If you wish to contribute material and/or volunteer your time to develop the archive, please contact
If you are an educational establishment interested in the audio engineering aspects of the project, please contact
Greg Smith – Co-founder and head of research
With a passionate fascination and love for vintage British rock and pop, I dedicated a great deal of my time in researching the lesser known and less-celebrated musicians and songwriters of the 1960s and 1970s. Having been fortunate enough to meet such endearing people as Art Wood of The Artwoods and Mike Evans of The Action (both of whom are very sadly, no longer with us) and numerous other talented musicians, I found myself working alongside them in bringing their music to a new audience with eager and fresh ears.
Whilst being involved with a number of specialist and retrospective outlets over the last eighteen years, I could see that although there was a huge aspect of labour-of-love ideals being applied to this music, it offered only an immediate audience their entertainment, but unwittingly failed to give the music the longevity it so deserved and therefore it's proper place in the history of British rock and roll heritage. Since 2008, I had been working with the idea of giving this precious music the cultural recognition and longevity it deserved.
There was also another chief factor in initiating the British Music Archive and this was related to nationally recognised institutions that sadly, failed to acknowledge such musical worth as it fell outside of their immediate remit.
Such undeserved neglect and automatic abandonment of a valuable piece of our cultural, musical heritage was saddening, but also inspiring. The inspiration has thus resulted in what I hope will pay enormous tribute to the artists both within the British Music Archive, those outside and those who continue to listen and play.
John Paul Braddock – Co-founder and head audio engineer
Having worked in the audio industry for over twenty years, in the last decade my focus has been in the arena of mastering in which I've produced over hundreds of commercial releases in all walks of music. In recent years I've also started to pass on my knowledge lecturing in mastering for the engineering department at De Montfort University alongside my professional mastering work.
In this journey through an audio engineers life and with my love for all things musically quirky I've been led to discovery of many classic tunes from decades past which have either not seen the light of day or have done so with limited exposure.
The opportunity to be involved in this project quantifies many of the aspects of music I enjoy. Being able to share hidden treasures with a wider audience, bring together artists who may have long since parted company. Restoring works back to life or even improving upon them, educating up and coming engineers in the skills required to most importantly preserve what we can for future generations to enjoy.
More than anything I hope my children get that same buzz from music I do and this archive becomes a source of hidden treasures for their musical growth.
Tom Dodds – Co-founder, Developer and audio engineer
I'm proud to help facilitate the British Music Archive and I'm continually surprised by the warm reception from our 10,000 visitors to date. It's fascinating to hear the archive of unreleased music, a real window into the music culture and the energy that existed in the recordings. I'd like to continue to support the project and give my input where required. If there's anyone out there who would like to contribute to the design of the site and offer their input, please contact me.
Phili Hawyes – Administration and funding
Tom Bacon – Archive and audio engineer
After completing my degree in the summer of 2011 in Audio and Recording Technology at De Montfort University the opportunity to work on the BMA project was a great reward. I am a big fan of vintage guitar gear so archiving music with classic rock and psychedelic sounds is great fun and a valuable insight it. Hearing music that was not given a lot of exposure commercially at the time has also really opened my eyes to differing aspects of the 60’s sound. This experience will defiantly help in all my future productions.