Back in the early 2000s, when I began to explore the internet properly, discovering a number of DJ forums discussing dance culture and its history, it was clear that the early ’80s had been largely obscured. This was the period that followed the supposed death of Disco in 1979 (prompted by the vitriolic racist / homophobic ‘’Disco Sucks’ campaign fronted by WLUP Chicago shock jock Steve Dahl), and preceded the emergence of House music during the mid-’80s.
Tag Archives | Larry Levan
Been meaning to get this amended article onto the blog. It’s something I originally wrote back in 2003 for Grandslam magazine as a feature revolving around the release of 2 No Wave compilations at the time, one on the re-activated ZE label, the other on Soul Jazz. The piece was originally published under the title ‘When Punk Met Funk’.
Bronx born Frankie Knuckles (real name Francis Nicholls), the honorary Chicagoan bestowed with the title ‘Godfather Of House’, died last Sunday of diabetes-related complications. He was 59.
I’ve been giving the studio computer a bit of a spring clean, sorting everything into the correct folders and generally getting myself better organised. Given that I’ve entered a new phase, as far as remixing is concerned, partnering up with Derek Kaye nowadays, I think this is a good time to clear the decks and make the work I did between 2005-2013 available to stream via SoundCloud as a complete collection – 40 tracks in all.
A couple of months ago, when I last played in Brighton, I was talking to Paul Budd, the promoter (and DJ Pablo Contraband), about how things were going with his Unity Agency (a man of many fingers in pies is Paul / Pablo). He was really excited about just having added The Reflex as the latest addition to an increasingly impressive roster that also includes the likes of Late Nite Tuff Guy, Rayko, Social Disco Club and Fingerman. The Reflex is London based French DJ / Producer, Nicolas Laugier, and it wasn’t just his work that impressed Paul, but his overall persona. Paul told me;
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.
The most talked about album in many years, Daft Punk’s ‘Random Access Memories’, is released in the UK today, and, as discussed in my post from the beginning of the month, ‘Disco Now Disco Then’ (https://blog.gregwilson.co.uk/2013/05/disco-now-disco-then-2), it’s all set to blitz the charts worldwide.
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.
2013 sees Greg Wilson taking his first steps back into record production, starting off with Schooled In The Classics, a series of groove based dance tunes put together to play out at his gigs, the initial tracks being first road tested in Chicago and New York last year to a great response. Greg now plans to issue 8 Schooled In The Classics tracks this year, both digitally and via 4 limited edition 180g vinyl releases. The first 2 tracks in the series, ‘12-Turn-13’ and ‘Blue Angel’, are issued this week.
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: