Following a run of 2 years 9 months I’ve decided to wind things down with Living To Music, making it an irregular feature of the blog from herein. Up until now it had been a monthly series, but something has to give and, as I’m currently stuggling to fit in all the things I need to be doing, I can’t maintain this commitment, although I don’t want to stop the series completely.
I did an interview last July with James Thirkettle for a documentary project he’s working on called ‘How Do You Listen To Music?’ He’s just uploaded it to YouTube, where he describes it as follows:
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.
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.
ARTIST: RUFUS FEATURING CHAKA KHAN
This Sunday (December 2nd) 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:
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.
ARTIST: DAVID BOWIE
ALBUM: HUNKY DORY
This Sunday (November 4th) 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 week. See update here:
EDM (electronic dance music), as they like to call it in the US, has never been bigger, America now fully embracing it, having previously regarded it as a little more than a side-issue, always the bridesmaid and never the bride. Now, the more curious minded dance music enthusiasts Stateside, wishing to avoid the mainstream commercialisation of a previously more underground club culture, are, often for the first time, excavating the mid-late ’80s period, when Chicago House and Detroit Techno emerged (finding far more love at the time in the UK and Europe, than in the country of its origin).
When my agent, Matt Johnson, booked me in for ‘A Night With…’, I hadn’t realised that it did exactly what it said on the tin, namely present just the one DJ for the full 8 hours the venue was open. I generally play for either 2 or 3 hours, with the odd 4 hour slot along the way – the only times I can recall playing longer (since I started out again), was a night at The Key in London back in 2005, and then the Credit To The Edit launch parties, both Sunday All-Dayers held at a couple of East End boozers (The Dolphin in 2005 and The Horse & Groom in 2009), so, as you can imagine, it came as a bit of a shock when the penny dropped and I realised that I’d unwittingly signed up for a marathon, but I quickly warmed to the idea and began to ponder the possibilities it presented.
Happy Mondays ‘Wrote For Luck’ & ‘WFL’
Filmed at Legend, Manchester 1988 & 1989