ARTIST: PINK FLOYD
ALBUM: ‘THE DARK SIDE OF THE MOON’
LABEL: HARVEST
YEAR: 1973
This Sunday (Sept 5th), 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. Full lowdown here:
//blog.gregwilson.co.uk/2010/06/living-to-music/
This brilliant animation enhances these words of wisdom. John Lennon interviewed by 14 year old Jerry Levitan in Toronto (1969).
I Met The Walrus Book:
//www.amazon.co.uk/Met-Walrus-Interview-John-Lennon/dp/0061713260
I Met The Walrus Wikipedia:
//en.wikipedia.org/wiki/I_Met_the_Walrus
More than interested to recently hear that Liam Gallagher has acquired the rights to one of my favourite Beatles related books, ‘The Longest Cocktail Party’ (1972), and plans to make it into a film.
I got involved with Vintage on the back of ‘Music Played In Discotheques’, the mix of tracks I put together from the years leading up to when I stared deejaying in the clubs in late 1975, illustrating an era when disco music wasn’t a genre as such, but the music played in clubs and discotheques. This was something Wayne Hemingway and his son Jack (who’d been to some of my DJ dates) had asked me to do for the silent disco space they’d curated at Liverpool’s Tate Gallery, the centrepiece being an underlit disco dancefloor.
The first Living To Music exceeded all expectations. Far more people participated than I’d envisaged, so it’s already ahead of itself in terms of growth, whilst the feedback has been exactly what I’d hoped for, with a whole range of insightful and honest perspective further enhancing the overall experience. You can read all the comments here:
//blog.gregwilson.co.uk/2010/07/living-to-music-1/
Since we listened to Marvin Gaye’s ‘What’s Going On’ album, to launch Living To Music, I’ve found myself thinking about his ‘perfect partner’, Tammi Terrell, and the tragedy of her early death in 1970, aged just 24. Terrell will always be remembered for recording some classic Motown tracks with Gaye, including ‘You’re All I Need To Get By’, ‘Ain’t Nothing Like The Real Thing’ and, of course, the standard for all boy / girl duets , ‘Ain’t No Mountain High Enough’.
I first came across Adrian Luvdup in the early ’90s, when he was deejaying as one of the Luvdup Twins. I remember going to a night they played at in Liverpool that was promoted by the Girls On Top, Jill & Sonia, whose parties I used to enjoy (having said this I’d been to Most Excellent at The Brickhouse in Manchester prior to this and I’ve since learnt that Adrian was a resident there). The ‘twins’ were an integral part of that post-Madchester period from which the Chemical Brothers (then students in the city) drew so much inspiration, with DJs like Justin Robertson, Richard Moonboots and Greg Fenton, along with Adrian, Mark, and subsequently Mike Luvdup (aka Balearic Mike), evolving a distinctly Mancunian brew of Balearia, which resonates right through to this day.
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.
Halfway through this series of two hour selections, which will culminate in a full twenty-four hours of music from the 60’s through to the mid-70’s and is all about my love affair with the 7” single, which I grew up with in my pre-DJ youth. It’s not a mix, the tracks are included in their entirety, one following the other. The series was launched back in February to mark my 50th birthday.
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