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Archive | The Seventies

Soussan Meets Wilson At The Uptown Festival

Uptown Festival

I’d meant to put this up back in May, 40 years after the record in question was released, but didn’t manage to get around to it. I wanted to highlight my Time Capsule series, which I put together for a series of 21 monthly episodes spanning January 1976 to September 1977. Each month consists of a podcast, nowadays available to stream via Mixcloud, featuring the dance music played by myself and other UK DJs back then. This was accompanied by text, where I talked about the tracks and the artists featured, whilst outlining my early days as a DJ.

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50 Years Of Colin Curtis – The UK’s Mancuso?

Colin Curtis

This weekend Colin Curtis celebrates his 50th anniversary as a DJ with a special event at The Exchange in his home city of Stoke-On-Trent. Colin started out in his mid-teens at Newcastle-Under-Lyme’s Crystal Ballroom, before making his all-nighter debut at Stoke’s hallowed Golden Torch, one of Northern Soul’s foundation venues, eventually becoming one of the scene’s leading figures as a result of his legendary ‘70’s partnership with Ian Levine at the Blackpool Mecca. Info about the anniversary date here:
https://www.skiddle.com/whats-on/Stoke-On-Trent/The-Exchange/50-years-of-DJing-with-Legend-Colin-Curtis–Guest-Pete-Bromley/12932290/

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Banbarra Unmasked

shack-up

Back in 1975 a single appeared on the United Artists label in the US by a new band called Banbarra, entitled ‘Shack Up’. It addressed one of the burning issues of the day, something that had been highlighted during the sexual revolution of the ’60s – co-habiting with a partner outside of wedlock, or what was more commonly referred to as ‘living in sin’.

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Stevie’s Songs – 40 Years On

Stevie Wonder 'Songs In The Key Of Life' album cover 1976

Rewinding 40 years, a new double-album had just been issued that would provide the black music event of the year. 1976 marked the emergence of Punk, but my attention, as a 16 year old DJ working at local venues, the Chelsea Reach and the Penny Farthing in my hometown of New Brighton, was very much geared towards the Soul, Funk and Disco flavours of the time, and the release of a new Stevie Wonder album, let alone a double album (which also included a bonus 4 track EP), was greatly anticipated. It was the first UK release on the newly designed blue Motown label, which had replaced the classic Tamla Motown label that had issued all Motown output here since the mid-’60s, bringing the company’s various imprints (including Motown, Tamla, Gordy, Soul and V.I.P) under one inimitable umbrella.

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