Otis Redding - The Dock of the Bay

Before his death in a tragic airplane accident on 10th December 1967, Otis Redding had written and recorded an ambitious selection of new music. ‘(Sittin’ On) The Dock of the Bay’ was one of these, and when eventually released in January 1968, it became the first posthumous record in history to reach No. 1 on the Billboard charts. The song almost became Redding’s self-written obituary. It was a stunning overture that preceded the USA’s catastrophic failure in Vietnam, as well as the assassinations of Martin Luther King Jr and Robert Kennedy in 1968. However, Redding’s death was not overshadowed by the events that followed, with ‘(Sittin on) The Dock of the Bay’ (now regarded as a bit of a Cardiff anthem!) selling more than two million copies. 

On April 3rd, 1967, Otis Redding and the star-studded Stax Records revue played Top Rank Suite in the Welsh capital, and those who attended the event said that Redding was immense as part of the outstanding line-up. Redding was joined by special guests Arthur Conley, Sam & Dave, Eddie Floyd, The Mar-Keys and Booker T. & the M.G.’s; a bill that’ll live on as one of Cardiff’s greatest Soul/R&B showings. Unlike the Motown Records tour of 1965, which (surprisingly) was a rather anticlimactic show, the Stax Records gig was a huge success. That night at Top Rank Suite helped popularise the genre in South Wales, and Redding will be regarded by listeners all across the world as one of the most charismatic and beloved soul singers of his generation. 

The Acid House Revolution - A Moral Panic

NME Front page, 19 November 1988

(Credit: New Musical Express)

“Out of respect for Johnny Walker, Paul Oakenfold, Nicky Holloway, Danny Rampling and all the people who gave us these times… And to the government, I stick my middle finger up with regards to the Criminal Justice Bill” 

- The Streets, ‘Weak Become Heroes’, Original Pirate Material  

Beginning in the late 1980s and continuing into the 90s, the acid house movement created a subculture like no other. During this time, the word ‘rave’ not only described the large-scale events that captivated millions, but became a metaphor for a revolution. It allowed young party-goers to experience an incomparable sense of freedom, love and euphoria; escapism from the stresses and strains of the outside world. 

Shoom Club Membership Card (Credit: Vice)

After visiting Ibiza’s famed Amnesia club, a group of four DJs brought the mind-blowing sounds of Chicago house to the UK; popularising it for the very first time. Paul Oakenfold, Danny Rampling, Nicky Holloway and Johnny Walker helped revolutionise the British house music scene and normalised rave culture, despite continuous media outcries. When Danny Rampling’s ’Shoom’ club nights went ahead in London using techno veteran Carl Cox’s sound system, it marked the beginning of the acid house revolution, and the rise in popularity of illegal raves up and down the country.

Danny Rampling, Shoom Club London

(Photograph Copyright: Dave Swindles)

Despite the influence of the ‘Ibiza Four’, and the ever-growing popularity of acid house in the UK, an inevitable ‘moral panic’ erupted; demonising an entire subculture and the values they stood for.  In the sociological field, a moral panic defines the escalating public concern over certain behaviours, particularly youth disturbances. The term was first referenced by British sociologist Jock Young (1971) and his study into increasing drug abuse and the growing public concern that followed. However, the concept was formally introduced one year later, with Stanley Cohen’s study into the organised fights between two conflicting British subcultures, Mods and Rockers (1972). 

The term characterised the media’s reaction to these fights, and was later used to define the revolt against the establishment in the form of acid raves. The ‘smiley’ symbol, that was familiarised within rave and ecstasy culture, was prohibited by high street chain Top Shop, followed by the banning of any records containing the word ‘acid’ from the world’s longest running weekly music show, Top of the Pops. 

UK Ravers protesting the 1994 Criminal Justice Bill

(Credit: Vice)

The rave scene presented itself as an outright disruption to Thatcherism, and the government’s long standing battle against the subculture continued into the mid-90s with the Criminal Justice Bill. Clause 63 of this bill was set out to put an end to raves, applying to any “gathering on land in the open air of 100 or more persons” (British Government, 1994). Never before had the British government “considered young people’s music so subversive as to prohibit it”, even when compared to other “post-war moral panics about the activities of Teddy Boys, Mods, Hippies and Punks” (Collin, 1998). 

Luckily, as authoritarian Thatcherist values petered out, and the availability of media increased, the moral panic surrounding the rave subculture died down. The revolution that sparked outrage among millions became an integral part of the British live music scene that we cherish today, including across South Wales.

Below features some images from Swansea’s rave scene in full swing (1993).

(Photograph copyright: Tony ‘Spealberg’ Evans)  

Credit - Rory Chapman

CMF SONG 1 INDIE NIGHT 1 OF 5 REVIEW

While 2020 might feel like stepping in chewing gum, and coronavirus thinking it could have frozen the whole music industry- it is thriving in the digital world now more than ever. KO pandemic. 

The amazing people from University of South Wales in collaboration Foxy Roxies and us, KCL, brought you something you have never seen before, an online festival, which means you can listen to live music from your bedroom, kitchen, or shed for free. Easily accessible live streams will take you to the heart of the British music scene and its various genres each day from 29th of April till the 3rd of May.

CMF Festival is also raising money for the charity called Heads Above The Waves, a non-profit organisation that supports young people and raises awareness about mental health issues. It is important that we support each other now more than ever, especially that we are all stuck in isolation, so let’s text our friends, call our grandmas, let’s make sure everyone is doing alright. 

The first event of the festival kicked off with indie music, and we had a pleasure to virtually rub shoulders with some great Cardiff based acts like Yasmine & the Euphoria and The Rotanas, Dyme, Beano Naboo and the Real Keepers, Bloom, and Nathan Warnes. 

For extra festival vibes I actually dressed up and did makeup, coronavirus ain’t stopping me from going to gigs and living my life, at least in the lockdown sense.

Our host for the night, Ben, led us through all the performances, starting off with Nathan Warnes, who opened his set with the newest single “The Crowd”, from the corner of his bedroom I’m guessing. Same as Nathan, Dyme were streaming from home as well. Dyme’s fantastic twist of pop and alternative brought a new vibe to the festival. Definitely something to chill to, catchy songs with incredible vocals, sometimes even dreamy I’d say. The alt-pop collective performed “Different Side” (my personal fave) followed by “Could Be Anything” and “Wht.Yth”, then finished their set with “Distance”, adding a lockdown reference.  

Due to isolation, bloom! couldn’t perform for us at its full strength. Instead, we saw the band’s singer by herself- Sophie with great acoustics and powerful vocals. I saw the band live a couple of months back, when life used to be normal, and with or without the electrics- bloom! smashes it anyways.

Yasmine & the Euphoria were just strikingly fantastic, my jaw dropped straight onto the floor, vocals and electric guitar stole my heart. It makes me want to scream as I’m listening to the stream again, I’m begging for a gig. The 15-minute set was pre-recorded by Foxy Roxies, who also brought us Beano Naboo and the Real Keepers, and provided the incredible sound and video quality. 

Brought to Cardiff Music Festival by KCL, The Rotanas welcomed us with the sound of opening a can, and an acoustic version of their new track called “Spinner”. Inspired by the 90s, gritty yet subtle Gritpop band performed a 12-minute set last night. In a strange twist of fate, I’ve never seen The Rotanas live, and considering my love for Britpop, I’ve always wanted to!

CMF Festival will continue at 4:00pm this afternoon with its second event called “Moonlight”.

Kinga Balasz