During recent times I’ve been intrigued to hear about the growing schism on the House scene here in the UK, brought about by the introduction, primarily by young black dancers, of ‘foot shuffling’ (aka ‘cutting shapes’), an increasingly popular style of dancing that has been met with much hostility in certain quarters, and, somewhat bizarrely, resulted in shufflers being banned from some clubs for dancing in this way. The accusation is that not only do they take up too much dancefloor space, but there’s a general ‘moodiness’ with regards to their attitude. Although it no longer seems to be online, there was even an ‘Anti Foot Shuffling Campaign’ page on Facebook, with some of the posts suggesting underlying issues of racism. As one person commented, “It’s not that all these people on here hate shufflers, they just don’t like fact that black people are into House music now.” Although this comment may be well intentioned, it’s also somewhat misguided given there are, and always have been, plenty of black people in the UK who are big into House – it’s just that their presence is usually to be found away from the mainstream, in more specialist avenues like the Deep and Soulful House scenes. Furthermore, some of the older black crowd are also resistant to this new wave of shuffling, so to present it as a purely black / white issue would be wrong.
Tag Archives | Hip Hop
Just back from a flying visit Stateside, playing consecutive days in 3 of dance music’s seminal cities – Detroit, Philadelphia and New York. The Detroit and New York parties were both really special, but not all ran smoothly, for sandwiched in between the Philly gods conspired against us.
Given the current fascination with Disco, and a fresh wave of interest in its history, I thought it would be good time to flag up what many would regard as the must read book on the subject, outlining the development of the movement in downtown New York during the ’70s. Here’s my review for Grandslam magazine back in 2003, when Tim Lawrence’s epic ‘Love Saves The Day – A History Of American Dance Music Culture, 1970-1979’ was first published:
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.
A week on Saturday I play a pretty special London gig at Loft Studios alongside NYC edit maestro Danny Krivit, the guy who set the standard back in the ’80s with his classic re-imagining of MFSB’s ‘Love Is The Message’, one of the quintessential New York Disco anthems. Full lowdown on the gig here, at Resident Advisor: http://www.residentadvisor.net/event.aspx?440816
LABEL: ONE LITTLE INDIAN
This Sunday (March 3rd) at 9pm, you’re invited to share a listening session with some likeminded souls, wherever you might be. This can be experienced either alone or communally, and you don’t need to leave the comfort of your own home to participate. If it’s not possible to make the allotted time, hopefully you can join in at your convenience at some point during the following weeks. See update here:
Exactly 30 years ago today, on 25th February 1983, I appeared on Channel 4’s influential music show, ‘The Tube’, demonstrating mixing for the first time on live TV in the UK – just my luck that the very point I was encapsulated in a cultural moment, it coincided with a brief phase where I looked like an extra from the Hair Bear Bunch, but that’s the way the mop flops. The footage is nowadays fondly regarded as part of British dance heritage, illustrating how the New York innovation of mixing was finally finding favour on this side of the Atlantic, where the microphone was still a key component of the DJs approach. For a full account of how UK DJs gradually put down the microphone and embraced mixing, check out ‘How The Talking Stopped’, an in-depth step by step account of its British evolution:
Just uploaded the December ’82 edition of ‘Early ’80s Floorfillers’, which re-visits the biggest tracks I was playing on my nights back in ’82/’83, when I was a black music specialist, resident at venues including Wigan Pier, Legend, The Exit, Berties and The Haçienda in Manchester, and The Stars Bar in Huddersfield. The series is available to stream / download via SoundCloud and my Electrofunkroots website, which includes label / record sleeve scans for all the tracks that make the chart, along with a list of ‘other big tunes’ that month.
It’s my 200th blog post, so, in contrast to my 100th post, which was about the club where, as I’ve previously stated, ‘I experienced my greatest DJ highs’, Legend in Manchester, this time I wanted to to share something that symbolises a time when the garden wasn’t so rosy, and I was struggling with life, both externally and internally. ‘The Monastic Mix’, from 1996, was a much needed catharsis for me, both an ending and a fresh starting point – it was the last mix I ever tape edited, putting it together on my original Revox B77 reel-to-reel, which I’d bought 14 years earlier, back in 1982, in order to record / edit my Piccadilly Radio mixes in my home DJ studio.
Double Trouble / Rammellzee & Shockdell / Rock Steady Crew / Grandmixer D.ST
From ‘Wild Style’ 1982