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Tag Archives | Greg Wilson

Re-Edit Culture – A Potted History Of The DJ Manipulator

Reel To Reel Room

Back in 1966, The Beatles’ record producer, George Martin, executed my favourite singular edit of all time. John Lennon had been working on the now iconic ‘Strawberry Fields Forever’ – he’d recorded 2 versions, and was faced with the dilemma of wanting to use the first section of one recording, but take the rest of the track from a completely different and more progressive version. His comment to George Martin, when the producer pointed out the difficulties of matching pitch and tempo, was ‘you can fix it’. The fixed version is the definitive one that we all know, two recordings perfectly merged together by one decisive splice. You can hear it, if you listen carefully, at just before the minute mark, on ‘going to’:
https://www.youtube.com/watch?v=8UQK-UcRezE 

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1967 – 6 Hour Selection 50 Years On

John Lennon by Richard Avendon 1967

I wanted to do something to mark the 50th anniversary of 1967 – a truly magical, myth-laden, musical year when so much changed, separating old from new and leading to a seismic cultural shift, especially via the recording industry – artists becoming increasingly ambitious, with pop music no longer regarded as throwaway fodder for the kids, but the great artistic statement of the age.

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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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