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.
News has just emerged that Cleethorpes born Rod Temperton died from cancer in London last week, aged 66. The musician / songwriter was best known for his collaborations with Michael Jackson on the classic albums ‘Off The Wall’ (1979) and ‘Thriller’ (1982), as well as being part of the band Heatwave, who scored a string of hits in the ‘70s including ‘Boogie Nights’, ‘ ‘Always And Forever’, ‘Too Hot To Handle’, ‘Mind Blowing Decisions’ and ‘The Groove Line’, the first two going platinum in the US.
The fifth edition of my ‘Discotheque Archives’ series for DJ Mag is now online, featuring more landmarks in pre-Rave club culture:
The fourth edition of my ‘Discotheque Archives’ series for DJ Mag is now online, featuring more landmarks in pre-Rave club culture:
I wanted to write in greater personal detail about David Bowie and the depth of impact his music and words had on me during my formative teenage years – this occurring when I was between the ages of 12 and 15. I’d uploaded a blog post once I’d heard about his death, but I’ve found myself needing to revisit what was a magical mystical part of my musical / life initiation, as much for myself as anyone else, both by listening through the records I loved, and still love, whilst getting it all into words somehow. Once I started writing this I couldn’t contain it – it was bursting out of all sides. So please excuse me for the tangents I go off on and the jumping about – there’s no easy coherent way for me to express this. For a period following his 6th July 1972 ‘Starman’ performance on Top Of The Pops, until 1975, when I began to disengage, Bowie ruled ok in my world.
The anniversary weekend in Liverpool went off wonderfully, both at the celebratory Saturday night gathering in The Garage and a somewhat more sedate talk session on the Sunday evening at Jacaranda Records.
Today marks the 40th anniversary of my first club appearance. Last night I played for 5 hours at The Garage and tonight I’m at The Jacaranda to conclude a celebratory weekend in my home city of Liverpool with a talk about what it was like to be a DJ back in those proto-Disco days.
Just confirmed the final details for the weekend of the 5th and 6th December, when I’ll be marking the 40th anniversary of my first ever club appearance, back in ye olden days of 1975 at the Chelsea Reach in my hometown of New Brighton, across the Mersey from Liverpool.
‘Don’t You Worry Baby The Best Is Yet To Come’ is a track that was first played at Blackpool Mecca in 1976 following the acquisition of a US promo from fabled Norfolk based Glaswegian record dealer John Anderson (Soul Bowl) by DJ Colin Curtis, and then a release copy via a London based supplier who specialized in importing new American releases to distribute to US Troops in Germany & Europe, specifically black GI’s with a love of Soul and Funk. The Northern Soul sessions at the Mecca were hugely influential, the club revered, along with Manchester’s Twisted Wheel, The Catacombs in Wolverhampton, The Golden Torch in Stoke-On-Trent, and the scene’s most famous venue, Wigan Casino, at the vanguard of the movement.