A Quote by James Righton

New Rave was like the 60s - if you can remember it then you weren't there. — © James Righton
New Rave was like the 60s - if you can remember it then you weren't there.
The end of the '60s was a terrible time. I was in Los Angeles then, and I remember the night someone ran into the studio and told us about the Manson murders. Then suddenly something happened, the '60s disappeared. The '70s were completely different.
They say if you remember the '60s, you weren't there. Well I remember the '60s, I was there and I wouldn't have missed it for the world.
When I finally turned 18, I started to wonder if rave was now different to what it was and whether I'd missed out on the golden days of rave. So, I thought I'd talk to some of the legends in the game and get an education on how music was made, listened to and the rave scene from before I was even born.
I'm sick of '60s nostalgia. I've been to clubs in New York where it's just like the Fillmore East. And I thought I hated that then.
I threw my son, Brandon, a rave for his birthday and I fully set it up like a crazy rave with lights and sound, me and my partner DJ'd - I got Mix Master Mike from the Beastie Boys to come DJ for a bit.
I remember the '60s, I remember the '80s, but somehow I went directly from the '60s to the '80s.
We don't feel like we changed from rave, because we were never rave, to punk, because we're not punk.
I remember our first interviews at the Capitol tower. These magazine people were asking us things like 'What's your favorite color?' and 'What do you like to do on a date?' I'd ask, 'Where are you from?' and they'd say, 'Fave' or 'Rave' or whatever. We wondered, 'When do the real writers get here?'
We ended up New Year's Eve playin' a show. My date had stood me up, and I remember walkin' back to my friends with, like, two minutes before midnight and thinkin', 'I'm not gonna have anybody to kiss on New Year's.' And there she was, standin' right there, and I remember kissin' her, and then that was game over.
People want to feel united, they want to have that religious sense they want to feel like at a rave 10,000 people at the rave are feeling the same emotions, a very primal need that's not being fulfilled in the world today.
I observe a lot, and I try to pick out what looks good on me. I like to keep it basic and simple. Never too flashy. Remember, whatever suits you is the best, and it doesn't necessarily have to be the trend or the rave of the season.
I'm a child of the '60s, I came of age then. I went to a couple of demonstrations, and then in the late '60s when the Vietnam anti-war movement grew as the Vietnam War was heating up, I became very involved in that.
I was looking at the work of the New York street artists and then discovering Basquiat and Haring after that and seeing how the contemporary art scene was, and then going back into Warhol and all that was happening in the 60s.
Our intention when we first started as a band, was to be a rave band. We kind of just got it wrong. We tried, but we didn't have the talent or the knowledge to make a rave record.
I was doing a play in New York, which we had done in New Haven, Connecticut. It was an American premiere of a play called The Changing Room written by a wonderful man named David Story. It was about a rugby team in the North of England. It got just screaming rave reviews. At that time, virtually every major critic went up to the Long Wharf Theater to see a new play like that.
I don't really remember much about the '60s at all. You know, 1970 is the first year I remember pretty well.
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