Nah i dont agree about the E kicking it all off, i seem to recall us lot speed tripping, couple of gramme of phet and half a trip, being the drug of choice up to about 92, Ecco's were just do damn expensive back then...
(U31 btw)
(U31 btw)
The early House Music scene in the UK?
- Thread starter Art Awreet
- Start date
i'm not saying that e's kicked everything off, i'm saying that the house scene wouldnt of reached the hieghts it has or did if e's wernt around
Shooms
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Thanks Mark, will pay u later
Be good to catch up with you soon. Its been far too long.
Hope you're well
Mart
Shooms
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I learnt something new there.
I didn't realise Steve was repsonsible for all those Urban reissues on Polydor in the eighties. Those records have been some of the most essential records in the box over my years as a DJ and still sound great.
Nice one matey.
I didn't realise Steve was repsonsible for all those Urban reissues on Polydor in the eighties. Those records have been some of the most essential records in the box over my years as a DJ and still sound great.
Nice one matey.
Came across this thread and thought I'd drop in to add a few links.
The biggest myth in UK dance culture is that everything began with the legendary Ibiza trip of '87. That was the catalyst for ecstacy to hit the UK club scene, but the music was already in place.
In places like Manchester, Sheffield and Nottingham, which were the key cities in the North and Midlands when it came to the emergence of House, the early House tracks (before this was even seen as a distinct genre) were played alongside Electro and the other black music flavours.
It all stems from the black scene and, as already mentioned, Winston & Parrot were playing early House at Jive Turkey in Sheffield, Colin Curtis and Jonathan were at Rock City in Nottingham, Graeme Park would DJ at the Garage in Nottingham and The Leadmill in Sheffield (alongside Winston Hazel), whilst a whole heap of things were happening in Manchester before The Hacienda started to really take off - clubs like The Playpen, Legend, The Gallery and Berlin led the way. Then, on Piccadilly Radio, Stu Allan was arguably the first radio DJ in the country playing House.
Anyhow further info here:
Electro-Funk - What Did It All Mean? - this highlights the era before House, which had so much influence on what subsequently happened:
Electro-Funk : What Did It All Mean?
Tim Lawrence's 'Discotheque Hacienda' sleevenotes, which tell a different side of the story:
Tim Lawrence Liner notes
My interview with Stu Allan:
A conversation with Stu Allan
There's all sorts of stuff relating to this, and other aspects of the black scene, on my E L E C T R O F U N K R O O T S website, including record lists from the early 80's, when some of the best, and most diverse, dance music was being released. There's a whole history to explore prior to the House explosion.
The biggest myth in UK dance culture is that everything began with the legendary Ibiza trip of '87. That was the catalyst for ecstacy to hit the UK club scene, but the music was already in place.
In places like Manchester, Sheffield and Nottingham, which were the key cities in the North and Midlands when it came to the emergence of House, the early House tracks (before this was even seen as a distinct genre) were played alongside Electro and the other black music flavours.
It all stems from the black scene and, as already mentioned, Winston & Parrot were playing early House at Jive Turkey in Sheffield, Colin Curtis and Jonathan were at Rock City in Nottingham, Graeme Park would DJ at the Garage in Nottingham and The Leadmill in Sheffield (alongside Winston Hazel), whilst a whole heap of things were happening in Manchester before The Hacienda started to really take off - clubs like The Playpen, Legend, The Gallery and Berlin led the way. Then, on Piccadilly Radio, Stu Allan was arguably the first radio DJ in the country playing House.
Anyhow further info here:
Electro-Funk - What Did It All Mean? - this highlights the era before House, which had so much influence on what subsequently happened:
Electro-Funk : What Did It All Mean?
Tim Lawrence's 'Discotheque Hacienda' sleevenotes, which tell a different side of the story:
Tim Lawrence Liner notes
My interview with Stu Allan:
A conversation with Stu Allan
There's all sorts of stuff relating to this, and other aspects of the black scene, on my E L E C T R O F U N K R O O T S website, including record lists from the early 80's, when some of the best, and most diverse, dance music was being released. There's a whole history to explore prior to the House explosion.
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Shooms
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Welcome indeed Greg.
I was very interested to read the thread posted on the DJ History forum HOW THE TALKING STOPPED
I got the link from this thread on here:
http://www.oldskoolanthemz.com/forum/music-chat/99152-greg-wilson-history-mixing-uk.html
It helped fill a few gaps in my knowledge.
What is of interest to me, and I hope you may be able to answer this is who was the first UK DJ to actually blend tunes together - I won`t say mix because that suggests beat matching - without using a microphone?
I always refer to Ian Levine in his short residency at Angels in Blackburn being my first experience of this and I think, would be 1979. As your thread confirms he left to take up residency at Heaven in London. Although he didn`t beat mix tunes together he blended tunes of similar BPM and he knew when to drop them in and out to keep it going.
He did of course play disco, funk and Hi-HRG in his latter years before the demise of The Highland Room at Blackpool Mecca.
He was very much influenced by the clubs of New York in his frequent visits to the States in the quest for northern soul records. By the way, I am surprised to see how many tunes played in the last few years at the Mecca are classed as Paradise Garage classics. Ian and Colin Curtis made a formidable force in marching music further and further away from their northern soul roots. Colin was one of the biggest musical influences on me. I have the highest respect for him.
Anyway, back to the question.
I did not know of the Leeds Warehouse at the time but I am curious whether somebody beat Ian Levine to it, or whether he was the first.
Be very interesting if you know the answer.
I was very interested to read the thread posted on the DJ History forum HOW THE TALKING STOPPED
I got the link from this thread on here:
http://www.oldskoolanthemz.com/forum/music-chat/99152-greg-wilson-history-mixing-uk.html
It helped fill a few gaps in my knowledge.
What is of interest to me, and I hope you may be able to answer this is who was the first UK DJ to actually blend tunes together - I won`t say mix because that suggests beat matching - without using a microphone?
I always refer to Ian Levine in his short residency at Angels in Blackburn being my first experience of this and I think, would be 1979. As your thread confirms he left to take up residency at Heaven in London. Although he didn`t beat mix tunes together he blended tunes of similar BPM and he knew when to drop them in and out to keep it going.
He did of course play disco, funk and Hi-HRG in his latter years before the demise of The Highland Room at Blackpool Mecca.
He was very much influenced by the clubs of New York in his frequent visits to the States in the quest for northern soul records. By the way, I am surprised to see how many tunes played in the last few years at the Mecca are classed as Paradise Garage classics. Ian and Colin Curtis made a formidable force in marching music further and further away from their northern soul roots. Colin was one of the biggest musical influences on me. I have the highest respect for him.
Anyway, back to the question.
I did not know of the Leeds Warehouse at the time but I am curious whether somebody beat Ian Levine to it, or whether he was the first.
Be very interesting if you know the answer.
Hi Barrie, I've literally just posted the 'How The Talking Stopped' piece in the 70's Disco thread here: http://www.oldskoolanthemz.com/forum/music-chat/94071-disco-scene-uk-late-70-s.html
Ian Levine told me that it was Greg James, the US DJ regarded as the first proper mixing DJ in England, who encouraged him to mix (James worked at the London club, The Embassy, in 1978, before heading up to The Warehouse in Leeds in '79). Levine regards himself as the first UK DJ to take a serious approach to mixing, although there are also the London pioneers to take into account - James Hamilton, the Record Mirror columnist who championed mixing, and Graham Canter, who deejayed with James at Gullivers - they were both involved in putting together the seminal UK mix album 'Instant Replays' in 1978 (issued as a DJ only promo by CBS) - Canter also mixed the 'Boogie Bus' album later that year, which spent 11 weeks on the chart.
Colin Curtis is the only DJ I can think of who was actively involved in the evolution of three British dance scenes - Northern Soul, Jazz-Funk and House. He's never given the credit for his part in helping pioneer the House scene - it doesn't fit easily into the established Ibiza mythogy, so most writers on UK dance culture never mention it. Stu Allan is also criminally omitted from the history - his radio show undoutedly played a crucial role in bringing House to a wider audience in Greater Manchester and beyond.
Some very valid points there Greg.
As mentioned earlier in the thread, Stu Allan's "Bus Dis" show on Piccadilly was essential listening in the 80's and I remember religiously recording the shows and then heading off to Spinn Inn to buy the best imports he played... happy days!
It was a pity that Stu couldn't make to your Electrospective night a while back at Islington Mill - another great night I might add!
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Cheers Greg - it has helped satisfy my curiosity once and for all.
Due to the demise of the northern scene in general and the closure of The Highland Room I lost my vital insight into the underground dance scene.
Ian moved on to Angels and Colin moved, initially, to Rafters in Manchester (with Mike Shaft I recall?). I was not aware that Colin was also pioneering House - must have a natter with him about that when I next see him!!!! Any further information on what he was up to post Rafters would be appreciated.
I did not like Ian`s change in music (well tbh I was never too fond of his playlist adventures away from Northern) and the crowd that frequented Rafters were mostly not from the Northern scene and the vibe in there did not appeal to me. I did not know of any other clubs, part from down south, who were playing quality tunes so, in the early 80`s, I moved away from the dance scene and got into electro and synthesised music (this is when I got into Tangerine Dream, probably my greatest musical influence ever) and although I kept collecting jazz/ funk artists some of those went down the pan as the commercial disco bug influenced them (Earth Wind and Fire`s Boogie Wonderland is a prime example - possibly the worst record they ever made - but many quality artists such as Stanley Clarke, George Duke, Kool and The Gang and even George Clinton jumped on the disco bandwagon to some degree) so I missed out on most of the quality releases on Prelude and similar labels and how this all then developed into House.
I still have my temporary membership cards from the Hacienda for the first two years of opening (they never actually issued the full cards) and the playlist there influenced me a lot. I know you were resident around this time so it looks like you were part of it - thanks for that!!
It was only in the late 80s that I got back into dance music again in a big way.
Due to the demise of the northern scene in general and the closure of The Highland Room I lost my vital insight into the underground dance scene.
Ian moved on to Angels and Colin moved, initially, to Rafters in Manchester (with Mike Shaft I recall?). I was not aware that Colin was also pioneering House - must have a natter with him about that when I next see him!!!! Any further information on what he was up to post Rafters would be appreciated.
I did not like Ian`s change in music (well tbh I was never too fond of his playlist adventures away from Northern) and the crowd that frequented Rafters were mostly not from the Northern scene and the vibe in there did not appeal to me. I did not know of any other clubs, part from down south, who were playing quality tunes so, in the early 80`s, I moved away from the dance scene and got into electro and synthesised music (this is when I got into Tangerine Dream, probably my greatest musical influence ever) and although I kept collecting jazz/ funk artists some of those went down the pan as the commercial disco bug influenced them (Earth Wind and Fire`s Boogie Wonderland is a prime example - possibly the worst record they ever made - but many quality artists such as Stanley Clarke, George Duke, Kool and The Gang and even George Clinton jumped on the disco bandwagon to some degree) so I missed out on most of the quality releases on Prelude and similar labels and how this all then developed into House.
I still have my temporary membership cards from the Hacienda for the first two years of opening (they never actually issued the full cards) and the playlist there influenced me a lot. I know you were resident around this time so it looks like you were part of it - thanks for that!!
It was only in the late 80s that I got back into dance music again in a big way.
Colin was at Rafters with John Grant - it was Manchester's top Jazz-Funk night of the time. His other notable residency of the period was at Cassenelli's in Standish near Wigan, which is where I think I first saw him DJ (when I took over the residency at Wigan Pier in 1980).
He was obviously a fixture on the All-Dayer circuit - Clouds in Preston being the biggest in the North during the early 80's (did you go to any of the Ritz All-Dayers in Manchester btw?).
In 81/82 he was at the Main Event at Placemate 7 in Manchester (the old Twisted Wheel), working alongside Mike Shaft. He took over from John Grant, who'd hung up his headphones to become a harbour master on the South Coast (so much for DJ prospects in those days!). The Main Event was a joint Blues & Soul / Piccadilly Radio promotion, so there was a lot of weight behind it and it was the biggest night in Manchester until things really took off at Legend.
After that it was Berlin in Manchester, where he's best known for Jazz, and Rock City in Nottingham, where he played a similar selection to what was going on at Legend, with lots of Electro. In the run up to the House explosion in Manchester he was at The Playpen, which was a very influential venue, but one you never hear about (the old Slack Alice's, previously owned by Georgie Best). Colin was playing all those early Trax and DJ International releases alongside the Electro and other black music forms (which is what Stu Allan would do on Piccadilly Radio and at clubs like The Gallery, which held regular All-Nighters).
House undoubtedly came out of the black scene in Manchester, Sheffield, Nottingham and other cities in the North and Midlands, whereas it was initially more of a gay thing in London (although, interestingly, I think Levine avoided it at Heaven, where, of course, Hi-NRG held sway).
That card will be worth a few pennies. I just got offered £300 for a t-shirt I have from when The Tube was at The Hacienda in early '84 (the time Madonna made her UK TV debut).
I was resident on Fridays for a short time during the latter part of '83. They wanted to attract the type of crowd who came to Legend on the Wednesday night. It was a struggle, for a whole heap of reasons, but we had some good nights and it helped pave the way for what happened later down the line. There's more info here:
Greg Wilson's Funk Night | Fac 51 The Hacienda
Also a piece I wrote about The Hacienda and the demise of the House era here:
Two Tales from the Rave
Thanks for the info again!!
I had completely forgotten about Cassinelli`s - I think I went there a couple of times but again the vibe was not quite for me.
I think I possibly went to almost every Ritz all-dayer there ever was before the audiences started to dwindle.
I used to run a coach from Blackpool to them and this is how I met Neil Rushton. Glad to see he gets the recognition he deserves with the Network output.
Although I was on his mailing list for years he never linked DJ Barrie Jay with my real name and, of course, what I was known by on the Northern scene, until we met at the Highland Room re-union around 8 years ago.
Do you by chance know or have heard of Colin and Eileen Newton (big friends of Ian that used to feed him northern tunes) and the legendary Les Cokell (so legendary I have probably spelled his name incorrectly).
I had completely forgotten about Cassinelli`s - I think I went there a couple of times but again the vibe was not quite for me.
I think I possibly went to almost every Ritz all-dayer there ever was before the audiences started to dwindle.
I used to run a coach from Blackpool to them and this is how I met Neil Rushton. Glad to see he gets the recognition he deserves with the Network output.
Although I was on his mailing list for years he never linked DJ Barrie Jay with my real name and, of course, what I was known by on the Northern scene, until we met at the Highland Room re-union around 8 years ago.
Do you by chance know or have heard of Colin and Eileen Newton (big friends of Ian that used to feed him northern tunes) and the legendary Les Cokell (so legendary I have probably spelled his name incorrectly).
Those Ritz All-Dayers in the 70's must have been something - quite political I believe, with Northern Soul and Jazz-Funk in the same venue. Definitely seems to have marked a crossroads for many people.
I was never involved with the Northern scene, coming from Merseyside, which was a Funk city. This'll give you some idea of my background:
WHEN FUNK HELD SWAY
Having said that, I got to know a lot of the main players - Colin, of course, Richard Searling, who used to book me for his SAS of GB All-Dayers (including the Ritz in the early 80's). He promoted these with Bernie Golding, who I got to know pretty well. I first met Bernie when I was still deejaying in New Brighton (I think he used to buy Terry Lennaine and Dave Porter's unwanted promos). He was dealing in import twelves at the time and I remember him coming over to the Golden Guinea with a load of stuff for me to listen through. I'm pretty sure I bought 'I Can't Turn The Boogie Loose' by The Controllers from him (later turned up on my Credit To The Edit comp).
I've heard of Colin and Eileen, but can't remember meeting them.
I got to know Les Cokell via Spin Inn - he was the DJ at Heroes in Manchester then, the main gay club in the city. I had no idea at the time that his legacy went right back to the Twisted Wheel.
Les Cokell was a huge friend of Colin and Eileen.
They bought 20 thousand soul records from the USA within which were many many northern gems and Ian used to go to their house and rummage through them. He often `borrowed` records that were never returned and was tipped off with quite a few classics. Les was a star, and he is sorely missed and his roots do indeed stretch back to the Wheel.
I can tell you a little known story about Les and Ian who, at the time were really really close friends.
When Ian went on to record his own tunes (LJ Johnson - Your Magic Put a Spell on Me and there were five others I will not bore you with) Les was appalled that he was going to play them on the northern scene and that Ian was boasting he had the only copies in the world.
Les promptly went and got some acetates made and gave them out to other DJs just to piss Ian off, which it did, fine style. Ian was completely baffled as to how this happened not thinking for one moment that Les would be behind it. He never told Ian as far as I am aware
I also know Bernie Goldin very well. He used to sell records at the Highland Room but was just one of the big crowd who frequented the place every week and, as a consequence, got to know each other. He will recall me with my real name. I have not seen him since the Mecca closed. Very knowledgeable and nice guy.
I know Richard Searling quite well for the same reasons - we were all part of the same crowd. Again he will recall me by my real name.
The Ritz all-dayers were something else although they followed the music direction that Ian and Colin had done in the Highland Room with the emphasis slightly more on new music than true northern. It was indeed an odd blend of the two. The newer jazz/ funk/ disco introduced a new way of dancing whereby you sort of jumped from one leg to the other and the infamous bouncing Ritz raised dance-floor used to move around 6 inches or more when the crowd were going for it. You were fooked if you went out of time though. The whole club used to bounce.
Although Ian was responsible for the demise of the northern scene as it was back then (along with some of the shite that Russ Winstanley was playing at the Casino putting many true followers off) what he and Colin did in the Highland Room was truly inspiring and ground-breaking. I just wish they had kept it completely separate from the Northern scene as the new stuff alienated a lot of good people away from it. This way we could have had two parallel scenes instead of the mix that often put people off - although indeed the success of the Ritz all-dayers did prove there was an audience for it but this, as it progressed, and moved further away from northern resulted in many of the soul devotees just leaving the scene altogether.
They bought 20 thousand soul records from the USA within which were many many northern gems and Ian used to go to their house and rummage through them. He often `borrowed` records that were never returned and was tipped off with quite a few classics. Les was a star, and he is sorely missed and his roots do indeed stretch back to the Wheel.
I can tell you a little known story about Les and Ian who, at the time were really really close friends.
When Ian went on to record his own tunes (LJ Johnson - Your Magic Put a Spell on Me and there were five others I will not bore you with) Les was appalled that he was going to play them on the northern scene and that Ian was boasting he had the only copies in the world.
Les promptly went and got some acetates made and gave them out to other DJs just to piss Ian off, which it did, fine style. Ian was completely baffled as to how this happened not thinking for one moment that Les would be behind it. He never told Ian as far as I am aware
I also know Bernie Goldin very well. He used to sell records at the Highland Room but was just one of the big crowd who frequented the place every week and, as a consequence, got to know each other. He will recall me with my real name. I have not seen him since the Mecca closed. Very knowledgeable and nice guy.
I know Richard Searling quite well for the same reasons - we were all part of the same crowd. Again he will recall me by my real name.
The Ritz all-dayers were something else although they followed the music direction that Ian and Colin had done in the Highland Room with the emphasis slightly more on new music than true northern. It was indeed an odd blend of the two. The newer jazz/ funk/ disco introduced a new way of dancing whereby you sort of jumped from one leg to the other and the infamous bouncing Ritz raised dance-floor used to move around 6 inches or more when the crowd were going for it. You were fooked if you went out of time though. The whole club used to bounce.
Although Ian was responsible for the demise of the northern scene as it was back then (along with some of the shite that Russ Winstanley was playing at the Casino putting many true followers off) what he and Colin did in the Highland Room was truly inspiring and ground-breaking. I just wish they had kept it completely separate from the Northern scene as the new stuff alienated a lot of good people away from it. This way we could have had two parallel scenes instead of the mix that often put people off - although indeed the success of the Ritz all-dayers did prove there was an audience for it but this, as it progressed, and moved further away from northern resulted in many of the soul devotees just leaving the scene altogether.
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