um you know late 90s I mean when when I first met you in the The Canal Club um that was when like after the success and everything and then I was kind of like starting again you know I’ve done done the the alternate thing and then we did the the slow motion thing and then myself and Danny were running uh dancer records and then all of a sudden it it all kind of like when networks stopped everything stopped so the the problem here is knowing the depth of the story knowing that part of the chapter it’s it’s difficult for me to not rein you back a little bit because that is a really important part because the output of Music going from as you say the music that was seen to be you know old school to making some of the best U.S house music out of the West Midlands that I heard that I used to support and represent and again making a conscious decision to do it under sort of like a pseudonym so to speak tell us about that that period because not everyone is is a DJ um that’s watching this not everyone is going to be even aware of slow motion um you know so so tell us about that little chunk the mid 90s towards the back end of the 90s so we’re with with alternate stopping and the scene you know fracturing the way it did into you know like techno and jungle and happier hardcore and and things like that and I kind of totally got out of that that scene and and went to a a club and Pete Bromley um who are known for quite a few years he was paying like you know Masters At Work mixes of trailer ends and stuff and I was like you know how have I missed all this you know I was so deeply involved with the hardcore thing I’ve been kind of blinkered and missed loads of of the early garage stuff um and I was doing the Zen Mantra thing which started off as like the kind of early UK Progressive thing but kind of edge towards like Todd Terry kind of Beats by the by the second release that had a picture of myself going with the baby yeah and he but it was it got like that kind of UK happy bouncy influence to it um but by the third semantra release which was the Prime Cuts EP on on dancer dancer you know I’d gone fully like into you know like Masters at work uh well attempted Masters At Work territory but um before uh before I did that I’d started working with with Danny um because this is Danny Taurus Danny Thomas so I was doing the same Mantra and the DJ next stuff on two little labels Stafford North and Stafford South and he did an EP for me under the name Danny Taurus um and then we started working on tracks together and we we did this tune called Piano Groove listen back to it you know where were we going with that and somebody had asked me to do like some hip-hop beats for them so I’d done this like small snippet of hip-hop Beats left it in the Atari Danny was like messing around I heard it said you can’t give that away that’s too good why don’t we build like a house tune round it somehow go to that in the middle and now like you know Piano House side to side so that the original idea of piano Groove we kind of scrapped it but kept the formula of having like house beats with piano in and that’s where bells in New York um came from and that was originally like the B side because I’d already done a Zen Mantra tune which was which turned into the Asia which was I feel high and Danny said that’s that’s too good to be as their Mantra to use that needs to be bigger um we did Belzer New York he actually did the dancer records logo while he was on the bus on the way home to stoke did it in pencil this is It’s like a star it’s just a star isn’t it the sun coming from behind the Moon so it’s like that ping of Lights yeah behind it and then dancer across it we were trying to be like very American so we got a load of American Imports and we thought what we’ll do is get three different records take a first name and a second name and of different records and then we’ll get a phone number and get the first bit that phone number the middle bit of that phone number and the last bit of that phone and make it all up what we didn’t realize was it was the same phone number on each record that we just we basically just rewrote someone’s phone number brilliant to when bells in New York was right like doing its thing this bloke in America is getting loads of people you’re putting out bells and New York she’s like there’s nothing to do with it and he he got like well paid off amazing so the point he actually made his own tune called the real New York Bells by co-motion wow no way that’s brilliant and slow motion Bowser New York um because I know there are some of my friends watching who aren’t DJs it’s uh as uh Mark explained how to speak huge pianos then it breaks down pump it up home boy boy where is the that sample from remind us the the saxophones the sax yeah it’s actually um a break beat album from Sheffield okay and it’s just like the little bits right at the end there’s just loads of noodly sacks and we’re just flicking through it you like that bit that bit you nailed it absolutely incredible many years later I spoke to Mr rushden I said I need to do a remix for Bowser New York it never happened uh and then the remix of of that was uh the at some point mumps down the line because that was a huge Marco Polo’s Anthem huge light bar Anthem uh Canal Club uh theater bar you know all of these like massive massive um so anyway I’ve interrupted the story you were telling me so we’re still in the mid the mid 90s now yeah we’re releasing a lot of the stuff on dancer and so on so we we started dancer as because that was supposed to be like a fake label so we started it as like a a proper label um where was the um Frank einsworth connection was he Distributing for you that was all going through you know the the custard Factory right okay because I know Danny um Frank used to put someone that we know Frank used to put a lot of music with Danny as well or Danny used to really stuff with him Danny like signed to six by six but it it being like he’s the you know the first time he he kind of got into the the industry um he felt that the the contract was was too claustrophobic for him he wanted to do like loads of different things with different people um so after a few years um Danny kind of bought his way out to the the contract and out of at slow motion but that kind of like coincided with uh that you know when Network and six by six kind of kind of stopped um where I found myself you know like right back at square one um sorry carry on I didn’t have the contacts because everything I’d done since 1990 was with network through Network you know they get me remix work um and I didn’t have the confidence um to to send music to to different people you know didn’t think it was Worthy so I I kind of you know stopped producing for a bit and that’s when I started the the DJing um and you know warming up for for kiddo um that’s where the kiddo connection will come because uh I think it would have been kiddo that would have brought you over to the uh we did a few shows on Choice um and I would come and play for kiddo quite a few times and then um the the karma project as well kiddo and Mark Archer Karma I remember that fun League some uh great tracks um right okay so uh throughout all of this time I mean at some point you um you started to to settle down what part of your life did you did you and your beautiful wife uh connect this one here because I’ve actually been I’ve actually been married three times until what yes okay so in Time Lucky there you go third time’s a charm is that what they say first Time’s A Child well I’ve got to say um I’m still to uh to meet face to face but she’s a diamond you got a great one there cheers she’s probably changed my life for the better but uh how long has that how long has that Union been together then well we’ve we’ve been together now for 13 years this year so so like through during well pretty much all all my um early career but my then girlfriend and then we got married um had two children around the time where I I was doing the um the canal um uh we split up um I met somebody else um to early 2000s um but it was at that point I kind of like fell out with music completely really because I felt you know what I tried everything from having to go back to square one and and you know warming up for for kiddo and just when it was kind of I was doing the warm-up and then it got to the point when he was moving to different clubs so I was standing in for him you know and playing the main slots at the canal and then money pennies moved in and the kind of the you know the rug was wrong and and that was it you know it was like I can’t I can’t keep doing this you know going back to to square one again and and I I thought it was going to last a lot longer but I I kind of like write music I’m done you know I got a got a job at Argos um yeah yeah right so let me let me pause the story there um we’re an hour into this I hope you’re okay to carry on chatting for a little while uh thank you to everyone that’s with us live I’ll see a few people Austin Wallace says he grew up listening to you and no matter how many interviews he heard he’s heard they all had enjoyment and documents an unforgettable slice of music history and an amazing scene uh thank you for your comment Austin uh Lynn Allison says such an interesting interview and an amazing chat she’s a disco and a house kid but all mixed up in the bag oh all mixed up in the big music ball yes and there’s a few more comments there as I say uh Mark will come back and read them all and then reply at some point um I obviously don’t want you to be specific at all but I do want to ask the question because some people would be interested to know and again I’m not looking for specifics but you know you you were very very successful there must have been a lot of money flight floating around for you at some point was it as insane as people think or or not really um I mean it was it was the most money I’d ever had in my life at that point you know it was it was a lot um but you know when the big success came I was 20 23. you don’t know how to handle I bet you bought loads of Studio Gear you bought his bike yeah tell me you bought a house tell me about it yes yeah yeah good um but um you know like when must I split up with my first wife I didn’t want there to be the whole upheaval of of splitting the house and her having to buy a property I left everything there you know like very common I just I just went with my clothes and that was it uh so I didn’t completely mean to I didn’t mean to pry that much into your products it’s like it’s like when I did the book you know people say it’s a very honest book but you know there’s no point doing something like that unless you’re going to tell the truth so yeah like when when I said like the 2000s are a really difficult times because loads of things that build up beforehand all come to like a peak and and you know yeah you have a a bad time of it and and I did through the 2000s I hear that now again the world’s put my hands up the world’s worst interviewer I completely forgot about the book as well see really what I could have done was got the book read the book and then and then asked you questions about it in my defense in my defense it’s a lot more honest interview it’s probably it’s probably rubbish but it’s just a chat between you and I you know so uh so tell us so I did actually reference the book the title of the book I referenced earlier it came out in um it was the beginning of the pandemic 2016 the book book came out okay see four I’m four years behind yeah and trying to try to save myself I’m just digging a hole for myself so tell us about the book well each one of those things were if somebody had told me look when I left school you know before I did the decorating and everything you know this is going to happen to you and this is going to happen to you yeah I never thought anyone would be interested in you know what I got to say so people kept saying you need to do what you need to do a boarding school I don’t see the point you know it wouldn’t be a seller at all and then uh Billy Daniel bunter did his own book and I did an interview like a small piece for his book he got a few different people in and he said he had a lot of feedback about my little bit in the book would I like to do one myself and because a lot of people had said you know why don’t you do one but there’s no way I would have known you know how to go about it I didn’t know any writers anything like that you know who would publish it or or even the confidence to you know if I did get it done to send it out anywhere see kind of like sorted all that that side out um a chap called Andrew Woods phoned me like every day at 10 o’clock in the morning and just asked like an open question and just let me you know free fall just go off on one about you know like things we’ve we’ve talked about in the interview and and I do race forward as you’ve noticed you know and I have to be rained in and the the most difficult part of the book process was sorting the timeline out because I’d go off on tangents left right and Center um and trying to make sure that it was all in the correct timeline order um but the book basically was from the minute I was born until myself and Nikki got married all right brilliant so and it is it is called The Man Behind the Mask yeah yeah it is right because I do remember and you did a big tour for it I do record yeah so um yeah again I’ll just I make no apologies it is what it is I’m useless uh but I do I do uh Paul Bradley says apparently someone’s got it on sale on eBay for 123 pounds the book is amazing and very relatable that’s Andy Smith uh Malcolm sharp with his drum and bass number plates as his profile picture says I got my name in the book fantastic I also uh part of your story was documented in the uh join the future by Matt Anis I’ve interviewed Matt on a few times and that was a a great piece on there uh so then we you know 2016 to 2000s and you said you had a what would you put it down to the the maybe you don’t know maybe you have an idea how all of a sudden that the Revival came about again do you think his people grew up their responsibilities moved on and and then we could go back out again or was it a completely different generation he I mean it’s a strange one with the old school scene because it kind of goes in waves you know you’ll have like a year where I mean there was a year where I I practically had no gigs whatsoever and that’s when when Nikki took over during my gigs um you know the person who was uh sorting gigs out for me that year apart from the gigs that that came into my uh Facebook inbox you know they weren’t able to get me a single gig um and Nikki said look look you know I haven’t got any experience but let me try and if I do any better then we’ll carry on doing it um so it’s it’s a very difficult scene you can have years where there’s there’s no gigs some and then you’ll have like a bumpy year but I think when like the whole old school Revival thing came along you’d get the crowd who were actually at the Raves you know wanting to relive it and you know maybe their younger brothers and sisters who weren’t old enough to go to the rage you know collected flyers and tapes Etc they wanted to you know live it firsthand so you’d have that for quite a quite a period but now you’ve got a whole generation of people who’ve been bought up by their mum and dad on this music you know they’re at the front singing every single word and you get how on Earth do you know this you know this is like she’s older than you but they’ve been literally brought up on this music you know and I think that’s where the there’s like been a bit of a a Resurgence of it again I get you so someone Austin Wally speaks me to it I was just about to say uh we should give credit to uh nla artists the company that uh Nikki started and does well um is she shy to jump on the screen does she want to have a does she want to come and see no she’s never she’s never done an interview or okay she’s here we’ll talk we’ll talk in third person then Nikki is very very enthusiastic about all of the gigs she’s your biggest cheerleader when you go about she’s your biggest fan I think it’s very apparent um a lot of the events um you have some very um fact she has some favorite events that she’s always raving about that she loves and then some of the the artists on the roster putting you on the spot um that she represents um give us a little plug for nla artists well I mean she she started basically just to look after me and then you know within a matter of months people like you know other old school DJs were noticing I was getting bookings and then like who’s doing your bookings you know would they mind getting me some and I said well it’s it’s Nikki she’s she’s just sorting out my bookings because I can’t shout out about myself whereas she’s like the first person to start shouting about me and now she’s got you know like a roster of like 30 artists I mean you know people like DJ fast Eddie and Tyree Cooper on there and it just you know she chats to them like friends and I’m just like total Fanboy you know can’t believe she’s on the phone to the fast Eddie and stuff yeah absolutely blows my head um she’s doing a brilliant job the beautiful thing about that to see the genuine um humble humble attitude that you have you know to the the height that you have attained yourself and and the talent that you have to still be so um you know Starstruck by these guys you know as you say Fanboy um she gets embarrassed about how Fanboy I do get you know and I mean and he honestly it’s with so many people even people you know are DJ with for years I still see them as the people that I was on the Dance Floor listening to when they were DJing mm-hmm and that’s that’s very endearing because it means you’re very down to earth and you’ve always kept your feet on the ground you know for all of you the trials and tribulations that you’ve been through and to get through it so here we are on the other on the other end of a a crazy few years um you mentioned and someone else mentioned in the chat earlier about um other production um Partnerships that you’ve had you’ve still not learned you’re still teaming up with other people and but uh tell us about some of the success that you’ve you’re currently um achieving or you have achieved in recent times well um I I saw a post by uh Simon Shadow Charles and as we say that here he is um commenting in in the uh in the in the comments respect the dawn himself yeah I mean he’s he’s he’s honestly a studio genius um yeah and he he said you know how do you fancy like doing a a track together and normally I’d say yeah yeah sound agree to it and it would never happen because it’d be totally out of my comfort zone and this one time I thought no do you know what I need to do this you know I need to like go over to his studio and and see what we see what we do and went over there and like the first track that we did together it was just absolutely bang on you know what I wanted you know and I came away from it phone Nikki straight out loud I was like oh my God you need to listen to this and it was just a pure raw you know like drum machine and 303 like acid workout but it was you know it was it was so refreshing to work with him you know it’s so on the same page really easy to work with I mean the guy who used to do the all the alternate stuff the the engineering Mike Bell when we were in studio you’d be listening to stuff and you turned him to say you know this could do with and he’d already be doing it and Simon’s exactly the same as that it’s like I’ll go to say something he’s already you know most of the time I I can keep quiet in a studio session because it’s like he knows what I’m thinking you know I’ll bring to the table like oh just do a reverse edit there you know there there’s my bit I hear that I hear that so tell us tell us about the actual production uh name and and some of the some of the big tracks well we we did this uh first EP um using the uh our initials Mark Archer Shadow child so it’s under the name mask um and that was for for super Rhythm tracks which is a a label run by Jerome Hill um so you know really grateful for Jerome like going out on a limb and putting out like you know like a brand new artist but we used our own names as well so Shadow child and Mark Archer present masks which is a bit of a mouthful but Jerome went with it um and we did a follow-up Return of the Mask which is you know the Mark Morrison being a bit of a a play on on Words and then for the third release we we’d already sent Jerome it was a collaboration with with fast Eddie some more on like a hip house tip um and we’d already sent it to Jerome um and it didn’t kind of fit in with the first two eps but Simon said you know why don’t we release it on food um and it’s it a clear vinyl release so you know it’s brilliant to work with not only Simon but also uh fast Eddie um and then we decided to do a follow-up to it and the idea behind the tune was um Simon had found uh a speech snippet from Keith Haring talking about his dad explaining Morse code it’s pretty much everywhere in the house so straight away as soon as he played that sounds like you know we’ve got to use that so then the idea came why don’t we spell out Mass using Morse code which is the actual the the stub pattern in the tune is Morse code for masks okay but when when pets uh recording sign the track the whole Shadow child of Mark Archer presents mask it’s a bit of a mouthful so that came out as Shadow child and Mark Archer um but I mean that you know that’s that’s been getting some some like really big plays really like uh you know the likes of Peggy goo and so it’s it’s you know like again I can’t believe you know when when people are playing my stuff you know I’ve got still got the same excitement as I did like when that first terrible rhythm of D tune got played in our price records you know and I was stood in there getting embarrassed about it eats the buzz of having a tune out you know and and people actually playing or you know that that’s what it’s about for me indeed and have you ever thought to um having a throwback to those Glory Days and actually on purpose getting getting the music to warp at a time and not match up every now and again I think if Simon actually let me do some engineering that would that’s what would happen that’s why I leave it to him brilliant fantastic so uh I mean it’s a beautiful heartwarming conversation that uh it does it does go to show the the journey and clearly you’ve still got the energy you know it’s far it’s far from over and you’re still keeping busy what’s the what’s the biggest thing that you immediately think of that’s on the horizon for you um I honestly think it’s it’s the partnership with with Simon you know the with that on the same page um you know we played it shindig Festival this year and and did it back to back you know and he’s just it’s an absolute pleasure working with him you know DJing or or producing and it’s he seeing Morse code as the you know the the plays and success that it’s having it was like when I did bells in New York you know after having the success of of alternate and then that stopping and thinking maybe you know this is this is it I’ve had my five minutes and then you know bells and bells New York doing what it did you know it’s it it was nice that it was me working with somebody different you know and we could still have success so so this again working with Simon and and this you know doing what it’s doing it’s it’s really nice so um plus the fact he’s he’s just done a remix of of Belzer New York so hopefully that’s coming out uh soon and you know fingers crossed that as well brilliant and then uh just think sitting here whilst listening to you put in the uh the maths together next year is going to be 35 years since you’ve been in the game yeah I believe that you got anything planned Mickey like yeah we got something planned but we can’t talk about it yeah yeah she’ll she’ll be there planning away she’s already pressing on her phone going like mad yeah at the moment it’s you know with so many different artists coming out so many different new Styles and stuff just trying to keep your head above water and P people remembering that you’re there you know that that’s I’ll be happy with that so you know during the the traps with Simon it’s just you know such an added bonus brilliant well mate listen I really could sit and talk to you all night but I think we we have really painted the Fantastic picture of um you know what the the brilliant Journey that you’ve had and the and it’s going to continue uh I’ll say thank you to everyone for being here um yeah I I can only apologize for my useless research I can only apologize for my users but um so we need to plug the book uh The Man Behind the Mask uh who’s the publisher where they can pick that they can find that um it’s on um music Mondays um at the moment it’s sold out so I don’t know whether it’s going to go to uh paperback or not okay um are you planning on doing a re a Reit good audio book well this this is something that I’d I’d really like to do I mean right from the get-go with the book everyone else you know is it going to be on Kindle is it going to be an audio book and it’s something where it was just it was hard back and that was it so you know this this could be something to to work on over the next year wonderful and then if people want to find you as well and book you nla artists um for all of the gigs just remind us of the website for that well it’s the the email address is just Nikki at nla artist nla-artist.com right she’s cussing right here she’s cussing yeah cussing yeah so we’re getting lots of people uh liking this stream um there is no way for me to end this other than just ending it and saying thank you mate really I appreciate I’m gonna stop myself there is a way that I want to end this it’s been um uh if we can get through this it’s been quite a horrific time for you recently we want to say a couple of words um yeah to remember a couple of people yeah um I mean you know the the last um last couple of weeks have been been pretty brutal to be honest I mean unfortunately I lost my mum uh just before Christmas to cancer um so that you know that that’s still quite quite raw um but unfortunately Nikki’s dad uh passed away last week uh to cancer um and it’s he he bought it all back obviously it’s incredibly difficult for Nikki but you know he bought it all back um about my mom um and then the day after unfortunately we we heard about Jamie Roy’s passing which she knows a massive shot um and he he’s actually done a a remix of of bells in New York so you know we don’t know what’s happening without unfortunately but you know he was such a lovely bloke um so that was a a massive shot and then the legend that is Stu Allen passed away um and I mean you know three people that you like obviously my you know my father-in-law he was uh you know he was the only out of the the three father-in-laws he was the only one who who treated me like a bloke you know actually spoke to me on a on a level um and and he’s helped us out you know immensely in the last 13 years that I’ve I’ve known Nikki um but you know to lose three people in one week it’s it’s been brutal it has been brutal well I wanted to make sure that we um give them a mention uh and we we don’t forget them on this I’ll say thank you to you my friend um I’ll leave you to the rest of your Tuesday evening I’ll send uh a wave and a kiss in your wife’s Direction and um do come back and and check out some of the comments you’ve been getting a lot of love from people watching now it’s been an absolute pleasure thank you Andy it has my friend that it has I’m going to say goodbye to everyone now thanks Mark take care cheers well ladies and gentlemen that was Mr Mark Archer and uh it was interesting to hear his story [Music] um quite touching at the end the fact that uh you know we had to pay homage to people that he’s he’s lost um stew Island someone actually um one of the few DJs in the scene that uh I never really got to know very well but whenever you see someone that’s so instrumental and influential pass away it cannot go unnoticed so uh I was happy that we could give him um a shout out so many of you have been liking the stream tonight so many of you have been uh commenting uh you’ll have to forgive me if I didn’t address you direct but you can see on the screen here Emily Andy Dave Lin Danny Malcolm Stewart Sharon those are just a few here that I can see on the list a lot of those names one have seen what I do before the channel is called Inspire and be inspired you can find me on YouTube youtube.com forward slash DJ Andy Ward and over the course of the last 12 to 15 months I’ve interviewed a lot of people that you would have heard about in that interview there and many other people as well uh documenting the Birmingham story um documenting Manchester Nottingham Leicester Derby Sheffield um go back and check out some of the interviews I think you’ll find them interesting thank you for being here on the screen in front of us we can see a logo that’s been in I have the biggest week of my year coming up it kicks off on Friday the vocal booth Weekender here in Spain where I live uh Big Love ads or the vocal boo family and on the screen in the top left hand corner uh we have been seeing logos zoom in in and out of the vision those are people who subscribe to me on a monthly basis and if you’re interested in that that’s tool and getting your logo on the screen then you can find out more about that at DJ Andy ward.net thank you for your time I’ll be taking a couple of weeks off once I get my little Festival out of the way and then when we come back I’m going to be talking to some more Legends uh in the game I’ve got more big names out of Birmingham some huge names uh London and we’ll be going transatlantic at some point thank you very much uh you take care of yourselves now bye foreign