I’d meant to put this up back in May, 40 years after the record in question was released, but didn’t manage to get around to it. I wanted to highlight my Time Capsule series, which I put together for a series of 21 monthly episodes spanning January 1976 to September 1977. Each month consists of a podcast, nowadays available to stream via Mixcloud, featuring the dance music played by myself and other UK DJs back then. This was accompanied by text, where I talked about the tracks and the artists featured, whilst outlining my early days as a DJ.
Tag Archives | Wigan Casino
This weekend Colin Curtis celebrates his 50th anniversary as a DJ with a special event at The Exchange in his home city of Stoke-On-Trent. Colin started out in his mid-teens at Newcastle-Under-Lyme’s Crystal Ballroom, before making his all-nighter debut at Stoke’s hallowed Golden Torch, one of Northern Soul’s foundation venues, eventually becoming one of the scene’s leading figures as a result of his legendary ‘70’s partnership with Ian Levine at the Blackpool Mecca. Info about the anniversary date here:
Just uploaded the 6th digital edition of the Discotheque Archives series I’ve been putting together for DJ Mag with the help of Josh Ray. Each month it focuses on a classic DJ, a classic club, a classic record and a classic record label – these are generally a combination of US and UK, with the odd European inclusion, each concerned with aspects of pre-Rave club culture.
The Northern Soul movement has marked 2 significant anniversaries this year – the launch of the weekly All-Nighters at the scene’s most famous venue, Wigan Casino, in 1973, as well as the opening of its foundation club, Manchester’s Twisted Wheel, 10 years earlier. A new book, ‘Northern Soul – An Illustrated History’ was recently published by Virgin Books, its co-author, Bury-born Elaine Constantine, also the director of the upcoming film ‘Northern Soul’. The book has been well received by Northern aficionados, Constantine (and Gareth Sweeney) congratulated for their insightful overview of the movement, which is enhanced by the anecdotal offerings of some of the DJs, dancers and collectors who epitomized Northern Soul. Alongside the music and the clubs in which it featured, the book also highlights the drug culture that played such a major role, amphetamines fuelling its development.
I’ve mentioned Brian Cannon here a few times, we used to work closely together way back when, between the mid-’80s and early ’90s when he did the artwork for pretty much all of the records I produced, including those by the Ruthless Rap Assassins and Kiss AMC, whom I also managed, securing deals for them with EMI. Brian subsequently went on to become the best-known record sleeve designer of the Britpop era, working in-house for both Oasis and The Verve under his Microdot moniker. Microdot was a name I suggested to him in 1990 at 23 New Mount Street, then a key Manchester music industry location, where my Murdertone office was based, and where Brian would open his own office / studio – it was here that his path would cross with Noel Gallagher, who was then working for the Inspiral Carpets, who were also based there.
Last month I was over in Chicago chilling out in my hotel room ahead of my first gig in the city, at Smart Bar, a venue with a rich tradition, which opened back in 1982. Chicago is, of course, along with Detroit, Philadelphia and New York, revered as a key US city when it comes to the evolution of dance culture (and, indeed, black culture, with, way before House, a deep heritage in Rhythm & Blues, Blues and Jazz, dating right back to the ‘great migration’ of black workers from the southern states, beginning just over 100 years ago).
Gil Scott-Heron died last Friday (May 27th 2011), aged 62. He was one of those artists who built his reputation on the fringes – hugely influential, yet almost completely unknown within a mainstream context. Initially a writer and poet, Scott-Heron hooked-up with musician Brian Jackson at university in Pennsylvania during the ’60s, the duo combining to great effect throughout the ’70s on a number of albums. His vocal style would be an inspiration to the oncoming Hip Hop generation, to whom his socially conscious lyrics, and their defiant delivery, helped lay the foundations for the Rap genre that would subsequently flourish during the ’80s and beyond, not least his keynote recording, ‘The Revolution Will Not Be Televised’, taken from his 1970 debut ‘Small Talk At 125th And Lenox’.