Hello Ray, thank you for being involved and having a chat about some aspects of your music history. Operating a music label for thirty years is no easy task and is certainly a labor of love, especially in today's age. Thinking back, what were a few of the most difficult hurdles to overcome in order to keep things moving forward?

I think to be fair, it's an onward journey. You have to have integrity, you have to believe in what you do. Obviously, I've invented a sound, I have a minimalistic sound that's instantly recognizable and is now a blueprint and part of Jungle. Anyone that uses the Amen Break or the Reese Bassline, straight away you would say, oh, that sounds like Brain or that sounds like Dread. So we have our imprint, as Metalheadz does, with that darker clinical sound, V-Recordings as well, the jazzier side and the soulful side of Jungle. Also, the original rollers of Drum & Bass, with the likes of Krust and the big tunes that came out, all of us that released big tunes on there, Roni, Dillinja and myself. V Recordings harnesses everyone's sound, while Metalheadz and Dread are very definitive.

Its honesty, its integrity, its believing in your sound and its not selling out, which all of this fucking karaoke Jungle and fucking wonky Drum & Bass and Ket music, it just needs to fuck off. The long and short of it is there's lots of obstacles. There's artists that you try to help and they've got big egos and sometimes they don't fucking pick up the phone after they've even had releases on your label, that's how it is. You bring them in, you nurture them, you help them, you believe in them and they don't always return that back. But I don't watch that, I've helped a lot of people that never came back for me, but that's my job, its being a gatekeeper and introducing them to the world. They've got to have that integrity, they've got to have that honesty to pay it back at some point to a new artist or they come back to their roots you know what I mean.

Who are some people that gave you good advice on running the label and continuing to grow? How do you align the daily operations with long term plans?

We all started at the same time, so we all had our own idea of how we wanted to run the label, and what we wanted to put out. I have an all female team, they're all amazing, we've got a female designer, we've got Laura who looks after the label, and everybody I've worked with pretty much on the admin and the label side are women, because they have no egos, they just love the music. You'll find that anyone that's trying to work for a label has got ulterior motives, either they want to get on the mailing list or they want to take your crown, and also it's very difficult to navigate artists. They could have one big tune but one tune doesn't define you, it's a lifetime worth of work that defines you, and just because you have one tune doesn't mean you're going to get booked. There was also a time when artists were artists and DJs were DJs, but now everybody's an artist DJ, do you know what I'm saying, so the lines have got blurred because not everyone is a good dj. It's saturated with producer djs so I take my own advice, I take my own direction and I have good A&R skill. I've brought a lot of people into the game and a lot of people have come through me with releases on the label. I trust my gut instinct, I'm a selector and all those labels, we were all A-Class selectors so in the end we thought fuck it, let's start putting out music ourselves, it was a no brainer.

What’s the process for developing and releasing an artist’s debut album?

You know it's a body of work, and it represents something to say, hey, here's some tunes for the dance floor, here's some tunes to chill out to, and this is my personality, to show them an in depth, personal interview of that person, and own a piece of timing. To own a piece of music, not owned by some fucking wanking aggregator that you can stream, that Spotify makes millions of dollars and you get 0.0% because the artist always ends up with fuck all. But it's nice to have a body of work, to leave some of your blueprint, an imprint, a footprint of your personality in the world, because when I make tunes for like probably a month or two months it's mine because I don't share it with anyone. Maybe it's a week or two weeks I'm in the studio, and then when I play it out it's not mine anymore. So it's nice to mull over an idea, to work on a project. I'm working on the Renegade album at the moment, I'm working on the new Ray Keith and Dark Soldier album, and a Dread compilation album as well, so it's nice to just get these bodies of work out because it's a moment in time, and it's probably a six month to a year project, sometimes it's longer than that. At the end of the day now, it's my testimonial years, I've got nothing to prove. With the live band stuff, that's where my head is at for the moment, because I feel that's a revolution for me, to bring my music live and with being sold out at the Jazz Cafe, so I know that there's potential of playing Boomtown and some big gigs. So that's something that I'm blessed and I'm happy to be getting on with.

Over the years, many influential labels have come and gone in the Jungle and Drum & Bass community. However, Dread Recordings, has stood the test of time, helping to shape the culture for the past thirty years. Given how deeply personal and significant your label is to you, it must be challenging to trust its future without your guidance. Would it be fair to say that you have concerns about the next person running the label potentially undermining all your hard work?

I'll run it until I find a platform that I could oversee at a distance, but that person who wanted to buy or have it, would have the automatic instinct to keep it true to the sound, do you know what I'm saying? But we do move forward, like T.I.'s remix of Renegade, it's some next level shit. It's taking Jungle and Drum and Bass to the next level, you listen to Critical Impact and they all pay homage to the sound of Dread in their own way, and it's always evolving and that's what we do. We explore that sound but it's still got our clear-cut sound that we released with. DubPlate Dread has given me an angle to put more artists out quicker every six weeks, and we keep the mother label for authentic releases, re-releases and remixes that have been amazing. The Diligent Fingers remix of Chopper was mind-blowing, breathtaking. So you know, we hand the baton on to artists that we believe in. We can't always take them on the full journey because everybody has got their own agenda and you know, you try and develop an artist, but everybody's got their own idea and we just try and do our best. If we can be part of their journey, then we're grateful for that. But I don't look at signing one artist long-term, I think they should experiment. As long as we can get a slice of the cake, we're happy with that, and give them a push onto the platform we're blessed with that as well, you know.

Often, labels come to an end when their owners shift focus to new pursuits or, unfortunately, when they pass away unexpectedly, leaving the label in limbo. Most Jungle and Drum & Bass artists or label owners won't "retire" like you would from a common career path. Do you have a specific plan for when you might decide to close the label or transfer it to someone else upon "retirement"? In the event of an unforeseen passing, should the legacy of the label be preserved or laid to rest?

I think the label will continue, and I think what I'm looking to do is probably sell the entire repertoire and cash out. Then they would do what they want to do with it. I'd do a Neil Diamond, nothing lasts forever. But the repertoire is flawless and it has a lot of history, and I'm sure at some point somebody would want to come in and give us a retirement fund for that, which we would be looking at a nice three, four figure sum, because it is the holy grail of what is today. When you look back at hip-hop, and you look back in 10, 20, 30, 40 years time, you're going to look back and go, wow, that music was amazing. Somebody's going to re-release it, like Dolly Parton did with "I Will Always Love You" and another artist will cover it, and probably have a number one. That's the way the world is, because we have already had the blueprint. But you know, there's still a lot more mileage or licensing it for film, TV, and to make a nice, decent amount of money because now we've got the heritage and we should exploit that, and rightfully so. We're middle-aged and we should get our due. And if you're a sensible person that's looking to invest into some heritage, then you would look at that and you'd go, actually, that's worth the money. I've got other things going on, taking on a lot of acting, tv, presenting, modeling for older models, and staying creative so as I climb that ladder now, I believe it will continue to open more doors for me.

How many times over the years did you think about closing the label? What helps keep you inspired and motivated after three decades?

I never thought about it. It's always been my love affair with music, and it's been good to me. I've been broke and it's saved me. A check came in, and I've had many ups and many downs, heartbreaking ups and downs. Nearly lost my house, fucking got divorced, had kids, lost my mom, lost my dad, lost some close friends, but she's always been there. She's supported me, loved me when nobody would love me, do you know what I'm saying? Being at my rock bottom, something has turned it for me, and I've got a paycheck, I've got a remix to survive, to keep going, to keep building. Just that person that says to you, "hey, you changed my life with that tune", that's the biggest gift for free. That's not even monetized, that's through the heart. When you came up to me in Portland and said, "I just wanted to say thank you for what you've done". That means everything to us, fuck the pound note or the dollar, that comes after. It's the human contact, the human touch, the integrity, the love, and being part of the culture, and being part of something that's British that changed the world.

With travelling so much for events, what are some challenges you face operating the label? How do you maintain good mental health?

I'm regimental, I'm clean and green, I go to the gym. I'm in the gym three days out of the week and do yoga to times a week. So, I try and eat healthy, you saw me touring, I look fresh, I look well. I go to the party, I play at the party, I leave, I go back to my hotel, I wake up, I go to the gym, I have breakfast, I catch another flight, it's like being in the army, it's very regimental. So that's how I live my life when I'm abroad, and you just keep going, you keep doing. It does take a mental toll, but at the end of the day you have to fight that and you have to make sure that your eyes are on the prize and you keep yourself busy and focused. I'm in military mode. I'm going shopping, I come back, I go to sleep, I have something to eat, I get up, I have a shower, go to the gig, smash it, come home, have another little snack, sleep, rest, unwind, you get up, gym, airport, it's all a military precision. Chemynne, my agent, was amazing, all the promoters were amazing, all switched on, so it's a beautiful thing and I have fun, I love playing music. The time zones, to me, just becomes night and day, so that's the best way to deal with it. Rather than trying to fuck with your head, I'm 6 hours ahead, I'm 7 hours ahead, all of that shit's got to go over your head, and it's just night and day.

Do you still have as much fun or enjoyment operating the label compared to when you first started?

Yeah, I still get excited about music, I'm cutting a 12 inch at the moment, to celebrate 30 years of Dread, I'm also doing a CD compilation with a live recording of my band at the Jazz Cafe, which I'm gassed about and we'll use that as a promotional tool next year. So when you come to my live shows, you can leave with something physical from that experience, but I love it. I'm dedicated, it's not work to me, it's a lifetime of work, it's a way of expressing myself, I'm working with some really lovely, cool people, I've got an audio line coming. I'm concentrating on the Jah Dread sound system, which is coming, it's sitting in my garage right as we speak. I'm going to have some fun before I sign out and we're going to, as the great Michael Caine said in the Italian Job, we're going to blow the bloody doors off, so that's what we're looking to do and we want those experiences. I've got loads of merchandise coming, I designed the jackets and hats, clothes, and oh God it's amazing. So I'm loving it, one of my kids have moved out, another one's moving out in January now, I feel like I've got my life back, I've given them the best years I can, of course Dad's always going to be there, but I feel now, I'm free to do what I want to do. I've still got work to do while I'm strong and able, you know I'm a heart attack survivor, I've turned my life around, and I'm grateful, I'm blessed, I'm humbled to be doing what I'm doing, and I give thanks to the love around the world. The U.S. loves us, we love the U.S., and we've got a massive fan base over there, and I'm very grateful, I'm just a humble geezer from the ends, from Essex, that the boy done good. We follow the footsteps of our peers, we look up to Goldie, he's a game changer, opening up the doors for us, and that's a great and wonderful thing. Fabio and Groove Rider, if it wasn't for them I wouldn't be doing what I'm doing. Bryan and Frost, the late great Randall, Kenny, and DJ SS, all of these guys that helped shape me and make me into the person that I am, with the influences of Dillinja, Lemon D, Adam F, J Majik, Dexterous, Floyd Dyce, and Chris from Kniteforce he's given us another lease of life, just good fucking people do you know what I'm saying?

How do you balance the label's integrity with commercial success? What legacy do you hope to leave behind?

I don't balance it with commercial success because Renegade Terrorist is an underground tune, Dark Soldier is an underground tune, Singtime is an underground tune. You don't make tunes to make them commercial, that's where you go wrong. You just make the fucking tune for the underground and if it goes and surfaces then it's a benefit. So I don't do that. I know more now obviously than I did then. So the Renegade album, if you heard that Rock tune that I played, that guitar tune that's in my live set sounds exactly the same as the record. But what I'm saying is that's the beauty of being able to bring different elements in because whenever you listen to Jungle and Drum & Bass it always has the influences of the outside world in the music. So I don't go in with thinking I'm going to make a commercial tune. My music has always been accessible because it appeals to people, because I make music for the people or I make music for women. So if women are dancing then the guys are happy, do you see what I'm saying? So I've always made music for women because I know those ghetto tunes and the dirty beats in the corner, it's like, what is this shit? The integrity just comes with not having to sell out and doing what you love and doing what you believe in. I think that's why Dread, V and Metalheadz, we kiss our labels because we love what we do. We stay true to the sound and I think you guys get it. You're like, have you heard that new thing on Dread, It's cutting edge. It's next level like, wow. We're the forerunners of what this is doing. We are still the next sound. Whether you're young and you're coming into it, you're not pioneering anything. You're either retro-ing what we've done already and playing the same shit or you are trying to push the boundaries. Like the guys that I've signed, like Serum, Bladerunner, Voltage, Conrad Subs, DJ Hybrid. I've got PD57RN on the label at the moment, he's had an amazing release. I've got His Presence, that's the young kid iBOT. These guys are making their own lanes within our platform. You just harness the energy and harness what's going on. We've got some amazing releases. We believe in the music. El, The Book Of El, he was a great find, he's gone on to do stuff with Benny L now. It's all part of the journey. Bladerunner, look at him now, he's flying the flag doing what he's doing. If we don't keep flying this flag of integrity, it will get lost because some of that music, I don't want to hear 30 bars of the tune and then feel like a zombie and then come up again and then feel like a zombie. What the fuck? I don't want to play at those parties. You can fuck right off. I'd rather play at an underground party like Brockie, DJ SS, Kenny and I played on a Saturday in Leicester. It was wicked. Two, three hundred people. It was banging, the sound system was pumping, the walls were sweating and people were going crazy. Look at the Portland show. Underground thoughts, that's what we need. People just rocking. It's no good just trying to facade it all yourself. And whatever goes up must come down. So you're going to have your five minutes, and then you're going to level out. When you level out, that's when you see how hard it is, because you have to roll the dice again and again and reinvent again. That's 30 years of ups and downs. That's a lot, but I've got my stripes, I'm a grandmaster now. So I'm grateful, I'm blessed, I'm happy to work with good, positive, blessed people. Obviously, you're going to fall into traps of people trying to fuck your shit or egotistic people. As soon as I get an instinct of that, I'm off. see you later. You can't save everyone. you can't help everyone, and everyone's got their own ideas. So at some point, not everyone's going to see your vision.

What do you hope people will remember the most about your label?

I think we'll just remember the time. It was a special time, 1994 to the 2000s. We ruled the world. We were kings of the Jungle. The internet wasn't so prominent. It was done on tape packs. It was done at V7. It was done at Milton Keynes. We're a generation, we share that with everyone. I think that's the legacy. I made some proper ghetto tunes. When you hear Dark Soldier, it's way beyond its time and it still fits in today. As is Renegade Terrorist, it's timeless. I made a lot of timeless music. I was blessed at that time. God blessed me with many tunes. My discography just goes on. I forget how many tunes I made but whatever I touch my hand to, even the stuff I did with Nookie, and when I do my live sets, people are going crazy because we're playing that shit.

Any closing thoughts or shout outs?

I would like to thank the whole of the U.S. for all the love over the years. The first time I went to the U.S. was with DJ SS at the Miami Festival. Then I came back in 97 with the V Recordings tour. I love America, I love the culture. I believe that it is an amazing place that if you have a gift, you can excel. I'm looking to come and do some acting in New York and hopefully have an agent and live there some times of the year in the next 18 months. With the likes of Fabio and Grooverider I can't say this enough, that if it wasn't for them, most of us wouldn't be doing shit. They opened the doors for us. They made Goldie, they made me, they made Ronnie Size. they made a lot of people. They are demigods, they touched us and turned us into platinum stars. We're forever grateful for them playing our music on Radio One where you guys could hear it and the tape packs, they got back to you. All the independent record shops in America that bought Jungle and Drum & Bass and brought it to you guys. Like my good friend, Jason Magin, who worked in the Philly shop and the little guy that works in Canada at Play De Record. All of these dudes, they had a huge influence on people hearing our music. So I would like to thank all of those unsung heroes that play our music on the radio that represented us, all the pirate stations, all the internet stations, all you guys that buy our music. I would just like to say thank you for supporting independent artists and loving us for who we are and letting us express ourselves.

Keep tabs on Ray Keith at the following links

Dread Recordings Website
Dread Recordings Soundcloud
Dread Recordings Instagram
Dread Recordings Facebook
Dread Recordings Youtube