When I was over in Australia last November I was interviewed by Gilles Peterson for his series ‘The Psychology Of DJing’ as part of the Sydney Electronic Music Conference. It was an interview that covered many aspects of my career, much of which I’ve spoken about on numerous occasions previously. However, there was a different context to this – most of the time the interviewer is much younger than me, so they didn’t personally experience the times I’m talking about and the way things worked back then in the specialist areas of black music, whereas Gilles comes from the same roots as me, part of the next wave of DJs that followed-on from the Jazz-Funk era, when I first emerged on the specialist scene.
Tag Archives | Roger Eagle
John Grant, one of the UK’s leading black music DJs of the late-‘70s / early-’80s died last month – he was 71. Apart from his family and close friends, his passing went largely unnoticed – his legacy somewhat forgotten. This is because he retired from DJing in 1981, right at what was seemingly the peak of his powers, completely disappearing from sight as he moved to the South coast, as the legend at the time was told, to become a lighthouse keeper, or, in another version, a harbour master (the truth seems to be that he moved to Peacehaven to work for a Hovercraft company).
This photo popped up on Facebook recently, taken by Mark McNulty, whose visual documentation of Liverpool’s club/music scene of the past 3 decades is now part of the city’s cultural legacy. It’s a photograph of a record cabinet Bill Drummond made following the death of Roger Eagle in 1999, which was displayed under the title ‘Dead White Man’ in the Jump Ship Rat, an alternative gallery space in Parr Street during Liverpool’s inaugural Biennial Festival that year, but not as part of the official programme, more an anarchic fringe event.
On April Fools’ Day our record label, Super Weird Substance, is hosting its most ambitious event to date – a 14 hour long Happening that takes over The Florrie, a stunning Grade II Victorian community heritage venue in Liverpool.
Just uploaded the 6th digital edition of the Discotheque Archives series I’ve been putting together for DJ Mag with the help of Josh Ray. Each month it focuses on a classic DJ, a classic club, a classic record and a classic record label – these are generally a combination of US and UK, with the odd European inclusion, each concerned with aspects of pre-Rave club culture.
I’m all about connections. What really turns me on is when two previously separate areas of interest suddenly collide head on thanks to the discovery of a new piece of information. The connections are already there, it’s just that we’re blind to them much of the time, so when John Higgs, the author of ‘The KLF: Chaos, Magic And The Band Who Burned A Million Pounds’, does the detective work and pieces of the jigsaw fall together in a way that reveals a different picture to what we may previously have envisaged, that’s a deeply nourishing feast for me.
Liverpool is on the cusp of something special. I firmly believe that the cogs are clicking into place and the connections are being made as we enter a new cycle in this unique city’s cultural quest.
Roger Eagle died 15 years ago today. For those who don’t know who I’m talking about, don’t bother looking for info about him on Wikipedia, for, somewhat unbelievably, he still has no entry – yet this guy should have statues in 2 cities for, suffice to say, without him, both Manchester and Liverpool’s cultural heritage would be substantially poorer. He was a musical maven that made so much happen in ’60s Manchester and ’70s Liverpool, before returning to Manchester in the ’80s. He was there, right in the midst of things, at a series of crucial moments spanning the eras of the Mods, the Hippies, the Punks and the Ravers. His legacy was finally brought into focus via the 2012 Bill Sykes book ‘Sit Down! Listen To This!’. I blogged about it here, hopefully it will help shine some light on the true gravitas of this man:
The Northern Soul movement has marked 2 significant anniversaries this year – the launch of the weekly All-Nighters at the scene’s most famous venue, Wigan Casino, in 1973, as well as the opening of its foundation club, Manchester’s Twisted Wheel, 10 years earlier. A new book, ‘Northern Soul – An Illustrated History’ was recently published by Virgin Books, its co-author, Bury-born Elaine Constantine, also the director of the upcoming film ‘Northern Soul’. The book has been well received by Northern aficionados, Constantine (and Gareth Sweeney) congratulated for their insightful overview of the movement, which is enhanced by the anecdotal offerings of some of the DJs, dancers and collectors who epitomized Northern Soul. Alongside the music and the clubs in which it featured, the book also highlights the drug culture that played such a major role, amphetamines fuelling its development.
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.