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Tag Archives | Dennis Edwards

22 Songs Of Struggle

By on June 21, 2020 in Black Culture, General, The Eighties, The Seventies, The Sixties

Given the widespread outrage at the killing of George Floyd and the resulting Black Lives Matter protests on both sides of the Atlantic, I thought it might be timely to post up on Facebook some important songs of the past that brought the struggle of black people into the popular arena, especially during the Civil Rights era. All are classics, loved by millions, but hopefully this will offer some context with regards to the times in which they were made and the weight of their subsequent cultural significance. Continue Reading →

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20 Choice Edits & Reworks 2019

By on January 10, 2020 in Remixes / Edits

Revox

Now in its 8th year, 20 Choice Edits & Reworks is a personal selection, based on new interpretations of tracks I’ve been playing during the previous 12 months. These don’t include official remixes of older tracks (for example, Joey Negro’s excellent update of ‘Can’t Live Without Your Love’ by Tamiko Jones this year), reflecting the more underground nature of the edits scene, where DJs share their work either digitally or via limited vinyl pressings. The full selection is available to stream via SoundCloud: Continue Reading →

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Ball Of Confusion

By on April 5, 2011 in Black Culture, Hear, Interviews, Psychedelia, Records, The Seventies

Most of the interviews you do throw up the same type of questions, but every now and again someone takes a completely different approach, which can be very refreshing. One such occasion was a few years ago when I received a request for an interview by Berlin based DJ and writer Finn Johannsen, who told me he was doing a feature series for the blog ‘Sounds Like Me’ in which he asks people to chose a favourite record that has strong personal associations. Once I’d informed him of my choice, ‘Ball Of Confusion (That’s What The World Is Today)’, a key single of my formative years by The Temptations, he came back with a whole heap of insightful questions that really caused me to get deep into my reasons behind this selection, including my views on its socio-political relevance, the role of the protest song, and the innovations of its producer, Norman Whitfield.

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