Daft Punk are sitting pretty at the top of the UK singles chart for the first time. The track in question, ‘Get Lucky’, taken from their forthcoming album, ‘Random Access Memories’, came as something of a surprise, for instead of hitching itself to the current EDM juggernaut that’s sweeping America, the French duo have completely bucked the trend by drawing their influence from Disco, featuring its most celebrated guitarist, the great Nile Rodgers of the Chic Organisation (as well as R&B vocalist, Pharrell Williams). A media sensation, it’s everywhere at the moment – on the radio, on the TV, in the clubs and, of course, all over the internet, becoming the most streamed new release in Spotify history. It’s already been re-edited by a whole host of DJs and is pretty much nailed on to be the single of the summer.
Tag Archives | Credit To The Edit
It’s 2013 and Coldcut duo Jonathan More and Matt Black are celebrating the 25th anniversary of their Solid Steel radio show. To mark this milestone, a number of selectors have been invited to contribute a mix to the programme, its presenters choosing various artists and DJs they feel have had a significant presence at some point during the last 25 years. I regard it as a big compliment to be one of those approached, so was more than happy to oblige, the only brief being that they wanted us to weigh in with something that sits outside of that for which we’re generally known, which suited me fine – it was just a case of what?
EDM (electronic dance music), as they like to call it in the US, has never been bigger, America now fully embracing it, having previously regarded it as a little more than a side-issue, always the bridesmaid and never the bride. Now, the more curious minded dance music enthusiasts Stateside, wishing to avoid the mainstream commercialisation of a previously more underground club culture, are, often for the first time, excavating the mid-late ’80s period, when Chicago House and Detroit Techno emerged (finding far more love at the time in the UK and Europe, than in the country of its origin).
When my agent, Matt Johnson, booked me in for ‘A Night With…’, I hadn’t realised that it did exactly what it said on the tin, namely present just the one DJ for the full 8 hours the venue was open. I generally play for either 2 or 3 hours, with the odd 4 hour slot along the way – the only times I can recall playing longer (since I started out again), was a night at The Key in London back in 2005, and then the Credit To The Edit launch parties, both Sunday All-Dayers held at a couple of East End boozers (The Dolphin in 2005 and The Horse & Groom in 2009), so, as you can imagine, it came as a bit of a shock when the penny dropped and I realised that I’d unwittingly signed up for a marathon, but I quickly warmed to the idea and began to ponder the possibilities it presented.
One of the defining moments of my DJ career took place exactly 30 years ago, on Monday May 10th 1982, when my first radio mix was broadcast on Mike Shaft’s show, ‘T.C.O.B’ (Taking Care Of Business), on Manchester’s hugely influential Piccadilly Radio, which played a major part in bringing black / dance music to wider attention during the ’70s and ‘80s – from Soul, Funk and Disco, through Jazz-Funk and Electro, and on into Hip Hop, House and Techno. I go into its rich legacy in greater depth here:
When the crew behind Manchester’s Electric Chair brought their monthly club night to an end at the beginning of 2008, they’d decided their next move would be from club to pub, opening a bar a few miles outside of the city centre in Chorlton-Cum-Hardy, which they called Electrik.
Earlier this month Leftside Wobble shared an edit of Man Friday’s ‘Love Honey, Love Heartache’ on his SoundCloud. I left a comment highlighting the history of this track, which read as follows:
As you’re no doubt aware, Manchester holds special significance for me, dating back to my fruitful association with Legend in the early ’80s. I talked about the return to my ‘spiritual home’ to reactivate my DJ career in the recent Music Is Better Re-Edited Highlights post: http://blog.gregwilson.co.uk/2011/09/music-is-better-re-edited-highlights
Just dug out a copy of the Music Is Better CD, a limited edition of 500 that followed my DJ comeback on December 20th 2003 at the Music Is Better night in The Attic, Manchester. It’s now been made available via SoundCloud.
Just heard the sad news that record producer Martin Rushent died last Saturday, aged 63. His best remembered album, the electro-pop masterpiece ‘Dare’ by the Human League, issued in 1981, was a runaway success, becoming an international best seller and winning Rushent the Best Producer award at the 1982 Brits. Apart from the Human League, Rushent produced artists including The Buzzcocks, The Stranglers and XTC.