Real Name: James Foster
Year Of Birth: N/A
Country Of Residence: U.K
Time with the label: 1992 – Present Day
KF Family Labels: Kniteforce / Remix Records / KFA
Links to more information:
Own Website: N/A
Podcasts & Radio Shows: N/A
Dj Residencies: N/A
I met Jimmy by accidentally upsetting him. Alex (FP) knew him from Labrynth, and had arranged something between him and me, that I didn’t know about. Promos, I think, but anyway, Bertie caught me in a bad mood about something, and I didn’t feel like talking to Jimmy, so I didn’t. I was childish back then lol. A couple of months later (after I had almost forgotten about it) I saw Jimmy playing at the club and thought “shit – I was out of order” and spoke to Jimmy that night. I liked him immediately, and we decided to try a tune at my studio. He had released a record on Labrynth Records, and he gave me a copy. Two good tracks, but basic and badly made. Although they still sound wicked today, in that old skool way! So we got together and made “Into the Music”, which was released on Labrynth Records, before we decided to start our own label together. Future Primitive remixed Into The Music as Jimmy was a fan of their material, and we made a new track called “Cant You See” and off we went. We decided to use the “Remix Records” name, as Jimmy had started a hardcore record shop in Camden called that. It was the start of one of the best relationships I have outside of KF original artists, both commercially and personally, and the beginning of the golden era for Kniteforce. Jimmy was well liked by the whole crew, and was immediately accepted as one of us.
Jimmy and I had an excellent friendship. We could Dj together back to back without any hassle, and although I never had a standard “friendship” with Jimmy, there was an instant trust between us, and I always felt we were on the same wavelength. He was one of the first KF boys to say “look, don’t worry about it” when the money ran out, and he has never let me down. For this reason, even though I speak to him rarely, it always feels to me that we spoke just yesterday. Perhaps its because we were all Labrynth regulars and shared that rave bonding thing, but I think it was mainly because he was and is a top geezer…I am sure that even now he is well liked, wherever he is in the world lol!
As a music partner, Jimmy was easy to work with, because on every level, he left me to do what I was good at (ie beats, sound Fx, programming and Hip Hop vox) and took control of what he excelled at (ie Uplifting Vocals, arrangement and the all important feel of a track), plus he was a restraining hand on my urges to get strange or extreme. It was the same with the shop and the label. He did the shop, I did the label (with his consent, and input, plus decisions on what was released, of course). He was a level headed business man who enjoyed every aspect of the scene, and a pleasure to work with because of this.
As a shop owner, he was great. I would turn up at any given day, and bring a load of promo’s, which Jimmy would immediately start selling – that shop regularly cleared 300 units of one of our tracks, and closer to 600 on big tunes. And it was a good weekend when Poosie and I would drive to Remix Records in Camden, and hang out with Jimmy and Richie (Whizz, REC013). Plus he worked as hard as me, and I respected that a great deal.
General stuff you probably didn’t know…
Jimmy hassled me to do a mix of “99 Red Balloons” for years. It is one of the few times I said “no” and he released it himself. And it sold bundles, and remains a classic. So Jimmy, you were right, I was wrong!
When we finished “6 Days” we both thought it was crap, and delayed the release as long as we could, until we eventually put it out as we had nothing else going on. So it almost never got released at all. As it started to sell more and more, we were approached by FFRR to release it as a European single, and try to chart it in the UK. Paul Elstack also approached us to release it, but we explained that we had a really good deal on the table, and couldn’t say yes. So he ripped it off, and killed the sales in Europe, at the same time killing our deal with FFRR. We were both a bit annoyed about that. That was “British understatement” in case you didn’t realise. Anyway, we licensed it to Central Station in Australia, and they asked for a “European Hard Mix” hmm, I thought, where could I get that sound from? So if you get a copy of the Aus Cd, you will find I got my own small and petty revenge. The Central Station deal also got us 3 Dj tours, which was great, because Australian ravers really know how to party. It ended up selling well over 10,000 world wide, but as usual, we didn’t get paid properly (I have never received a sales statement form Central Station)
But all of this doesn’t matter really, because we all know Take Me Away was a much better tune.
Anyway, I had hoped to get Jimmy in the studio for a new choon. THAT would be a laugh…but as he no longer lives in the UK or seems to be interested in hardcore, and I have moved to the USA, well, lets just say it might be a while, eh? Still, I hope…