Here’s a short overview I wrote for DJ Mag’s Disco edition last year, outlining some of the musical threads that resulted in the evolving Disco movement’s expansion from the underground into the eye of mainstream attention as the ‘70s unfurled.
Tag Archives | Nicky Siano
Back in 1966, The Beatles’ record producer, George Martin, executed my favourite singular edit of all time. John Lennon had been working on the now iconic ‘Strawberry Fields Forever’ – he’d recorded 2 versions, and was faced with the dilemma of wanting to use the first section of one recording, but take the rest of the track from a completely different and more progressive version. His comment to George Martin, when the producer pointed out the difficulties of matching pitch and tempo, was ‘you can fix it’. The fixed version is the definitive one that we all know, two recordings perfectly merged together by one decisive splice. You can hear it, if you listen carefully, at just before the minute mark, on ‘going to’:
The tenth edition of my ‘Discotheque Archives’ series for DJ Mag is now online, featuring more landmarks in pre-Rave club culture:
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.
In 2009 I wrote an article on the history of mixing in this country called ‘How The Talking Stopped’. It was the most in depth piece I’d ever written, the research alone had taken many months, including a couple of trips to the British Library in London to comb through the copies of Record Mirror they have archived there, for it was within this magazine that the person who I’d certainly argue did more to promote UK DJ culture than any other human being, connected (via his essential weekly dance column) with fellow DJs in every corner of the country. This was the literally larger than life James Hamilton (1942-1996), and if you’re a British DJ, whether you’ve heard of him or not, you can’t have escaped his influence, for he’s part of the very fabric of our DJ / club heritage.
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.
Whilst DJ obsessives in this country could tell you the minutia with regards to New York’s celebrated club culture of the ’70s, I’m often surprised to find that they know precious little about what was happening here in the UK at the same time David Mancuso, Nicky Siano, Larry Levan and the other NY legends of the ’70s were bringing Disco to the fore. Maybe they think that there wasn’t much happening here, and that UK DJs were simply following the US lead, whilst, to the contrary, nothing could be further from the truth – go back into the ’70s, before Disco hit its stride, and you’ll find hugely influential figures including Ian Levine, Colin Curtis and Les Spaine in the North, Chris Hill, Bob Jones and George Power in the South – DJs with a wealth of knowledge between them, who made their mark on popular culture here at root level. These are giants, upon the shoulders of which subsequent generations of British DJs stand, whether they know it or not.