DJ Paulette sits down with the boss on the eve of her brand new ‘Masterpieces’ album on Ministry of Sound…
It’s not every day you get to grab a tea break with a Guinness Book of Records record holder or a First Lady of anything? Yet today I am honoured to grab a sneaky tea break with an idol of mine who is both. I give a very warm and wonderful DMC World Magazine welcome to the incredible and indomitable Annie, First Lady of Radio One – and the Queen of Breaks. Please kick your shoes off and make yourself comfortable, the kettle’s on! Would you like tea, coffee or something stronger. And do you have any preference for biscuits or snacks?
Hey Paulette, shoes are off and ready to go. These days I’ve come to love to start the day with green tea, seems to taste best in a china cup or mug. Later on, still on the green theme and where I first discovered this drink is Ibiza, I would love to treat us both to mojitos. Another cocktail I’ve discovered/adapted…first In Italy last year is Aperol…a glowingly orange-red aperitif. I add cranberry juice to it, not really right to call it a cra-aperol? Maybe cran-perol.
First of all, music is The Great Escape for me – but if you could time travel to any other era where would your passion and pioneering, questioning spirit take you?
Into space, into the future. I’ve been concerned since I was a child about understanding infinity, where the sky, space and time begin and end. The only way I can deal with not comprehending this is to imagine that the information is locked into the part of the human brain and not yet developed. If that makes sense?
Then if you could bring any one thing – a scientific specimen, a gift or a souvenir – back from that trip what would it be?
A glass jar of luminous space dust.
You’ve always been a pioneer, pushing new boundaries and discovering new frontiers. What was the first record you bought that put you on the road to this fantastic musical adventure?
I think every piece of good music you hear puts you on that path of excitement. In my time I’ve been into jazz, Elvis, The Beatles, trap, techno, hip hop, grime. Just as long as sounds like nothing you’ve heard before!
From Glastonbury to Snowbombing, from 40th anniversary Maida Vale bashes with a stellar array of guests to events on the top of the BT Tower, you’ve experienced incredible highs and some life threatening career lows. Is there an attitude or a constant that has helped you navigate and overcome these changing and sometimes choppy waters with such style and aplomb.
Yes, good question and glad you asked. Positivity. Trying to find the positive even in difficult circumstances. No problems, only opportunities, that is my mantra. Although I must admit I am a cronic ‘what if’ worrier. But I call that ‘constructive’ worrying and I prefer to cross bridges early on. Work out solutions in advance, wherever possible. That’s me. You cant always do that, of course.
You’re one of the busiest DJs/broadcasters on the circuit. Has there ever been a moment where you’ve questioned whether your commitment to music is really worth it?
The only time I ever wavered was in the early 80s, post new wave. The mainstream became very bland. But I will never waver again, because if you hang on in there, something amazing will come along from the underground. Believe!
Your diary is littered with festival appearances – how was Glastonbury for you and did you take your wellies? And where can we hear and see Annie gracing the decks over the coming months?
I had a brilliant Glastonbury thanks. Headlined the Glade stage. Fantastic stage crew and the audience were raving straight away. I am working on the documentaries and will be announcing live shows in the Autumn. I will also be appearing at the first ever Hampton Court Palace Radio Festival in September with Edibow. That’s her twitter handle, it’s Edith Bowman! Believe it or not, one of the first raves I ever went to was in one of the Grace and Favour houses in the Palace grounds!
So to ‘Masterpieces’ – your brand new compilation album for Ministry of Sound that features an astonishing fifty two tracks over three CDs. It’s a phenomenal representation of your 45 year tenure at Radio One that features tracks from The Rolling Stones, The Beatles, Cameo, Ian Dury and the Blockheads, William Orbit, Rozalla, The Chemical Brothers, Dizzee Rascal, Tinie Tempah, Magnetic Man , Flux Pavilion, Example, The Streets, Joy Division, The Prodigy and Primal Scream and much more besides. Many of whom have never authorized the use of a track on a compilation before. How did you achieve this? Did your personal friendships with any of the artists come into play when it came to convincing them to include their tracks?
I started with a wish list of several hundred. That was the advice from Ministry. I was amazed and thrilled that the Rolling Stones let me have Miss You for the album. They have never ever allowed any of their tracks to be used on a compilation that is not their own before. I am most honoured and Paul McCartney allowed me to add Maybe I’m Amazed. I have gone for not always the most obvious tracks or the biggest hits, but the milestones, the music that has meant the most to me.
How long did it take you to put the tracklisting together?
It took about seven months and I was sending out e mails, tracking people down and asking favours seven days a week. The staff at the label pulled off some great successes. It’s a far more complicated process that I realised. You have to get clearances not just from the artistes and their managements, but from labels and owners who have a myriad of different agreements.
How many tracks were on your original list and how did you whittle it down to 42?
There were several hundred on the original list, and it kept growing as I heard something new and brilliant. It’s hard to clear rap and trap tracks because they have many rappers and artistes all on the same track.
Are you rationing us to a track for each week of the year?
Actually because of agreements, there are only 14 tracks on each of the three CDs, so that’s a total of 42…not quite enough for every week of the year.
Were there any tracks that you wanted on there that couldn’t be licensed or were left out and why?
Yes there were lots that couldn’t be fitted on, some where they couldn’t be licensed for some territories and not others, all sorts of reasons. I’m trying not to think about the ones we couldn’t get, because I am so delighted with the ones that ARE on the album. Positivity again!
You started at Radio One on New Year’s Day, so it must always hold special memories for you? Are there any other New Year’s Days that stand out for you?
I have different memories from different years. One of the best was January 1st 2000. I had DJ’d at Ministry Of Sound during New Years Eve 1999 and then went to Radio 1 to do the breakfast show, for that day only. Stayed up all the night and until midday the next day, the sound of ‘Adagio’ by William Orbit (the Ferry Corsten mix) ringing in my ears. Which is one reason why it’s on the album.
When you started at Radio One you were told that radio DJs were husband substitutes and that you were the token woman. How has a suburban schoolgirl from Osterley in London turned the attitudes of the BBC’s infamous ‘Old Boy’s Network’ on its head to become an accepted and now a celebrated cornerstone and fundamental part of its history and fabric?
Phew, that’s quite a question Paulette! Well, because I had worked in other areas of the media before Radio 1 in TV, magazines and newspapers, I couldn’t see why on earth they should ban women from being DJs. It was the first time I had experienced such blatant sexism. Possibly because I had been accepted and employed in television and journalism, it gave me a bit more cussedness to want to know why there should be no women in radio. I had absolutely no idea if I would be any good or not, but I just wanted a chance, an opportunity to try. I said to Them: Look, if I’m no good I will shut up and go away. Even when they did finally give me a chance it took me YEARS to have any confidence, and not be terrified.
You cite your friendship with the late John Peel as ‘ a friend in whom you could immediately confide’. How important was his support to you at Radio One? Are you still flying the flag for John Peel?
I cannot stress enough how important he was. He changed the sound of British music simply because he had the courage and guts to play it. That might sound strange but he was aware that if the powers that be thought he was going too far in playing strange music, they could fire him. It was a constant worry to him that this might happen. Then where would he have gone? Commercial radio? Probably not an option! He was very brave and honest and spoke up for what he believed in. Anyone who has ever done that and risked their job will know how dicey that is. I certainly do still try to fly the flag for John. You know he has a stage named after him at Glastonbury? People talk about going to John Peel or playing ‘on John Peel’ and as time goes by I guess quite a few people won’t realize who he was. They might think of the name at Glastonbury like West Holts. Actually I think he would find that wonderfully ironic That‘s he’s known as the name of a stage or a field now! I do miss having him around for the wry moments. How he would have loved the TV series W1A all about the BBC. He used to say he didn’t like being known as a national treasure or institution because it made him sound like ‘a building covered in ivy‘.
You’re a journalist by trade but do you prefer writing or presenting on radio or TV?
I like doing all of those things and each one complements the other. As a broadcaster I think it’s important to go out into the big world and experience places events and people and not just be in a studio all the time. You need to bring those things to the microphone. Not just say : coming up next…
When I was young it was a rite of passage (much like choosing Coke or Pepsi) deciding when to move on from Top of The Pops to The Old Grey Whistle Test. For me it was home for the serious music heads. Through your radio and TV shows you introduced me to and interviewed some of my favourite artists – Gary Numan, Siouxsie and The Banshees, Japan, PiL – who were your personal favourites from the show?
The stranger the moments the better. And because it was so eccentric. We were allowed to let strange things happen. Like having a naked bagpiper walk cross the set while I was interviewing Jeff Beck. Jeff wouldn’t do the interview otherwise! PIL was the most powerful performance in the studio during my time on Whistle Test. Afterwards I said as much to John Lydon and his reply was: ‘don’t be so fucking patronizing!’ It took me about half an hour to persuade him that I really meant what I had said. He was then totally charming and bought all the drinks all night.
You took over from Whispering Bob Harris and became the sole presenter of the OGWT in 1978. The shows were shot as live so anything could happen. Consequently your time presenting the Old Grey Whistle Test was full of powerful performances and high stress occasions. Dire Straits, Elton John, Paul Simon, The Jags, Japan, Gary Numan, Siouxsie and The Banshees, The New York Dolls and Bob Marley all graced the OGWT stage. Were there any times when the live randomness got the better of an artist?
When the Special AKA were on, I did their make up. A wonderful purple iridescent eye shadow pencil I remember. Then there was a power cut or something, and we had to go back to London from Shepperton Studios, leave the band behind and do the links to the show from there.
How did you keep your face straight when The Damned smashed the studio after singing ‘Just Can’t Be Happy Today’?
Well they were doing all sort of pranks behind me while I was introducing them, I whirled round at some point because I realized. Then they smashed the studio up. We really didn’t know they were going to do it, but there was a very friendly feeling in the studio. We were all laughing.
December 1980 – John Lennon. Was there any pressure in delivering a show that befitted the stature of such an artist and the gravity of the deed. As a friend who had been quite close to the Beatles, what was going through your mind when you recorded that show?
It was live. That was a day I shall never forget. My daughter had woken me up because she had picked up the phone as Radio 1 had called to say John Lennon has been shot and did I have Paul McCartney’s home number. We had been planning to fly to New York two days after this happened to interview John about his new album ‘Double Fantasy’. As we heard the news it was decided that we would do a special live tribute show to John that evening . So the day was spent rounding up clips, previous interviews with him, videos, and guests. This was especially difficult as everyone who was close to John was too upset to speak. We went on air, I just couldn’t do the normal hair and make up thing, I was so distraught like everyone else, but I wanted to be calm and professional. Half way through the show the producer Mike Appleton said to me ‘Paul’s on the phone, he wants to speak to you’. I thought, what? Paul who? Who could be calling me in the studio in the middle of a live show? It never occurred to me that it could be Paul McCartney. Since then I’ve been piecing together what happened to Paul that day, for a book for him, which will come out later in the year. Even after he had heard about John being killed, he went to work at Air Studios in London as though it was a normal day because he didn’t want to stay home. His house was surrounded with news crews. But then when he went home in the evening and switched on the TV and found all these programmes about John. So he called me and asked me to say thank you for all the tributes to John, “you know how it was’ he said to me. “Please thank everyone on behalf of Yoko, Linda (Paul’s then wife, the late Linda McCartney) and George, Ringo and myself.” And I thought, that’s only three of the Fab Four – who had changed my life and millions of other people’s. So I went back in front of the camera and tried to repeat live what Paul had said. That was the moment the penny really dropped, that John Lennon was gone, forever…
Are there any particular OGWT interviews that you wish you could do over? Art Garfunkel perhaps?
I think you mean Paul Simon. I asked him a very badly worded question about his ex partner Art Garfunkel. This was filmed in a studio in New York, weeks and weeks before it was due to be transmitted. Because Paul reacted in a rather bristly way to my clumsy question, as well he might, I pretended to say ’I’ll get me coat’…and walked off the set. As a joke. Again because of the quirky nature of the show we decided to leave this bit in the finished programme. But it made for a more animated Paul Simon, and he joked about it as well afterwards – from the stage of the London Palladium! I think I should do it again some time, wind up a super star!
When I look back at the Old Grey Whistle Test clips I notice that even though the show itself had spit and sawdust staging, plain lighting, no hoopla, in every show you really stand out: you regularly bring the glamour wearing key looks for the period. Did you have a wardrobe mistress or a stylist on those shows or was it all personally sourced and put together on the night depending on how you felt that day? Was fashion ever a consideration?
Well thank you for your kind words. When I see some of those shows back, I think to myself WHY did I think I needed a different hairstyle every week? Pink streaks one week, all over aubergine the next. Completely bonkers. All experimental, by a hairdresser who had black musical notes dyed into his bleached blond hair. At Smile, which was the cool hairdresser at the time. They were in Knightsbridge, right near Harvey Nicks (also a track on the album!) and they would even open up specially for me on Christmas Eve or New Year’s Eve, if we had a special live concert to do. Fashion wise I had no stylist, I WISH! There was no clothes allowance and I didn’t have major designers biking and couriering their latest collections over to me. Obviously I loved buying clothes but I would run out of different things to wear and re cycled the same garms. I had a French friend, Monique, who used to somehow get me one-off pieces by Claude Montana, who was a hugely influential designer of the Seventies. She then became one half of J & M Davidson , a designer brand who have shops in London and Tokyo. I loved Krizia, the Italian label too. No one has ever asked me about this before. It was getting weird accessories though to maybe give a different slant on something I had worn before. Even had one-off t-shirts I would wear on the show made up with some in-joke slogan on the front. I look at Emily Maitlis of Newsnight or Cathy Newman on Channel 4 News and they look immaculate and toned all the time, and wonder if they get any help!
Like a musical weather vane, the OGWT was so cutting edge that it was voted top music programme and 33/100 overall in the BFI’s list of Greatest British Television Programmes (2000). It later became the template for shows like The Tube and Later With Jools Holland. How much say did you have in the bands who were invited onto the show?
I was asked to become the presenter because the producer said he liked working with radio people because they knew how to keep talking if something went wrong! But obviously being in music must have had a lot to do with it. Mike the producer was responsible for scheduling who appeared and there was a lot of planning to do to feature new bands playing live, filmed clips, interviews etc. But I did suggest names whenever I could. There’s a track on the album called ‘Stepping Out’ by Joe Jackson, I do remember recommending him for the show and also The Adverts, a superb punk band. Actually a lot of the punk bands. And of course The Police. The post punk opportunists, by their own admission, who went on to be the biggest band in the world. They took me round the world with them in those early days, to make a film. It gave me life long love of travel to unusual places, so I am always grateful to them for that. We went to places like Hong Kong, Japan, Egypt, India.
Whilst many of the key presenters / radio broadcasters have selecters working for them, you have always chosen your own music for your Radio One show. From prog rock to trap, you’ve moved seamlessly through the genres. What is – or when do you get the click or that moment when you glide from supporting one genre to another?
I guess it’s a gradual thing. But also would like to big up the teams that I work with. There is soooo much more music coming out than there ever used to be that you need a team to find the very best. So we all work together and pool ideas. I just play a tune because I think it’s good and that it sounds original. Whatever the genre. simple as. But if I have any doubt whatsoever about the tune then it doesn’t get played. Nothing that does not feel excellent gets in the show. That’s because I don’t want to let the listeners down. It’s a trust thing, I feel, I hope. That I respect their taste, their intelligence, and I would never ever want to let them down.
I am often criticised for my support of pop and of music that people consider commercial because it makes people dance – but I am passionate about music, about the characters, about beautifully constructed songs and great voices that I love and can appreciate everything from classical to techno. Good music has always been my only motivation. You’ve had a famous public disagreement with a Breakfast Show presenter over the music that you love and support where you were accused of only supporting dubstep and trap in public at the station whilst you probably play Jimi Hendrix at home. What was your reaction to this?
Well I think it was a journo wind up question. I only have time normally to listen to new music because there is always so much to listen to and there are only 24 hours in the day. Putting the compilation together has given me a chance to revisit some favourites, but that’s not something I have time to do usually. I bought Mozart’s Requiem in d minor on iTunes the other day because it just got me – bang in the solar plexus on some TV programme. I might love a Taylor Swift remix the next moment though.
Today your weapons of choice are ‘dubstep, urban and all things basstronic’ Yet you’re also as accomplished and comfortable talking about pop and launching the latest Lily Allen or London Grammar single. How do you find your level in all the genres. With me it has to make the hairs on the back of my neck bristle, I have to either feel a pang of insane ‘I wish I’d made that’ jealousy or it has to make me stop dead in my tracks, rewind and dance. What’s your acid test for a good tune??
Well pretty much exactly what you’ve just said. I actually get shivers – or chills when I hear something that really affects me emotionally. And I can be brought to tears very easily by music. Especially violins.
According to presenter Bob Harris, the Old Grey Whistle Test derived its name from an old Tin Pan Alley phrase. When a record label got the first pressing of a record they would play it to people they called the old greys – doormen in grey suits. Any song they could remember and whistle, having heard it just once or twice, had passed the old grey whistle test. Which song, album or artist has passed your Whistle Test this week?
Turn Me Up Some (ft. Redman and Jay Psar) by Jayceeoh.
There are a lot of ‘firsts’ in your story – first female DJ on Radio One – with no other female company in the canteen until Janice Long came through. You are the only female DJ to be awarded an MBE. The only female DJ in The Guinness Book of Records and the first female DJ to be inducted into the Radio Academy Hall of Fame. Did you set out deliberately to break records, to smash the establishment and any to annihilate the tokenism that came with it?
Maybe it’s being born on April 1st and I was an only child, so first born as well. In Aries, first sign in the zodiac. In Spring, the first season of the year. Or you could say a spoilt brat. Well I hope not too much. But I think we should all explore the possibilities and push the boundaries. We have a precious life, I don’t want to squander a moment of it. Being bored is nearly a crime for me. Now with the internet giving you so much access to information to knowledge to music, literature, it means life is even shorter, so see those movies, make that music, write that book, write that code! Go on that trip to Antarctica…
Would you consider yourself a feminist?
Yes.
Your work is due to be celebrated with two documentaries on Radio 2 airing on 15th and 22nd July. Can you tell us a little bit about them?
I am working with a great producer called David Morley. It’s really my story in music, so we will have some archive interviews with some names you will know, some good music and new interviews with artists such as The Streets, Underworld and some anecdotes that I hope will give listeners a bit of a laugh!
When Liam Gallagher presented you with your Guinness World Record award he said that you are a ‘true icon of British Radio’ whilst Irvine Welsh gave such an emotional and heartfelt introduction to your second autobiography ‘Wicked Speed’ that you wrote back to him telling him that he made you cry. Is such respect from your peers ever overwhelming?
Yes indeed It most certainly is! Liam came to Radio One at 10 o’clock one miserable weekday morning to present me with the Guinness Award and have his pic taken with me. And it was his birthday! What a dude. Irvine actually volunteered to write the preface for my book. (This is called Wicked Speed. It is now an e-book. Available on Amazon http://www.amazon.com/Wicked-Speed-Annie-Nightingale/dp/1782924086)
I was completely overwhelmed by that. I would never have dared or presumed to ask HIM! It turned out that he used to listen to my radio show on Sundays. That’s another part of the romance of radio to me — you never know who is listening. Or where those broadcast waves reach out to. Maybe outer space?
In 2002 you gained Muzik Magazine’s Award for ‘Caner of the Year’ and The Daily Telegraph’s Gillian Reynolds remembers that you were ‘always first on the floor, last to slide under the table’. Can the Annie version MMXV.0 party as hard as hard drinking, hard smoking, rock chick Annie did then?
I think as life goes on your tastes change. And also, what you want from life changes. What I love is being with really interesting stimulating people who might challenge the way I see life and give me a different view point, a new way of looking at things. I hope I can give back to others as well. I don’t like just takers. In the film ‘Amy’, the documentary about Amy Winehouse, Tony Bennett says a line which everyone quotes who has seen the film – well it really resonates. He says: ‘life teaches you how to live, if you can live long enough’. There’s a lot of truth in that!
You’ve kicked a 40 a day cigarette habit – why was that? Was it difficult?
Blame the BBC smoking ban. So I didn’t have much choice. But I am glad now because I was a slave to smoking and that was inconvenient, expensive and as we all know, not good for the health. It was that and the experience in Cuba. What a place to stop smoking where they make the most famous smoking materials in the world -I’ve only just got the irony of that!
Roger Daltrey is quoted as saying: ‘Fifty per cent of rock is having a good time.’ – if you were to reduce your days to a statistic how big a percentage of the past 50 years of your career has been spent having a good time?
Ah, now I’m warming to my favourite subject. I want EVERYONE to discover what in life they find most fulfilling. Because if you can then make that your occupation, I believe you will be happy at least 50 per cent of the time, probably a lot more. I don’t regard what I do as in any way a slog, because I love it. But having said that, the more you put the work in, the better results you will get. I am absolutely dedicated to that. To make the best shows I possibly can. I guess I am a workaholic, but I wouldn’t want to sit around twiddling my thumbs. I like to throw myself into projects with great enthusiasm. To all the young people dreaming of stardom and recognition, here’s the dirty secret. It’s down to an incredible amount of hard work. If you are clock watching, or can’t wait to leave work for the day, then you are probably not in the best place to bring out the best in you. Though it’s not ever easy to start with, don’t give up, never give up, don’t take no for an answer. Something you never expected, or never knew existed may come along and come through for you.
As an eight ideas per minute Aries, do you ever get a good eight hours sleep?
Sometimes. I am a night bird, I like working at night, going to bed late and getting up late. Problem is, being in London you have to live builders’ hours. The banging and hammering starts around 8.15 am – and that’s on the next street, but I can still hear it. There is always building work going on within earshot. Yes I’ve tried ear plugs!
As you mentioned, your birthday is on April 1st. So can you clear something up for me please? I’ve always wondered whether April Fool’s kids’ get their birthday presents on time or if they are always joke ones?
I get apprehensive when my birthday approaches about possible pranks. But I’m not sure they happen any more. I just collect people with the same birthday. There are quite a lot you might know of : Ella Eyre, Nick Grimshaw’s brother, Chris Evans, DJ Krafty Kuts, Philip Schofield…
If you had to pick one person or act (dead or alive) who fully represents the zeitgeist of each decade you have worked in the business and / or the seismic social and musical ructions that they caused who would be the first you pick? Immediate gut reaction please…
1970 David Bowie
1980 Public Image Ltd
1990 Primal Scream
2000 Mike Skinner Of the Streets
2010 Wiley/Kayne West
2015 Flosstradamus
I like an Isabel Allende quote that says:
‘I have not changed; I am still the same girl I was fifty years ago and the same young woman I was in the seventies. I still lust for life, I am still ferociously independent, I still crave justice, and I fall madly in love easily.’
Does this resonate with your life in any way?
That’s pretty close to the way I feel. I think I have learnt a little on the way about human nature, but only a little!
Thank you Annie for the inspiration, the music, for your dedication and commitment to the music industry and the artists themselves and for your commitment to bringing such an incredible variety of cutting edge music to the ears of the masses. May you continue to shine on up through your crazy diamond jubilee year and far beyond. You are one of life’s true masterpieces and it’s a joy to have interviewed you.
Thank you so much Paulette. I have interviewed many people too and I really appreciate the amount of research you must have done to put such interesting and pertinent questions. One interviewer asked me…’so, you began your career on Ready Steady Cook?’ – I had to say: Noooooo not exactly!”
https://www.ministryofsound.com/music/compilations/masterpiece-annie-nightingale
Masterpieces…the tracklisting
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Disc: 1 |
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1. Miss You – The Rolling Stones |
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2. Maybe I’m Amazed – Paul McCartney |
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3. Baba O’Riley – The Who |
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4. Word Up! – Cameo |
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5. Too Many Fish in the Sea – The Marvelettes |
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6. Duel – Propaganda |
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7. Jackie – Scott Walker |
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8. Get Higher (Get Dubber Mix) – Moonforce |
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9. Summer in the City – The Lovin’ Spoonful |
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10. Footsteps Following Me – Frances Nero |
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11. Temptation – Heaven 17 |
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12. Everybody’s Free (To Feel Good) – Rozalla |
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13. All I Really Want to Do – The Byrds |
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14. Hey Now (Tensnake Remix) – London Grammar |
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Disc: 2 |
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1. Don’t Fight It (Scat Mix) – Primal Scream |
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2. Vicious – Lou Reed |
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3. Transmission – Joy Division |
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4. Rapture – Blondie |
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5. Radio Babylon – Meat Beat Manifesto |
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6. Rendez-vu – Basement Jaxx |
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7. Tubular Bells – Plutonic |
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8. Get Ur Freak On – Missy Elliott |
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9. Steppin’ Out – Joe Jackson |
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10. Bulletproof (Zinc Remix) – La Roux |
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11. Rez – Underworld |
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12. A Forest – The Cure |
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13. Hit Me With Your Rhythm Stick – Ian Dury and The Blockheads |
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Disc: 3 |
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1. Out of Space – The Prodigy |
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2. Galvanise – The Chemical Brothers |
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3. Pass Out – Tinie Tempah |
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4. Bonkers (Feat. Armand Van Helden) – Dizzee Rascal |
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5. I Need Air (Feat. Angela Hunte) (Digital Soundboy Remix) – Magnetic Man |
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6. Blow the Roof – Flux Pavilion |
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7. Blinded By the Light – The Streets |
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8. Stay Awake – Example |
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9. I Just Can’t Deny – Keys N Krates |
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10. Kids (Soulwax Remix) – MGMT |
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11. Fireman – Troyboi |
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12. Go (Woodtick Mix) – Moby |
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13. On the Regular – Shamir |
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14. Harvey Nicks (Feat. Sway) – The Mitchell Brothers |
