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| They call it ACID |
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| The film has some amazing footage of early parties and raves, how did you obtain this, and what sort of process did you have to put it through to deliver such a coherent biopic? Gordon: The film contains some truly amazing archive film. Some of it I was lucky enough to film myself back in the day on Super 8mm and a Beta SP borrowed from work. The rest has come from various sources, who I am most grateful to, like the unique footage of Clink Street and Spectrum that really captures the atmosphere at those clubs. Getting it into a coherent film just took time and lots of sifting through hours of interviews relevant to the footage. Doing the film over along period allowed me to talk to people about the footage rather than just getting footage for what people talk about. Have you got any snippets to entice the readers out there that think there's nothing they have not read or seen about Acid House? Gordon: There have been a couple of TV Docs on Acid House but honestly none of them were done properly. It's too difficult, with the way Television is made, to do a film this thorough. I really did spend 10 years working on this and featured not just the star DJs that will get ratings, but many of the real pioneers who have previously gone unmentioned and helped shape the scene. What was the highlight of those early days for you, and what three tracks define it? Gordon: The highlight for me was my favourite club, Clink Street. It was small, dark, and hot, with hardly any light show or smoke machines - just wicked music and really cool people. You could just escape in there for hours and then emerge back into the real world wondering what had happened. I also really loved some the early big outdoor parties and dancing in a field as the sun came up and into the morning just sitting and chatting with really lovely like-minded people. My favourite 3 tracks change all the time and to be honest, my taste is not as good as some of the DJs, which is why I asked Eddie Richards to do the soundtrack for the film. I think my 3 favourites from the film are; Going Back to my Roots, Dreams of Santa Anna, and Get Acidic, but I'll change my mind tomorrow. |
Dave: Simply seeing the scene explode in front of my eyes from a tiny beginning, and being such a close part of it - creating friendships, which still last to this day. Also, my first 'E' was taken with Paul Rutherford (Frankie Goes To Hollywood) and I knew something special was going to happen with this! Track-wise, its got to be 'Theme for Great Cities' (Simple Minds), Energy Flash' (Joey Beltram), and 'Hip Hop on Precinct 13' (Bomb The Bass). Rocky: I think going to the first Shoom did it for me it was like having that eureka moment. I can actually remember thinking, 'nothing's going to be the same again' - it all changed for me on that cold November night in 1987. 3 tracks that definitely define that time were Phuture's 'Acid Trax' - the one that gave the scene it's name and one of those pieces of music that just defied explanation. Secondly, was Nitro Deluxe's 'Let's Get Brutal' - I can remember hearing this at Rare Groove, Soul and Funk events before the Acid House thing erupted - it was another of those tracks that made you feel that things were about to change. Finally, I think it would have to be ESP's 'It's You' - this still sounds incredible today. I've heard it on a few mix comps in the past few years as well. All the above records were purchased at Groove records in Greek Street, sadly long since departed. -- Firstly, thanks to Gordon for working so hard to produce such a vital film, it should be seen by anyone into electronic music of any age. Then to Rocky, Dave and Gordon again for spending the time to talk to us, as without these people the Acid House scene may not have been the movement it was, and still is. Adrian J W Darby  |
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