New song based on real-life heart rate of winning bingo player revealed for first time
FULL HOUSE New song based on real-life heart rate of winning bingo player revealed for first time
Click to share on X/Twitter (Opens in new window)
Click to share on Facebook (Opens in new window)
An upbeat new house track has been released – based on the real-life heart rate of a bingo player the moment they land a full house.
DJ Fish56octagon teamed up with Mecca Bingo to create the house music track, which has been engineered to recreate the excitement of winning every time you hit play.
Sign up for the Entertainment newsletter
Sign up
3
An upbeat new house track has been released
Credit: Mecca Bingo
3
DJ Fish56octagon teamed up with Mecca Bingo
Credit: Mecca Bingo
The house track runs at 128BPM – the heart rate measured at the exact moment a bingo player completed their ticket and won the game.
Called ''FULL HOUSE'', it's packed with tension-building beats and euphoric highs to mirror the thrill of a jackpot call and the bingo experience.
It features pulsing bass lines which builds anticipation with the sound of rushing blood heightening suspense, set against the celebratory clink of glasses.
The song, which is available on Soundcloud crescendos into a euphoric, chest-thumping cry of 'house', followed by a classic music drop with bingo calls woven throughout.
Fish56octagon is renowned for his viral house mixes and signature at-home dressing gown DJ sessions that have earned him over a million followers.
He said: 'Innovation is everything in music - you've got to keep surprising people, and blending the tension of bingo with the classic build and drop of house felt like the perfect crossover.
'I wanted to capture that electrifying moment when the numbers are dabbed off and you know you've won - it's a proper rush, and that's what this track is all about.
'House music thrives on that feeling of anticipation and release, and so does bingo - it's all about the buzz before the drop, or the call that matches your final number.
'We hope this track brings that same energy, whether you're on the dancefloor, dabbing numbers, or soaking up the summer sunshine.''
Professor Dan Augustine, medical director at Sports Cardiology, who analysed the heart rate data used to design the track, explained: 'We often associate a racing heart with physical exertion, but our experiment shows that the excitement, anticipation and tense nature of a bingo game can trigger the same response.
'A game of bingo can activate a 'fight or flight' mode - which releases adrenaline and raises heart rate, even in the absence of movement.
'As a result, in that 'full house', winning moment, our lucky player's heart rate surged by a whopping 33 per cent - reaching 128 BPM.''
A study of 2,000 adults commissioned by Mecca Bingo revealed that music taste shifts in summer for 28 per cent.
With 41 per cent leaning towards feel-good anthems and 25 per cent craving high-energy, upbeat tunes that match the sunny vibe.
Turns out house music one the go-to genre for 23 per cent of 18-34 year old – and of those as many as 76 per cent say it gives them a 'winning feeling', like something brilliant is just around the corner.
While more than a third (34 per cent) young fans of house crank it up when doing chores.
Almost four in 10 (39 per cent) say it's their soundtrack for smashing gym workouts, while it's the kitchen companion for 29 per cent of the young adults when cooking.
And one in five (21 per cent) added a good house tune makes them feel completely unstoppable.
A spokesperson from Mecca Bingo said: 'The biggest moment in bingo is undoubtedly when players shout 'House!'' to claim a big jackpot prize, so we wanted to capture that winning feeling in a dance track.
'By combining two classics - bingo and house music - we've created something that celebrates the thrill of the win in an entirely new way.'
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Scotsman
a day ago
- Scotsman
Rave tapes: The most valuable cassettes from the 1990s rave scene
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Voicemail recordings and lo-fi dubbing - a look back to the world of the '90s rave tape. Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Long before Spotify and Soundcloud, cassette tape trading was how many discovered new music. With it came a flood of releases from some of the biggest dance promoters of the '90s - but in a very underground way. Benjamin Jackson looks back at the era of the rave tape, some of the bigger names in the scene and if any of them are worth anything in 2025. Before streaming playlists and instant downloads, how did a generation get their hands on the freshest, most electrifying sounds? Cast your mind back to the late '80s and '90s in the UK, when rave culture exploded, driven not by major labels, but by a humble, clunky format: the rave tape . These weren't just mere recordings. Advertisement Hide Ad Advertisement Hide Ad Instead, they were the lifeline of an underground movement, passed hand-to-hand like sacred scrolls. If you've ever wondered how the acid house revolution spread from secret warehouses to car journeys across the M25 , this is your rewind button. Ahead of both Creamfields 2025 and Tomorrowland taking place this year, let's go back in time to an era where raves were illegal , 'the man' didn't like people having fun, and going to a show sometimes involved calling a mobile and learning where to go by voicemail… … and of course, the cassette tapes and clamshells that frequented glove compartments and cassette decks at the time. Dance music in the early 90s - what led to the start of releasing tapes? Before Spotify or YouTube, ravers would head to independent record stores or buy live tapes of the shows through mail order services - many of which where DIY operations. | Getty Images/Discogs Necessity – basically. The era of rave tapes truly flourished in the late 1980s and throughout the 1990s, a period often referred to as the ' Golden Age of Rave '. It was a time when dance music was exploding across the UK, moving from acid house's underground origins into diverse genres like hardcore, jungle, drum & bass, and happy hardcore . Advertisement Hide Ad Advertisement Hide Ad The entire rave scene was built on a DIY foundation. Promoters and fans took matters into their own hands, bootlegging sets, photocopying covers, and setting up informal distribution networks, bypassing traditional music industry structures entirely. Some old-school ravers will tell you tales of phoning a mobile number to hear a voicemail message giving directions to the rave. Others will recount just randomly being in an area, only to spot fellow revellers marching to a hidden location where an illegal rave was set to be – sometimes traveling the stretch of the M25 corridor to do so. So naturally, with the nature of raves being somewhat of a 'stain on the moral decency of the United Kingdom' at the time, the commercial aspect wasn't something at the forefront – yet. That would be nearly a decade later when Clubland blew up. Before widespread high-speed internet and digital downloads, and the likes of Alice Deejay, Fragma , Ministry of Sound , and Cream became staples in the UK singles and album charts, there was no easy way to distribute new music or capture live sets. Cassette tapes were the most accessible and affordable medium. Advertisement Hide Ad Advertisement Hide Ad So instead, in true DIY fashion, promoters would release their own tapes; lovingly put together in either the now iconic clamshells (which would sometimes hold seven to eight tapes featuring an entire night of music), or as one-shot single cassette tapes dedicated to a particular DJ who performed for the promoter's club night. There were two methods fans could get their hands on the music: one was by virtue of dubplates – unique tracks and mixes that would be pressed onto vinyl as one-offs – or the much cheaper option of dubbing a number of cassette tapes off one master recording. As it stood, tapes were one of the few affordable ways to record these often legendary, one-off events and share them with those who couldn't attend or wanted to relive the experience. They have since become vital historical documents of the culture. Tapes also allowed these fresh, cutting-edge sounds to quickly spread across the country, influencing other DJs and producers. Advertisement Hide Ad Advertisement Hide Ad Could they be picked up at HMV or Fopp at the time? Not really – though when the likes of Hixxy released commercial CDs of Bonkers , most of the time mainstream stores like HMV or Fopp were more geared towards chart music and major label releases. Instead, it was more of an underground operation to release these tapes – again, going back to the DIY ethos of the genre. The most common place to buy tapes was directly at the events, often from stalls set up by the promoters themselves or by independent sellers. Key independent record stores, particularly in major cities like London, Manchester, Birmingham, and Bristol, that catered specifically to dance music, imports, and underground genres, were vital hubs. There were also rave fanzines like Eternity or Dream Magazine that would feature adverts for mail-order tape lists. You'd send cash through the post and receive your tapes back. Advertisement Hide Ad Advertisement Hide Ad For the unscrupulous, though – they'd just dub the tapes and palm them off to friends, which admittedly wasn't ideal. Not because of piracy, but because generations of dubbing these tapes led to a loss of sound quality… which wasn't ideal when the fidelity of the recordings wasn't perfect in the first place. Who were some of the 'main players' releasing tapes at the time? Dreamscape Arguably one of the most iconic and largest promoters in the UK, Dreamscape truly defined the 'super-rave' era. Based primarily in the South East (often in vast venues around Milton Keynes and Bletchley), Dreamscape's multi-arena raves were legendary for their immense scale, intricate production, immersive themes, and consistently stellar lineups. Their events were grand, almost magical spectacles that drew tens of thousands of attendees. Their tape packs, often professionally compiled with distinct, instantly recognisable artwork, meticulously documented every set from their massive events. These collections crucially captured the evolution of rave music from the breakneck intensity of hardcore into the complex rhythms of jungle and drum & bass. Vibealite A huge name in the Midlands rave scene, particularly known for its high-energy hardcore and happy hardcore events. From its core in Nottinghamshire, drawing crowds from across the region including Mansfield and Birmingham, Vibealite forged a distinct identity rooted in fast, anthemic beats and uplifting vocals. Their events were known for their electric atmosphere and dedicated crowds, fostering a strong sense of community. Advertisement Hide Ad Advertisement Hide Ad Vibealite tapes capture the raw intensity of these all-night parties, making them essential for fans of the unique and influential Midlands sound that propelled many DJs to prominence. Fantazia Another enormous promoter, Fantazia carved out its place as a cornerstone of the UK rave scene by hosting truly colossal events across the country, including in the Midlands. Known for pioneering huge, immersive experiences that often included elaborate stage designs and theatrics, Fantazia consistently drew immense crowds. While perhaps less exclusive to the tape-only market than some, their events were meticulously recorded, and Fantazia tapes became hugely popular and widely distributed. These tape packs captured the vibrant atmosphere and diverse sounds of their sprawling parties, offering fans a crucial piece of the energy they experienced live. Fantazia's visually distinctive branding also helped solidify its place as a definitive brand of the early 90s rave explosion. Advertisement Hide Ad Advertisement Hide Ad Helter Skelter, Universe, Slammin' Vinyl These were other major promoters from the M25/South East circuit, representing the pinnacle of the super-rave era. Moving beyond the initial, often illicit, warehouse parties, these giants of the scene regularly hosted colossal, licensed events in vast venues around the M25 corridor and across the South East. They offered multiple arenas catering to a diverse range of dance music genres, from blistering hardcore and intricate jungle to euphoric trance and progressive house. Their tape packs were legendary for their sheer scale, often comprising multi-tape sets that meticulously documented entire nights, showcasing sets from every key DJ and arena. Bonkers While Bonkers did initially host a series of high-energy happy hardcore club nights and events, its most significant and lasting impact was undoubtedly as a hugely successful compilation album series and brand. Emerging in the mid-1990s, Bonkers became the definitive commercial face of Happy Hardcore, a genre characterised by its rapid tempos, uplifting melodies, and often vocal-driven tracks. Curated and mixed by influential DJs like Hixxy and Sharkey, the Bonkers CD compilations achieved phenomenal sales, reaching millions of listeners far beyond the traditional rave circuit. This marked a pivotal moment, transitioning the genre from its underground, tape-distributed roots into mainstream retail outlets. Advertisement Hide Ad Advertisement Hide Ad Bonkers not only brought Happy Hardcore to a much wider audience but also cemented the commercial viability of dance music compilations, making it a household name for a generation. Who were some DJs who featured on the tapes that went on to do bigger things? Many DJs became legends through their sets on these tapes, building huge reputations that propelled them to international stardom or cemented their enduring influence: Carl Cox While he transcended any single genre to become a global techno superstar, Carl Cox was a powerful and unforgettable force in the early rave scene. Known for his legendary three-deck wizardry and incredible, infectious energy behind the decks, his early rave sets on tape showcased his versatility and sheer charisma. Whether dropping hardcore, techno, or house, Cox's sets were renowned for their driving rhythms and an almost spiritual connection with the crowd. His ability to deliver pure exhilaration through his mixing made his tape sets highly sought after, solidifying his reputation as a true master of the craft even before his worldwide fame. Advertisement Hide Ad Advertisement Hide Ad Hixxy Hixxy truly became synonymous with the Bonkers brand, not just as a DJ but as a pivotal figure who helped define the sound of Happy Hardcore. His energetic mixing style, characterized by rapid-fire transitions and an uncanny ability to select the most anthemic tracks, was central to the genre's massive success. Beyond his DJ sets, Hixxy was also a prolific producer, crafting many of the genre's defining tunes. He was instrumental in shaping the accessible, uplifting sound that turned happy hardcore into a mainstream phenomenon, reaching millions through the Bonkers compilations and making him one of the most recognised and beloved names in the genre. Slipmatt (Matthew Nelson) A true pioneer and hugely popular DJ from the hardcore/jungle scene, Slipmatt was a ubiquitous presence on rave tapes throughout the 90s. As a resident at many major raves, including Vibealite and Dreamscape, his high-energy, versatile sets (moving from hardcore into early jungle and then happy hardcore) were constantly in demand on tape. He was known for his seamless mixing and ability to whip a crowd into a frenzy. Beyond his DJing, he was also a key producer and part of the chart-topping group SL2 ('On a Ragga Tip'). Slipmatt's consistent presence and enduring popularity ensured his influence spanned decades, shaping the sound for generations. Advertisement Hide Ad Advertisement Hide Ad Grooverider & Fabio These two visionary DJs were absolutely pivotal in shaping the sound of jungle and drum & bass, particularly from their base in London. Their legendary 'Rage' club night at Heaven became a crucible for the new sound, transitioning from hardcore breaks into the darker, more intricate rhythms of what would become jungle. Their recorded sets from 'Rage' and other key events were essential listening on tape, establishing them as tastemakers and long-standing figureheads of the genre. Known for their sophisticated track selection, deep basslines, and seamless, extended mixes, Grooverider and Fabio cultivated a more mature and refined sound that laid the groundwork for modern drum & bass. Andy C Starting incredibly young in the early 90s rave scene, Andy C rapidly became one of the most influential and technically gifted DJs in drum & bass. Nicknamed "The Executioner" for his precise and relentless mixing skills, his early rave sets on tape quickly cemented his reputation as a prodigy. Beyond his electrifying DJ performances, he went on to build the hugely successful Ram Records label, which became one of the most respected and innovative imprints in drum & bass. Andy C's relentless touring, technical prowess, and consistent innovation have ensured he remains a top-tier artist and a true legend of the genre. Advertisement Hide Ad Advertisement Hide Ad Sasha & John Digweed While their later careers leaned more towards progressive house and trance, Sasha & John Digweed were titans of the electronic music world who built significant parts of their early careers playing at major UK raves. Their famously long, intricate, and journey-like sets (often lasting for hours) were perfectly suited to the tape format, allowing listeners to immerse themselves in their evolving soundscapes. Their tapes from major events like Universe and Renaissance were widely circulated and highly sought after, showcasing their pioneering mixing techniques and track selections that laid the foundation for the progressive sound that would captivate a global audience. What are some of the more valuable rave tapes from the era? Dreamscape X (Get Smashed) ESP Promotions series of Dreamscape tapes were one of the hottest collections in the scene - with a copy of Get Smashed worth more in 2025 that the RRP would imply. | Discogs/ESP Promotions Capturing the essence of a pivotal year in rave, the Dreamscape X (Get Smashed) tape pack from 1994 is a true collector's treasure. Released directly by the iconic Dreamscape promoters, this monumental set comprises 8 mixed cassettes, offering a comprehensive audio journey through one of their legendary events. For enthusiasts, owning this pack is akin to possessing a direct sonic portal back to the heart of a bygone rave, making its highest recorded sale of £49.99 on Discogs a testament to its enduring historical and nostalgic value. Advertisement Hide Ad Advertisement Hide Ad Fantazia - The Showcase Embodying the raw, grassroots spirit of early 90s rave, the Fantazia - The Showcase cassette from 1992 is a fascinating and valuable piece of history. Released as a Limited Edition, Unofficial Release directly by the colossal Fantazia promoter, this single mixed cassette perfectly illustrates the DIY nature of the scene. It captured a moment from a legendary rave, often distributed informally, outside of official channels. This blend of influential promoter, early release date, and its "unofficial" yet "limited" status makes it a highly desirable item for collectors seeking authentic artefacts from the formative years of UK rave. Its highest recorded sale of £49.99 on Discogs reflects its significant rarity and historical weight. Slammin' Vinyl & Dream FM A powerful collaboration captured on tape, the Slammin' Vinyl & Dream FM 8x cassette pack from 1996 is a vivid testament to the vibrant intersection of rave promotion and pirate radio. Released as an Unofficial Release direct from Slammin' Vinyl (a major name in the UK rave circuit), this substantial pack documents crucial mixed sets, likely featuring DJs broadcasting on the iconic Dream FM, a pivotal pirate radio station that was instrumental in spreading rave culture across the airwaves. This collection perfectly embodies the raw, decentralised nature of the scene, showcasing how both promoters and underground radio stations fuelled the tape trade. Its highest recorded sale of £35.00 on Discogs shows its significance as a historical artefact from the heart of the mid-90s rave scene. Advertisement Hide Ad Advertisement Hide Ad Thunderdome XII MC2 (Caught In The Web Of Death) While the UK rave scene forged its own unique identity, the phenomenon of high-energy, underground music documented on tape was very much an international one. The Thunderdome XII MC2 (Caught In The Web Of Death) cassette compilation from 1996 stands as an iconic example from the Netherlands, the undisputed heartland of European hardcore. Released by Arcade, this compilation captures the raw, uncompromising sound that defined the Thunderdome brand, a massive global force in hard dance - reaching a highest recorded sale of £63.07 on Discogs. Where can I listen to some of the tapes online? Thankfully, the digital age has provided an invaluable archive for the rave tape scene, allowing both nostalgic ravers and new enthusiasts to dive into these classic sets. What was once a physical, underground currency is now widely accessible, preserving a vital piece of dance music history. Advertisement Hide Ad Advertisement Hide Ad YouTube is often the first port of call. Numerous dedicated channels serve as unofficial archives, uploading entire tape packs, individual DJ sets, and full event recordings. Searching for specific promoters (e.g., Dreamscape tapes, Vibealite sets, Fantazia full event) or DJs with old skool rave set yield a wealth of results. A popular platform for DJs, Mixcloud is also a treasure trove for archived rave sets. Many DJs themselves or dedicated fans have uploaded mixed sets, often curated with track-lists, allowing for seamless listening. It's a great place for longer, uninterrupted mixes. But more importantly, several passion projects and fan-run sites are dedicated to preserving and cataloguing old rave sets. These often have comprehensive collections, sometimes even organised by promoter, event, or DJ. You can check out Old Skool Rave Tapes , Rave Tapes or Hardcore Junglism (for jungle/drum & bass specifically), alongside various forums and online communities where members share and discuss rare recordings. Advertisement Hide Ad Advertisement Hide Ad What were your memories of the rave scene and going out clubbing during the late 80s and early 90s, and do you still own any of the clamshell releases talked about in the article? Share your memories by leaving a comment down below - or your recommendations what else new fans to the scene might enjoy.
Scotsman
a day ago
- Scotsman
Rave tapes: The most valuable cassettes from the 1990s rave scene
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Voicemail recordings and lo-fi dubbing - a look back to the world of the '90s rave tape. Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Long before Spotify and Soundcloud, cassette tape trading was how many discovered new music. With it came a flood of releases from some of the biggest dance promoters of the '90s - but in a very underground way. Benjamin Jackson looks back at the era of the rave tape, some of the bigger names in the scene and if any of them are worth anything in 2025. Before streaming playlists and instant downloads, how did a generation get their hands on the freshest, most electrifying sounds? Cast your mind back to the late '80s and '90s in the UK, when rave culture exploded, driven not by major labels, but by a humble, clunky format: the rave tape . These weren't just mere recordings. Advertisement Hide Ad Advertisement Hide Ad Instead, they were the lifeline of an underground movement, passed hand-to-hand like sacred scrolls. If you've ever wondered how the acid house revolution spread from secret warehouses to car journeys across the M25 , this is your rewind button. Ahead of both Creamfields 2025 and Tomorrowland taking place this year, let's go back in time to an era where raves were illegal , 'the man' didn't like people having fun, and going to a show sometimes involved calling a mobile and learning where to go by voicemail… … and of course, the cassette tapes and clamshells that frequented glove compartments and cassette decks at the time. Dance music in the early 90s - what led to the start of releasing tapes? Before Spotify or YouTube, ravers would head to independent record stores or buy live tapes of the shows through mail order services - many of which where DIY operations. | Getty Images/Discogs Necessity – basically. The era of rave tapes truly flourished in the late 1980s and throughout the 1990s, a period often referred to as the ' Golden Age of Rave '. It was a time when dance music was exploding across the UK, moving from acid house's underground origins into diverse genres like hardcore, jungle, drum & bass, and happy hardcore . Advertisement Hide Ad Advertisement Hide Ad The entire rave scene was built on a DIY foundation. Promoters and fans took matters into their own hands, bootlegging sets, photocopying covers, and setting up informal distribution networks, bypassing traditional music industry structures entirely. Some old-school ravers will tell you tales of phoning a mobile number to hear a voicemail message giving directions to the rave. Others will recount just randomly being in an area, only to spot fellow revellers marching to a hidden location where an illegal rave was set to be – sometimes traveling the stretch of the M25 corridor to do so. So naturally, with the nature of raves being somewhat of a 'stain on the moral decency of the United Kingdom' at the time, the commercial aspect wasn't something at the forefront – yet. That would be nearly a decade later when Clubland blew up. Before widespread high-speed internet and digital downloads, and the likes of Alice Deejay, Fragma , Ministry of Sound , and Cream became staples in the UK singles and album charts, there was no easy way to distribute new music or capture live sets. Cassette tapes were the most accessible and affordable medium. Advertisement Hide Ad Advertisement Hide Ad So instead, in true DIY fashion, promoters would release their own tapes; lovingly put together in either the now iconic clamshells (which would sometimes hold seven to eight tapes featuring an entire night of music), or as one-shot single cassette tapes dedicated to a particular DJ who performed for the promoter's club night. There were two methods fans could get their hands on the music: one was by virtue of dubplates – unique tracks and mixes that would be pressed onto vinyl as one-offs – or the much cheaper option of dubbing a number of cassette tapes off one master recording. As it stood, tapes were one of the few affordable ways to record these often legendary, one-off events and share them with those who couldn't attend or wanted to relive the experience. They have since become vital historical documents of the culture. Tapes also allowed these fresh, cutting-edge sounds to quickly spread across the country, influencing other DJs and producers. Advertisement Hide Ad Advertisement Hide Ad Could they be picked up at HMV or Fopp at the time? Not really – though when the likes of Hixxy released commercial CDs of Bonkers , most of the time mainstream stores like HMV or Fopp were more geared towards chart music and major label releases. Instead, it was more of an underground operation to release these tapes – again, going back to the DIY ethos of the genre. The most common place to buy tapes was directly at the events, often from stalls set up by the promoters themselves or by independent sellers. Key independent record stores, particularly in major cities like London, Manchester, Birmingham, and Bristol, that catered specifically to dance music, imports, and underground genres, were vital hubs. There were also rave fanzines like Eternity or Dream Magazine that would feature adverts for mail-order tape lists. You'd send cash through the post and receive your tapes back. Advertisement Hide Ad Advertisement Hide Ad For the unscrupulous, though – they'd just dub the tapes and palm them off to friends, which admittedly wasn't ideal. Not because of piracy, but because generations of dubbing these tapes led to a loss of sound quality… which wasn't ideal when the fidelity of the recordings wasn't perfect in the first place. Who were some of the 'main players' releasing tapes at the time? Dreamscape Arguably one of the most iconic and largest promoters in the UK, Dreamscape truly defined the 'super-rave' era. Based primarily in the South East (often in vast venues around Milton Keynes and Bletchley), Dreamscape's multi-arena raves were legendary for their immense scale, intricate production, immersive themes, and consistently stellar lineups. Their events were grand, almost magical spectacles that drew tens of thousands of attendees. Their tape packs, often professionally compiled with distinct, instantly recognisable artwork, meticulously documented every set from their massive events. These collections crucially captured the evolution of rave music from the breakneck intensity of hardcore into the complex rhythms of jungle and drum & bass. Vibealite A huge name in the Midlands rave scene, particularly known for its high-energy hardcore and happy hardcore events. From its core in Nottinghamshire, drawing crowds from across the region including Mansfield and Birmingham, Vibealite forged a distinct identity rooted in fast, anthemic beats and uplifting vocals. Their events were known for their electric atmosphere and dedicated crowds, fostering a strong sense of community. Advertisement Hide Ad Advertisement Hide Ad Vibealite tapes capture the raw intensity of these all-night parties, making them essential for fans of the unique and influential Midlands sound that propelled many DJs to prominence. Fantazia Another enormous promoter, Fantazia carved out its place as a cornerstone of the UK rave scene by hosting truly colossal events across the country, including in the Midlands. Known for pioneering huge, immersive experiences that often included elaborate stage designs and theatrics, Fantazia consistently drew immense crowds. While perhaps less exclusive to the tape-only market than some, their events were meticulously recorded, and Fantazia tapes became hugely popular and widely distributed. These tape packs captured the vibrant atmosphere and diverse sounds of their sprawling parties, offering fans a crucial piece of the energy they experienced live. Fantazia's visually distinctive branding also helped solidify its place as a definitive brand of the early 90s rave explosion. Advertisement Hide Ad Advertisement Hide Ad Helter Skelter, Universe, Slammin' Vinyl These were other major promoters from the M25/South East circuit, representing the pinnacle of the super-rave era. Moving beyond the initial, often illicit, warehouse parties, these giants of the scene regularly hosted colossal, licensed events in vast venues around the M25 corridor and across the South East. They offered multiple arenas catering to a diverse range of dance music genres, from blistering hardcore and intricate jungle to euphoric trance and progressive house. Their tape packs were legendary for their sheer scale, often comprising multi-tape sets that meticulously documented entire nights, showcasing sets from every key DJ and arena. Bonkers While Bonkers did initially host a series of high-energy happy hardcore club nights and events, its most significant and lasting impact was undoubtedly as a hugely successful compilation album series and brand. Emerging in the mid-1990s, Bonkers became the definitive commercial face of Happy Hardcore, a genre characterised by its rapid tempos, uplifting melodies, and often vocal-driven tracks. Curated and mixed by influential DJs like Hixxy and Sharkey, the Bonkers CD compilations achieved phenomenal sales, reaching millions of listeners far beyond the traditional rave circuit. This marked a pivotal moment, transitioning the genre from its underground, tape-distributed roots into mainstream retail outlets. Advertisement Hide Ad Advertisement Hide Ad Bonkers not only brought Happy Hardcore to a much wider audience but also cemented the commercial viability of dance music compilations, making it a household name for a generation. Who were some DJs who featured on the tapes that went on to do bigger things? Many DJs became legends through their sets on these tapes, building huge reputations that propelled them to international stardom or cemented their enduring influence: Carl Cox While he transcended any single genre to become a global techno superstar, Carl Cox was a powerful and unforgettable force in the early rave scene. Known for his legendary three-deck wizardry and incredible, infectious energy behind the decks, his early rave sets on tape showcased his versatility and sheer charisma. Whether dropping hardcore, techno, or house, Cox's sets were renowned for their driving rhythms and an almost spiritual connection with the crowd. His ability to deliver pure exhilaration through his mixing made his tape sets highly sought after, solidifying his reputation as a true master of the craft even before his worldwide fame. Advertisement Hide Ad Advertisement Hide Ad Hixxy Hixxy truly became synonymous with the Bonkers brand, not just as a DJ but as a pivotal figure who helped define the sound of Happy Hardcore. His energetic mixing style, characterized by rapid-fire transitions and an uncanny ability to select the most anthemic tracks, was central to the genre's massive success. Beyond his DJ sets, Hixxy was also a prolific producer, crafting many of the genre's defining tunes. He was instrumental in shaping the accessible, uplifting sound that turned happy hardcore into a mainstream phenomenon, reaching millions through the Bonkers compilations and making him one of the most recognised and beloved names in the genre. Slipmatt (Matthew Nelson) A true pioneer and hugely popular DJ from the hardcore/jungle scene, Slipmatt was a ubiquitous presence on rave tapes throughout the 90s. As a resident at many major raves, including Vibealite and Dreamscape, his high-energy, versatile sets (moving from hardcore into early jungle and then happy hardcore) were constantly in demand on tape. He was known for his seamless mixing and ability to whip a crowd into a frenzy. Beyond his DJing, he was also a key producer and part of the chart-topping group SL2 ('On a Ragga Tip'). Slipmatt's consistent presence and enduring popularity ensured his influence spanned decades, shaping the sound for generations. Advertisement Hide Ad Advertisement Hide Ad Grooverider & Fabio These two visionary DJs were absolutely pivotal in shaping the sound of jungle and drum & bass, particularly from their base in London. Their legendary 'Rage' club night at Heaven became a crucible for the new sound, transitioning from hardcore breaks into the darker, more intricate rhythms of what would become jungle. Their recorded sets from 'Rage' and other key events were essential listening on tape, establishing them as tastemakers and long-standing figureheads of the genre. Known for their sophisticated track selection, deep basslines, and seamless, extended mixes, Grooverider and Fabio cultivated a more mature and refined sound that laid the groundwork for modern drum & bass. Andy C Starting incredibly young in the early 90s rave scene, Andy C rapidly became one of the most influential and technically gifted DJs in drum & bass. Nicknamed "The Executioner" for his precise and relentless mixing skills, his early rave sets on tape quickly cemented his reputation as a prodigy. Beyond his electrifying DJ performances, he went on to build the hugely successful Ram Records label, which became one of the most respected and innovative imprints in drum & bass. Andy C's relentless touring, technical prowess, and consistent innovation have ensured he remains a top-tier artist and a true legend of the genre. Advertisement Hide Ad Advertisement Hide Ad Sasha & John Digweed While their later careers leaned more towards progressive house and trance, Sasha & John Digweed were titans of the electronic music world who built significant parts of their early careers playing at major UK raves. Their famously long, intricate, and journey-like sets (often lasting for hours) were perfectly suited to the tape format, allowing listeners to immerse themselves in their evolving soundscapes. Their tapes from major events like Universe and Renaissance were widely circulated and highly sought after, showcasing their pioneering mixing techniques and track selections that laid the foundation for the progressive sound that would captivate a global audience. What are some of the more valuable rave tapes from the era? Dreamscape X (Get Smashed) ESP Promotions series of Dreamscape tapes were one of the hottest collections in the scene - with a copy of Get Smashed worth more in 2025 that the RRP would imply. | Discogs/ESP Promotions Capturing the essence of a pivotal year in rave, the Dreamscape X (Get Smashed) tape pack from 1994 is a true collector's treasure. Released directly by the iconic Dreamscape promoters, this monumental set comprises 8 mixed cassettes, offering a comprehensive audio journey through one of their legendary events. For enthusiasts, owning this pack is akin to possessing a direct sonic portal back to the heart of a bygone rave, making its highest recorded sale of £49.99 on Discogs a testament to its enduring historical and nostalgic value. Advertisement Hide Ad Advertisement Hide Ad Fantazia - The Showcase Embodying the raw, grassroots spirit of early 90s rave, the Fantazia - The Showcase cassette from 1992 is a fascinating and valuable piece of history. Released as a Limited Edition, Unofficial Release directly by the colossal Fantazia promoter, this single mixed cassette perfectly illustrates the DIY nature of the scene. It captured a moment from a legendary rave, often distributed informally, outside of official channels. This blend of influential promoter, early release date, and its "unofficial" yet "limited" status makes it a highly desirable item for collectors seeking authentic artefacts from the formative years of UK rave. Its highest recorded sale of £49.99 on Discogs reflects its significant rarity and historical weight. Slammin' Vinyl & Dream FM A powerful collaboration captured on tape, the Slammin' Vinyl & Dream FM 8x cassette pack from 1996 is a vivid testament to the vibrant intersection of rave promotion and pirate radio. Released as an Unofficial Release direct from Slammin' Vinyl (a major name in the UK rave circuit), this substantial pack documents crucial mixed sets, likely featuring DJs broadcasting on the iconic Dream FM, a pivotal pirate radio station that was instrumental in spreading rave culture across the airwaves. This collection perfectly embodies the raw, decentralised nature of the scene, showcasing how both promoters and underground radio stations fuelled the tape trade. Its highest recorded sale of £35.00 on Discogs shows its significance as a historical artefact from the heart of the mid-90s rave scene. Advertisement Hide Ad Advertisement Hide Ad Thunderdome XII MC2 (Caught In The Web Of Death) While the UK rave scene forged its own unique identity, the phenomenon of high-energy, underground music documented on tape was very much an international one. The Thunderdome XII MC2 (Caught In The Web Of Death) cassette compilation from 1996 stands as an iconic example from the Netherlands, the undisputed heartland of European hardcore. Released by Arcade, this compilation captures the raw, uncompromising sound that defined the Thunderdome brand, a massive global force in hard dance - reaching a highest recorded sale of £63.07 on Discogs. Where can I listen to some of the tapes online? Thankfully, the digital age has provided an invaluable archive for the rave tape scene, allowing both nostalgic ravers and new enthusiasts to dive into these classic sets. What was once a physical, underground currency is now widely accessible, preserving a vital piece of dance music history. Advertisement Hide Ad Advertisement Hide Ad YouTube is often the first port of call. Numerous dedicated channels serve as unofficial archives, uploading entire tape packs, individual DJ sets, and full event recordings. Searching for specific promoters (e.g., Dreamscape tapes, Vibealite sets, Fantazia full event) or DJs with old skool rave set yield a wealth of results. A popular platform for DJs, Mixcloud is also a treasure trove for archived rave sets. Many DJs themselves or dedicated fans have uploaded mixed sets, often curated with track-lists, allowing for seamless listening. It's a great place for longer, uninterrupted mixes. But more importantly, several passion projects and fan-run sites are dedicated to preserving and cataloguing old rave sets. These often have comprehensive collections, sometimes even organised by promoter, event, or DJ. You can check out Old Skool Rave Tapes , Rave Tapes or Hardcore Junglism (for jungle/drum & bass specifically), alongside various forums and online communities where members share and discuss rare recordings. Advertisement Hide Ad Advertisement Hide Ad
Telegraph
2 days ago
- Telegraph
Influencers are killing the radio DJ – and it's got to stop
At the end of last year, the death of DJ Johnnie Walker reminded us of something lost. I don't mean simply that we had lost a terrific broadcaster, but that his death marked the end of an era. Walker, a trooper, had presented his show until nearly the end of his life, despite being desperately ill. You could argue that working was, for him, a necessary distraction, but you also got the sense that he was doing it for the listeners. Among Walker's gifts as a presenter was his ability to share his musical passions: he was not some gushy and unrigorous fanboy, but a discerning expert who knew exactly how to distil his knowledge. Knowledge, though, is now a dirty word. The musical nous of DJs, not to mention the broadcasting skills of those who have trained on degree courses or learnt their craft on the job (often in now-denuded local radio), seems to matter less than marketability and the building of the brand. All hail, then, the rise of the social influencer DJ. Except this, to me, goes against the spirit of radio – and it seems that a lot of people agree. At the end of last week, there was a certain amount of outrage when it was announced that former Made in Chelsea cast member Sophie Habboo would join her husband and fellow Made in Chelsea alumnus Jamie Laing on Radio 1 's Going Home show. According to The Sun, social media was ablaze. One post proclaimed: 'There is something really gross, about two such privileged and independently wealthy (the Laings) given access to prime time national radio shows over people who have trained and studied for years in media.' Another pleaded: 'Please get some good DJs back in the drive time slot. It's getting embarrassing.' The BBC's decision to recruit Habboo is obvious enough, and the same is true of 25-year-old influencer GK Barry, who was recruited by Radio 1 recently. Their impact is extraordinary: their tentacles are able to reach the young and impressionable, and they offer cross-platform marketing (for example promoting their wares to their millions of followers). It also makes sense that radio bosses would be looking to the podcasting space for lucrative new hires: both Habboo and Laing co-host one of the UK's most popular podcasts, NewlyWeds, while GK Barry hosts the top-charting podcast Saving Grace. These stars have proven to be charismatic on a mic and have a highly transferable audience at their fingertips. What's more, I imagine that they offer a boon to commercial stations' advertising departments whose clients want to be associated with the lifestyle cult these influencers develop around them. In a way, this is nothing new. DJs were the original influencers, prescribing their tastes to audiences and thus shaping the buying habits of the public and making or breaking emerging artists. This is linked to the idea of the DJ as a personality, something that developed in Britain from the late 1960s, first with the introduction of Radio 1 and then the growth of commercial radio. This was the era when Noel Edmonds, Tony Blackburn and, alas, Jimmy Savile were treated like gods, and their fame was sometimes greater than the pop stars whose discs they spun. This era is now irrevocably tainted for obvious reasons, but you cannot deny that it also gave us some of the most extraordinarily talented DJs of all time: Annie Nightingale, John Peel, Terry Wogan and Kenny Everett. The last two of these prove that being a good radio broadcaster is not always down to musical knowledge or taste. Here were personalities, and in the case of Everett, a personality who took the seemingly sober task of being a disc jockey and turned it into something that would not look out of place among the surrealists. In an era where radio conversation is often dominated by cliché, a unique and strange voice such as Everett's is sorely needed. But we also need the musos. When I was growing up, my taste was moulded by DJs such as Peel, Dave Fanning on Virgin and, especially Steve Lamacq and Jo Whiley on Radio 1's Evening Session – a pair without ego who, thanks to their carefully controlled enthusiasm, provided the best music education I could have wished for. Hüsker Dü, the Sugarcubes, Belly, the Auteurs…bands who aren't much discussed today, but whose music has aged incredibly well. Lamacq is now on BBC 6 Music, a station that is treated, quite rightly, like a national treasure (remember the public outcry following former director-general Mark Thompson's strategy review in 2010 which deemed its independent thought and extensive and unusual playlist surplus to requirements?). But DJs like Lamacq are an increasing rarity – a former NME journalist who got his break on pirate radio, a voice who you knew had done his time scouring the pubs and clubs of the nation in search of musical excellence. It's hard to imagine Jamie Laing and Sophie Habboo doing the same. I don't necessarily mind the use of celebrities when it comes to presenting, and sometimes the results are surprising. I remember a few raised eyebrows when Alan Titchmarsh was appointed to Radio 2, but he was revelatory, a soothing son of the soil who not only offered authority, but also knew when to listen. The death of radio has been greatly exaggerated. The latest Rajar figures shows that Britain's biggest radio stations – Heart and Radio 2 – still attract audiences of 13.4 million and 13.1 million listeners, while a record number of people who actually listened to radio in the UK was reported to have risen to more than 50 million last year, apparently the biggest increase in 75 years. This is a cause for celebration, but it should also offer the opportunity to take stock, and think about what makes the medium great – and that's not the witterings of an influencer who is a brand ambassador for fake cheese.
