He’s at Drumsheds tonight with Sophie Ellis Bextor
Horsegirl there too!
Timeless icon 
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Sophie Ellis Bextor being reinvented as the British Barbara Tucker (or something) off the back of her super beige early 00s pop hit being in a TV series is something that mildly bothers me.
People (when i say “people” i actually mean “Americans on Twitter”) seem to think Murder On The Dancefloor is some sort of legit club classic.
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You’re forgetting Kitchen Disco! COVID heroine
Pre hit she used to be in a band with a mate of mine called The Audience (terrible name).
Her ‘performance’ involved whispering while trying to hide behind the mic stand.
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She’s seems a good person but Murder on the Dancefloor is a pile of steaming shite that was past its sell by date 20 years ago. Horrific to have to hear it again.
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She seems good at what she does, but what she does should really be confined to the local festival circuit.
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Its Emerald Fennel’s fault for including it in that final scene in Saltburn. To be fair that scene did play quite well but thats where it should be left. Same thing happened with Kate Bush and Stranger Things but at least that is more palatable
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Is horsegirl just a massive skit on ket?
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God I hope so. Tik Tok Tekno
Talking of early doors it was the 36th anniversary of the opening night of Spectrum a few days ago.
36 YEARS AGO.
https://www.instagram.com/p/C5qerw0otFc/
It was 36 years ago, on the 11th of April, that the iconic ‘big trippy eye’ first came into being. A visual proclamation of the opening of the game changing Spectrum night at Heaven.
1988 was an exciting time, when everything felt possible and there was still space to create something new and unexpected.
As I said in the Guardian article back in 1997: “I would like to think there was an innocence in the beginning. We were just trying get across this mood and feeling. Flyers had to be special. You couldn’t just put a big name DJ on and fill the club. You had to create a feeling.”
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Monday!!!
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Was the precursor to Spectrum, according to Spencer G (who I nicked it from) 
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Well yes that’s just a perfect description.
This goddamm house right down the toilet
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Limahl need you!
1984…
‘I Want it to be Real’ by John Rocca is number 1.
When I arrived back in New York, spring 1984… This time, I was collected in my own private stretch limo, and, the track was playing incessantly on every single radio station I tuned into as we cruised around Manhattan and at the very top of the Billboard Hot Dance/Club Play Charts.
But best of all, better than all that, was when I was paraded VIP style’y into the famous Paradise Garage night club. Moments after being introduced to the legendary DJ, Larry Levan, he played the track - and as if that wasn’t special enough, right on the track’s intro - MY PRO ONE BASS LINE SOUNDED ABSOLUTELY MASSIVE ON THE PARADISE GARAGE SPEAKERS.
DAVID MORALES
“JOHN ROCCA WAS A HUGE PART OF MY EARLY DAYS OF DJING IN CLUBS IN THE 80’S. THERE WASN’T A CLUB IN NYC THAT WASN’T PLAYING HIS SONGS.”
@djdavidmorales David Morales
My amateurish, untrained Caledonian Road council flat fumbling’s, sounding like some sort of super heavy dream bass line. I can still remember exactly, the very exact second, where I was standing, staring at the floor, my Pro One bass line pounding through my chest, through my stomach, thudding in my head. Seriously, unbelievably, awesomely massive. I was so happy. It was “Made in London”, but somehow “Pure NY
First time I ever saw sasha in 1994, really big deal at the time. He was late (standard in those days) but main memory is dancing on the stage to some sort of instrumental version of back to my roots after 3am in a club with a 2am license. It was slightly out of town so they regularly got away with it. Great times
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