It’s 1994 and I am 18 years old. I walk into vinyl mania’s import department and find a 10’ press. Taking it to the counter I ask them to play it. The dj places it on the decks and I hear the beginning notes of the tune. By the time it drops I cannot understand why everyone isn’t loosing their minds. I buy it right away. At the club that weekend, I drop it and people begin to run to the decks asking where I got it and what it is. From the chopped drums, to the vocal right down to the atmospheric breakdown it was the perfect Breakbeat hardcore tune. I had a fever for Bay B Kane Tunes ever since. With prolific output into the 21st century, Bay B Kane dropped off the map for 10 plus years, making a huge comeback with the birth of Future Jungle. We got the chance to sit down with him and get the details about his career, what brought him to the music, and what he has coming up! Check the vibe!
How did you find your way to breakbeat/hardcore back in the day?
I was always heavily into hip hop and came in the game originally as a rapper back in 87 with my DJ Mr. E so I was well into the breakbeats from back then but the production fever didn’t really hit me until I heard a track called Depth Charge by Han Do Jin and I knew what direction I wanted to go and shortly after that we set up the label and production duo known as Break The Limits.
Your tune ‘Bagpipes In Effect’ was a floor filler for that first generation of jungle head. Tell us the story behind that tune and why “Bagpipes”?
First thing to mention is that the sample I used is not actually of bagpipes ironically but kind of sounded similar when sped up which I guess was the reason I called it Bagpipes in Effect plus everyone knows what bagpipes are generally. I’m the type of person who likes to go against the grain and nobody would have expected to hear bagpipes in a hardcore jungle tune which is another reason why I made that track.
You started releasing on WhiteHouse Records, at one point it seemed like you were their only artist. How did you get picked up by them? What happened to end the relationship?
WhiteHouse was a label started by the distribution company known as Mo’s Music Machine who were distributors of my label back then in 93 and as I had a good working relationship with all the staff and the boss I guess I was one of their initial choices when they started approaching producers about releasing on their new label but I was by no means the only artist on there far from it. The first ever label meeting I remember attending was alongside Bizzy B and Ellis Dee and later the artist roster grew as it also included Remarc, SL2, The Criminal Minds, Flytronix, Skanna, Chuck E, WarpedKore, Justice & Mercy, In-Perfection, DJ Tamsin, 32Troop, DragonFly and A-Zone (Aphrodite). The only reason my relationship ended with them was because I decided to leave the scene in 97 to pursue higher education and move forward with other aspects of my life.
What was it like walking into events like Voodoo Magic or Jungle Fever and hearing your tunes in the dance?
I’ve never been to Voodoo Magic or Jungle Fever but I used to be a regular at Telepathy when it used to be in Marshgate Lane Stratford which is where I first met Ellis Dee and used to give him exclusive test pressings and he used to drop them there and then in his set which was such a rush. It was always a buzz to hear my tunes get dropped anywhere…I also used to go Roller Express Living Dream and Paradise Club & The Morning After.
I noticed that you weren’t part of the dj/producer thing back then; Do you dj and why didn’t you try and cross over into that place?
I was never a Dj strictly a producer and always felt that the two should be separate and I also didn’t like the idea of Dj’s getting into production as most of them didn’t have a clue and would make friends with a producer and get in that way not all of course but that’s the way great many Dj’s managed to get tunes done and they may read this and feel some type of way but it is what it is and lots of producers were exploited by Dj’s in all sorts of ways back in those days.
Tell us about “the Fridge”!
The Fridge was the name of my studio, which was a detached purpose built industrial refrigeration unit, originally that I took over and converted into a recording studio. This serves as the base of operations between 1993 to 1997. It had walls 2 feet thick double brick layered and lined with sand clad completely with steel sheeting riveted on the outside no windows and air tight! Once you stepped in and shut the door it was like a world within a world that was totally separate from the outside.
Your classic tunes were pretty well known for having some cheeky samples, what’s your favorite? Did you have any issues after the fact with artists coming back and giving you crap for them?
My favorite would have to be Hello Darkness, which was taken from Simon & Garfunkel’s Sound Of Silence. I have never had any issues regarding samples which is a bit of a shame really as I wish one of these so called super stars would come at me sideways as I would flip that situation and use it in such a way that they would wish they never bothered! Whenever I use a sample I create new life or new art from it I never disrespect it and I use it because I am inspired by it.
Your output between 2000 and 2011 dropped drastically, what were you up to?
As I mentioned earlier in 97 I decided to leave the scene as I wanted to do other things and move forward with my life in other ways especially as I had a young family I wanted to be with them more and be involved in their lives more I also wanted to go into higher education which I did as I attended London Metropolitan University and obtained an honors’ degree in Computer Science.
I remember ‘The Rood Project’ having a warning Label on it for excessive bass! What happened to prompt that?
That was kind of like a marketing thing but at the same time if you are familiar with the track in question “Thunder” I’m sure you’ll agree that a certain amount of caution was necessary for when the bass drops midway through the track.
“Have a Break” was one of the first sample packs I remember seeing for jungle producers. What made you want to put that together?
The way my mind works is often ahead of time and many of the things I did back in the day most people didn’t get at the time and in a way this was another example of that type of thinking also massive props to Andy Bailey who was the label manager at WhiteHouse who was always very supportive of my ideas convinced me that this was indeed a great idea and it was yet another first in the Jungle scene in a ready to sample multi chopped and layered CD format and sold many thousands of copies over the years and made WhiteHouse lots of money.
What brought you back to the music, what is your new school production setup like?
What brought me back was a combination of factors one being the burning desire within me to make music again also a fella by the name of Pete Cassin aka Dj Devnull who runs blogtotheoldskool.com helping to convince me that it was time for me to return also discovering a site called Whatever happened to Bay B Kane…The combination of these factors was enough for me to say yeah its time and so I officially returned March 2010 and have been in the thick of it ever since. I have had so many releases on so many labels since my return that it would take up too much time and space to list all here but the 2 main labels I release on are Boomsha Recordings which covers the Future Jungle sub genre and my own imprint Ruff Guidance Records.