In 2009 I wrote an article on the history of mixing in this country called ‘How The Talking Stopped’. It was the most in depth piece I’d ever written, the research alone had taken many months, including a couple of trips to the British Library in London to comb through the copies of Record Mirror they have archived there, for it was within this magazine that the person who I’d certainly argue did more to promote UK DJ culture than any other human being, connected (via his essential weekly dance column) with fellow DJs in every corner of the country. This was the literally larger than life James Hamilton (1942-1996), and if you’re a British DJ, whether you’ve heard of him or not, you can’t have escaped his influence, for he’s part of the very fabric of our DJ / club heritage.
Tag Archives | Dave VJ
I want to give you a heads up on a new book that focuses on the evolution of black music radio in London during the ’80s. ‘Masters Of The Airwaves – The Rise And Rise Of Underground Radio’ is the labour of love of 2 influential figures from the period, Dave VJ and Lindsay Wesker. The book is presented as a series of interviews with the great and the good of London’s pirate and specialist radio back in the day (plus a few Northern exceptions) .
During the 1980s Morgan Khan was viewed as a ‘dance music mogul’, a true instigator who enriched British culture via his unyielding efforts, driven by ‘an ego’, as Blues & Soul once put it, ‘bordering on the manic’ – Khan was (and remains) a force of nature. The fact that his absolutely pivotal contribution to the UK dance movement is constantly ignored remains a great travesty. If you know nothing about his Street Sounds label your knowledge of how dance culture developed in this country is terminally flawed – it’s as simple as that.
Down the years, so many people have told me about how they got into dance music as a result of the Street Sounds Electro series, which had such a massive impact on a significant chunk of British youth, both black and white, following its launch in late ’83, but is bafflingly absent in so many accounts of UK dance history. Would welcome any comments here about how this seminal series affected and inspired you, and why you think it has never received anything like its proper dues from the wider dance community.