trouble:when was the first time you played your records out?

snowboy:when i was seventeen years old in 1978 i used to hire a club down in camby island, called the goldmine. i used to hire it out on a wednesday once a month, and do these nights called the "jazz functions" playing jazz, funk, soul, you know all the latest imports; whatever was big at the time.

at this point a monster gets put on the decks by snowboy, and i almost come in my pants!

trouble: snow boy what is this track thats playing now?

snowboy:i don't know what it is called! it's by a band from norwich called speedometer and phillipe (from desco records) has been producing it this afternoon. you need to ask leigh(gracie) and simon (jarrett) over there, they are from speedometer!

trouble(moving over to a nearby table where speedometer are seated): excuse me, could you tell me what this track is called?

speedometer:i don't know yet, ask phillipe!

trouble ( moving back over to phillipe and snowboy): phillipe what's this track called?

phillipe:i'm not sure yet but it's by speedometer.

trouble:is it a new track?

phillipe:yeah, its by those guys back over there!

trouble(moving back over to speed-o-meter): can you tell us a little bit about this new track?

speedometer: what can i tell you about this track? well it was written on the back of a fag packed, kind of just started with the bass line in a night club when we were just warming up to do a gig, we just started jamming it really, that's where it came from really.

trouble: when did you record it?

speedometer: today.

trouble: fantastic!when can we see it on a 45, for general release?

speedometer:it's on soulfire records, it'll be in the next couple of months.

trouble: any ideas about what it's going to be called?

speedometer: probably (something?) international airport.

trouble(back over to snowboy): these new releases that are coming out now; how important are they to this scene?

snowboy:arh, completely, completely. you know, i mean so much of my set, when i am playing a straight funk set , so much of it is like modern releases, you know. as long as it is authentic sounding that's the main thing! it's great that all the people are buying the rare stuff, and the lesser known stuff, but it is so exiting that you can actually go and buy new records by new bands and then you can go and see them live, you know. essential!

trouble: it seems at the moment there are more new releases that new discoveries.

snowboy: oh, yeah. and i'm glad because of it, the quality of the stuff that's out at the moment is brilliant. i mean some of the records out on desco records, like naomi davis 'wind your clock' is probably one of the best funk records of all time, as far as i am concerned. and that was made, what two years ago. joseph henry 'who's the king', unbelievable. this track that we are listening to at the moment ( speedometer) , my god, this is going to be huge in the clubs!

trouble: it has been said that the scene is quite infantile at the moment. how big can you see the funk getting?

snowboy: well, it's hard to say because there has always been alot of funk being played. if you think ever since back in that pathetic rare groove scene in the mid 80's i can't ever remember a time since i've been djing when i have not been playing alot of funk. there has always been alot of funk being played. the jazz what have you and the soul. the funk you know, the ultra rare stuff, i think there is a limit to the amount of rare stuff that are brilliant. i think keb (darge) said to me recently he thinks all of the big tunes all of the funk records have been discovered, it's just a matter of whether or or you are prepared to pay the money now. people are scouring so hard for them. you are only really talking about 1968 to about 1973 aren't you really. on the soul scene your talking about 1962 to 1972, i mean soul was also so much more popular so you know ( there is not as much stuff out there). i think alot of these compilations, which i don't really agree with, all the boot legs and things like that are certainly helping the students who can't afford those kind of records to play them, and that's making alot of those big rare tunes popular in certain clubs, so even if alot of the crowd don't know who the records are by ,it means that there is that certain sound that we are all into, so that rather than all this stevie wonder 'superstition' and all that kind of old rubbish that you always get asked to play, time and time again, i think that people into, or getting into the funk scene at the moment, are certainly getting educated into alot of the heavier tunes very quickly. i think that is very important because there are alot of tunes that have been discovered over the last five or six years that have never been heard before, you know. the stuff that your into and i'm into are almost the future rare grooves, you know. which is why we started deepfunk in the first place. keb and i and a few others we were sick of going out and hearing the same old bloody records, keb and i had alot of the same records (as each other) and we thought, yeah , these should be the new classics, these should be the new rare groove records! and alot of the people at the original deepfunk, used to get really bored, because they didn't know the records, it was like going in one ear and out the other. over the years they have actually become minor classics within the scene.majestics, what have you, latin breed. fantastic!