Last weekend, just before I set off to the airport, and back to the UK, following my tour dates in Australia and on the US West Coast, I spent a highly enjoyable lazy Sunday afternoon sat in the home of Abe Alvarez-Tostado & Sarah Nocktonick, friends of my Los Angeles promoter, Leonard ‘Mozza’ Donjuan, passing the time in interesting and insightful conversation before I headed homewards.
I’ve mentioned Brian Cannon here a few times, we used to work closely together way back when, between the mid-’80s and early ’90s when he did the artwork for pretty much all of the records I produced, including those by the Ruthless Rap Assassins and Kiss AMC, whom I also managed, securing deals for them with EMI. Brian subsequently went on to become the best-known record sleeve designer of the Britpop era, working in-house for both Oasis and The Verve under his Microdot moniker. Microdot was a name I suggested to him in 1990 at 23 New Mount Street, then a key Manchester music industry location, where my Murdertone office was based, and where Brian would open his own office / studio – it was here that his path would cross with Noel Gallagher, who was then working for the Inspiral Carpets, who were also based there.
Just over 12 months ago, on October 29th 2011, the TV and radio personality Sir Jimmy Savile died 2 days before his 85th birthday (he was born on Halloween 1926). He was regarded as one of the great British eccentrics, but there were always rumours about deviant behaviour, although nothing proven. Apart from his contribution to broadcasting, Savile was also said to be the first DJ, not only in Britain, but the World, to use twin-turntables, back in the 1940s, making him an unlikely icon to DJs of the modern era. Here’s the blog post I wrote at the time of his death:
ARTIST: ARCTIC MONKEYS
ALBUM: WHATEVER PEOPLE SAY I AM, THAT’S WHAT I’M NOT
This Sunday (October 7th) at 9pm, you’re invited to share a listening session with some likeminded souls, wherever you might be. This can be experienced either alone or communally, and you don’t need to leave the comfort of your own home to participate. If it’s not possible to make the allotted time, hopefully you can join in at your convenience at some point during the following week. See update here:
Last month I was over in Chicago chilling out in my hotel room ahead of my first gig in the city, at Smart Bar, a venue with a rich tradition, which opened back in 1982. Chicago is, of course, along with Detroit, Philadelphia and New York, revered as a key US city when it comes to the evolution of dance culture (and, indeed, black culture, with, way before House, a deep heritage in Rhythm & Blues, Blues and Jazz, dating right back to the ‘great migration’ of black workers from the southern states, beginning just over 100 years ago).
Whilst DJ obsessives in this country could tell you the minutia with regards to New York’s celebrated club culture of the ’70s, I’m often surprised to find that they know precious little about what was happening here in the UK at the same time David Mancuso, Nicky Siano, Larry Levan and the other NY legends of the ’70s were bringing Disco to the fore. Maybe they think that there wasn’t much happening here, and that UK DJs were simply following the US lead, whilst, to the contrary, nothing could be further from the truth – go back into the ’70s, before Disco hit its stride, and you’ll find hugely influential figures including Ian Levine, Colin Curtis and Les Spaine in the North, Chris Hill, Bob Jones and George Power in the South – DJs with a wealth of knowledge between them, who made their mark on popular culture here at root level. These are giants, upon the shoulders of which subsequent generations of British DJs stand, whether they know it or not.
One of the world’s most celebrated clubs, The Haçienda in Manchester, opened 30 years ago today, on Friday May 21st 1982. In June 2007, a little after the 25th anniversary, the inimitable Manchester-based writer / musician, John Robb, author of books including ‘The North Will Rise Again: Manchester Music City 1976-1996’ (2009), ‘The Stone Roses And The Resurrection Of British Pop’ (1996) and ‘Punk Rock: An Oral History’ (2006), did a short interview with me about the club’s legacy:
Alan Moore remains a constant source of inspiration, and since my last post referring to his work, ‘The Masked Movement’ (http://blog.gregwilson.co.uk/2011/12/the-masked-movement/), I’ve read some more of his books, as well as listened to numerous interviews courtesy of the wonderful world of YouTube.
I started writing this before I headed off on my travels to Hong Kong, Australia, New Zealand and back to Australia again (concluded on my return home, having made notes along the way). I’ve been very preoccupied with time, or, to be more precise, the lack of it – this is where my head was at:
Before I headed off on tour I pulled out my recently acquired copy of Bob Dylan’s autobiography ‘Chronicles: Volume One’ (2004), which I’d specifically earmarked for this trip. However, on my connecting flight from Manchester to London I realised that rather than packing it in my hand baggage, as intended, I must have put it in my suitcase, so, with my luggage checked through to Hong Kong, when I arrived at Heathrow I went into WH Smith to see if I could find something else to read on the journey. I was really looking forward to the Dylan book, so, when I saw it on the shelf I decided to get another copy, and pass the spare one on somewhere along the way.