This saturday night see’s the return of a djing performance that went down as Legend in the city of Liverpool. Terrence Parker, he of detroit house, techno, disco….well just about everything fame comes back to a city that has been lay in wait.

The night sees the T-Funkshun boys perform with the man himself @ The New Picket, just around the corner from were we run Leaf. Over to Scott McGill with the details…

T-FUNKSHUN – THE DARK NIGHT RETURNS
(SPECIAL ONE-OFF EVENT)
TERRENCE PARKER (PMW/Detroit)

SCUZZ MCBOOB (t-funkshun/archive)
MARK FORSHAW (t-funkshun/outofboundssounds)

THE NEW PICKET
61 NEW BIRD STREET, OFF JAMAICA STREET, LIVERPOOL L1 0BW
11AM-5AM

Facebook Event - http://www.facebook.com/event.php?eid=285822153012
Skiddle Tickets - http://www.skiddle.com/events/11355114/

Detroit has been credited as one of the Soul Music capitals of the world, spawning legendary artists like The Four Tops, Marvin Gaye and Diana Ross just to name a few. Within the past decade Detroit’s Underground Music Movement has brought rise to new artists such as Derrick May, Juan Atkins, Carl Craig, Kevin Saunderson and a host of others. But unlike the aforesaid names, Terrence Parker has established himself as a producer, remixer and DJ of the classic sound of House Music, and is known as a pioneer of the Inspirational / Gospel House movement!

Terrence Parker has performed as a DJ in more than 100 cities throughout the world. Since 1988, he has released more than 100 recordings, and had top 20 hits with his songs “Love’s Got Me High”, “The Question” and albums like “Detroit After Dark” in the U.K. The Netherlands, Germany, and France. As one of the headliners for the 2004 Detroit Movement Festival (May 2004), TP (along with his friend & Detroit legend DJ Mo Reese) performed a stunning Tagteam DJ set on 4 turntables with 2 live vocalists for a crowd of over 100,000 people.

As part of the Detroit Historical Museum’s History of Techno International Exhibit, TP’s collective musical works and pioneering efforts have been recognized as a valuable contribution to Detroit’s music history, as well as the International History Dance Music. This exhibit is currently touring museums throughout the United States.

Between Scott and myself, we threw some questions his way. Here is what he had to say…

It’s only taken us 6 years to get you back after that wondrous party in the Masque! The best things come to those who wait. Looking forward to playing in Liverpool again?

Yes, I am very excited about returning to Liverpool after so many years!

Do you have a connection with the floors in the UK, or is the connection the same worldwide? I know you play Germany a lot so if so do things differ greatly?

One common ingredient in all the many places I’ve played is dance floor energy. There has to be positive energy and excitement on the dance floor for any event to be successful. My goal as a DJ is to provide the musical environment for that energy to flourish.

Being from Detroit, the city that gave the world techno, you were always tagged as some sort of an enigma being the first global house dj from Motown. Over the years since your pioneering footsteps the world has opened up it’s ears to a thriving scene of house producers a la Moodymann, Norm Talley, Kyle Hall, Keith Worthy, Theo Parrish, Rick Wilhite to name a few. Who is it that does it for you in the scene? Anyone special that we have to look forward to?

All the names you’ve mentioned are great. However the person I am most excited about is Kyle Hall. He is a young guy with promising talent! We played an event together last year and his set blew me away!!!

I asked Theo Parrish is there any kind of music you cant take something from and he said absolutely not – everything has an energy you can tap into. You echo this feeling?

I totally agree! There is always something positive that can be derived from any musical composition.

This is a question you have been asked many times I shouldn’t wonder but I think there are still a lot of people who still aren’t aware of the importance that the late Ken Collier had to this music. I know you are are a massive advocate of him, and like you I see Alan Oldham has just created a tribute EP to Ken, so it would appear many still do not know enough about him. Care to give us a quick insight and maybe a little of what he meant to you?

Ken Collier was the “godfather” of dance music in Detroit. He was legendary; known for his remixes of artists like Was Not Was. He was also a Dance Music Reporter for Billboard Magazine here in the USA. Each time I received a white label/promo copy for one of my releases I would bring it to Ken for his advice. Ken would give me great advice which helped me make better records.

And what parts of the world have you played that were an eye opener?

I would have to say DJing in countries like Japan, Russia, Germany, UK, and France have been the most eye opening experiences for me.

You have been djing for over 20 years, throughout the supposed rise and fall of house music, techno, et al. How do you manage to keep things fresh your own way?

Actually I have been DJing closer to 30 years now. I keep things fresh simply by doing my own thing yet embracing technology

To me things don’t change much, just the words that describe them. All these new scenes like dubstep, future-disco have been here before here before. I mean minimal house/techno was here along time ago, just Rob Hood was too busy making it, to name it. Do you feel you have to keep an eye on these media-driven fads to see which way the scene shifts, or do you tend to ignore them?

I am aware of the various genres but I don’t get caught up in the hype surrounding them because in the many years I’ve been DJing I’ve seen them come and I’ve seen them go. I simply stay true to what I feel is good music.

When I was fortunate enough to be at Movement 08, I was talking to Dwayne Jensen about your dj cohort Mo’Reese. Care to tell us a bit about him as he is another name we do not hear outside of the ‘D’?

DJ Mo Reese is a good friend of mine who I’ve known for many years. He is a very good DJ who now has established his own label called Mo House Records. He has been DJing 20+ years and is a well seasoned DJ.

Finally, a little over a week to go, what should the T-funkateers expect from TP?

Good music! Positive vibes! Lots of love!

Click here to view the embedded video.

Amen to that.

Below is a mix Scott passed to me to host on Cosmic Boogie. Stream it, download it, or just come and see the man do it for real this weekend. Makes sense.

Following on with the cut down versions of the amazing Red Bull Music Academy videos for the countdown to the event kicking off in London this year, here is the American/Sheffield disco house legend that is Maurice Fulton. We had him up to play archive last year and he was amazing, as ever. In this video you see the mans thought process laid out on the table as he lays down a groove. Useful, and fascinating.

The academy kicks off in February, and so far the pick of the events is this bad boy. How good does that sound?

I wish I could skate.

Not very often do I post about other events on here, things usually get enough coverage on the web to last a lifetime. However, I think an exception can be made with The Red Bull Music Academy. This year the event takes place in London between the 7th of Feb and the 12th of March, and I would assume that just like everyone else reading this, I am kicking myself for not even trying to apply for it.

Over the next few weeks im going to link up to a series of shortened interviews from the many legends who have graced the academy in the past, all with a disco edge (of course), and also some cool radio shows and event news…

For now, take it away DJ Harvey…

Click here to view the embedded video.

Cool in the Pool is a cool website. It says so in the title, and it backs it up in the content. I was lucky enough to do a mix for Cool in the Pool and an interview a few weeks ago, and, as Its been up for a little while I thought I would link to it from here. The mix was a more uptempo affair than usual, on purpouse. I try to play as many different things as i can (as many different things as I like), however, don’t expect a genre mish-mash of everything going just the usual groove based affair.

You can find the full mix and interview here. Thanks goes to Len for the opportunity.

Full Tracklisting

Gaz Nevada / I.C. Love Affair
The Emperor Machine / Kananana
Tensnake / Holding Back My Love
Candi Statton / Listen… (Allenby Chilton Edit)
Do It / Out In The Sticks
The Popular Peoples Front / Cellophane Lover
Brooklyn Express / Change Position 88
Dorothys Fortress / Milo’s Revenge
DT Edit / Make Em Move
Feels Good (You Got The Love) (Cosmic Boogie goes to New Brighton Edit)
International Music Machine / Run Away
MikeBurns / Galaktattakk

Disco Deviance is a label synonymous with the party atmosphere currently sweeping the land. Now on its 9th release, and going strong, its a label that’s gaining a worldwide fanbase. Dicky Trisco, DD head honcho, kindly supplied a really good underground disco mix for the site, along with answering a number of extremely taxing questions. You can find the mix ready to be played (or downloaded) at the very bottom of this post (along with tracklisting), and you can find the interview…directly below.

Thanks for your time, DT…

Q. Disco Deviance is on its 9th release now and going strong – how did Disco Deviance originally come about?

Yes things are going well with Disco Deviance. The response has been amazing. And hopefully the series has taken this disco sound to a whole new younger audience, as well as giving the discoheads some hot new versions to play.

The label came about for a number of reasons really. Mainly it happened because about 5 years ago, I had grown tired of the direction house music was headed in, and I got right back into the disco and electrofunk sound I had loved as a kid. That was what I wanted to DJ and it inspired the music we were producing at the time, especially the Boogie Corporation stuff I was doing with my mate Calum. Things had come full circle really because it was that disco and electrofunk sound had inspired me to get into dance music in the first place and then the whole Acid House thing took off.

I was also frustrated with DJ sets that sounded the same all the way through and with dance music getting stuck in more and more specialised sub-genres. So I just wanted to play music because it was good again, whatever style it may be, which is kind of where the disco scene with pioneers like Larry Levan, David Mancuso, Tee Scott and Nicky Siano set out from in the first place.

Then I met Greg Wilson. The timing couldn’t have been better. Even though I had been playing at an eclectic disco night in Glasgow for a year or so anyway leading up to that, it was still a revelation for me. When I heard him play it was just like wow now that is DJing and that is the way I want to play music from now on. And to see such a positive reaction from the crowd was well just amazing. So he was a big influence on me and from then on and that vibe spread from the DJing into wanting to do edits and start an imprint to release that kind of sound.

Q. Are you riding high on the current disco resurgence?

Well the disco scene isn’t a massive scene really, that’s what I like about it. Ideally I like 300 people in a nice basement club who are really into the music and want to dance. But disco is certainly popular at the moment. You can see that from looking at the bestsellers charts on websites like Juno these days where people like Greg and Todd Terje, and labels like Disco Deviance and Mindless Boogie are outselling house, techno and minimal.

With the Disco Deviance releases we try very hard to keep up the standards and aren’t interested in just knocking stuff out. With each release we try to make it as difficult as possible for DJs to choose which side they want to play first. It’s all about the music and the sound of our records. And as long as we continue to find tracks we think we can release worthwhile new versions of and the response and feedback is as good as it has been, then we are happy to continue doing just that.

Q. Do you have a particular vibe that you try to stick with on the label, or is it anything goes disco?

We like the music to be good. Irresistably good. We want DJs to be desperate to play the new releases and for the records to sound amazing when played off the vinyl so that you can actually feel a reaction instantly on the dance floor. That’s the vibe we are after. So as long as release or a track has that feeling in our opinion then we will go with it.

The first release on Disco Deviance by Greg really set the standard for what was to come. One side was an amazing edit of DC La Rue which was just pure disco boogie, and then on the flip was an incredible edit of Psychokiller which just blew everyone away. Discoheads like Ashley Beedle, Prins Thomas and Pete Herbert were playing the A side and DJs like Andrew Weatherall and Optimo were all over the flip. Perfect combination. And since then that eclectic vibe has continued. Some call it a ‘Balearic’ anything goes approach, and I am happy to go with that definition, but that’s probably because I am desperate for a bloody holiday in the sun!!!

Q. What artists are part of the Disco Deviance stable?

At the moment on the label we are developing a healthy blend of more established editors like Greg Wilson, Ashley Beedle, Pete Herbert, BC etc mixed up with plenty of new faces to the disco scene like Out in the Sticks and Situation who are producing some amazing material that is getting a lot of attention.

Q. And future releases?

Well we are coming up to our 10th release so we have decided to mark the occasion by going back to our roots. So Greg Wilson has put together two wonderful new edits which we will be releasing in September. After that we have releases coming up by Reverso 68, Social Disco Club, Situation, Andrew Allsgood and a certain Cosmic Boogie which are all wicked. We are very lucky with the quality of the stuff we get sent and the people we work with.

Q. Do you run club nights as Disco Deviance, or is it strictly the label imprint?

We started out as a club night, with Greg and I playing the kind of sound we loved on a one-off kind of basis. And I suppose the imprint developed out of that. I still play with Greg at our Autodisco night which has become my main focus on the club front now. But I am about to head out to Australia in the Autumn for a Disco Deviance tour which I’m really looking forward to. And there are also plans in the pipeline for a tour of Canada and the US as well. So we are getting plenty of opportunities to spread the Disco Deviance sound. And of course Greg does a top job for the scene as a whole and seems to be a on a constant world tour at the moment spreading the disco love.

Q. What about the scene in general – opinion is split on the whole edit thing – what are your thoughts?

Yes you are right. There is a lot of anti-edit vibes kicking about, which is understandable. I think in my experience that happens when any scene grows and gets more successful. More people get into it, more releases get put out every week, more nights appear and some of the quality control drops and people start getting sick of it. Human nature really. But the good thing is that in the meantime a lot of people are coming into contact with some wonderful music. Many of them will just pass through and move on, but for some it will have a big effect upon them. I get emails all the time from people saying they have had near religious-like experiences hearing this or that DJ playing this ‘disco’ sound one night and that it just switched them onto the music and now they want more.

But on the negative side of things, I suppose the focus on edits is probably having some negative impact on the production of new dance music. People can’t keep looking backwards and just keep on reworking things. But then again it is also producing some great new producers like The Revenge who do original stuff as well and imprints like Bear Funk, Tirk and DC who are responding to the wider interest in disco influenced sounds and are making great original music.

So in the end I think people should approach it with well if it’s good then it’s good, and if it’s bad then just don’t buy it. But DJs have always made their own versions of tracks for playing out and that work on the dance floor. And that is a tradition I am fascinated by and happy to be part of.

Q. And is this vibe going to keep growing?

Good music will never die and people will keep on re-inventing things to keep things they love alive. And especially now as the technology is there to make it even easier to do just that. But quality is the thing people have to keep in the back of their minds. Just because something can be done doesn’t mean it is worth doing…

Q. About this mix – its fantastic, a real good mix of disco and old school vibes, yet feels super fresh…

Well the idea behind the mix is the same idea that is behind everything we do with Disco Deviance. Play it if it is good, try and get it all to sit together nicely and then go with it. I love DJs like Greg and the Optimo guys who take tracks you think you know and then put them in new Situations that make them seem fresh and exciting again. That idea has had a big influence on how I approach what I play. In terms of some of the tracks I play now as well I think the whole ‘dance music’ scene has now come of age which in many ways has not been a pleasant experience as it has to struggle with not being the latest fad etc But the good thing about it is that now we can start revisiting some of the trax that were massive for us during that time and they can stand or fall as ‘music’ and as ‘classic trax’ on their own. So for example in this mix The Orb track or the Blue Boy track sit alongside tracks by Stevie Wonder, Orange Juice, Rufus & Chaka Khan and the Happy Mondays…it’s a level playing field and it’s all just music now.

In fact when we were playing for Rizla recently at Rockness there was a sound engineer who was brilliant and he was getting right into our set and during it he tapped me on the shoulder and said ‘So what do you call this kind of sound?’. And I said we called it ‘disco’ and he looked confused. And I know what he meant. It’s much more than that..which is why the term ‘Balearic’ gets used cause it is more about an approach to playing than about any particular sound. In fact there was a comment on DJ History lately that summed it all up perfectly. I think it was by Bill Brewster who responded to someone who said that there wasn’t enough ‘disco’ at one of their nights by saying they were not a ‘disco night’ they were a ‘music night’. I think that is a great way to put it.

Full Tracklisting

(nb: the mix is a 320 mp3 as its been mastered, and I didnt want the quality to be lost too much. Its a longer download, or heavier stream, but worth it)

Rappers Delight (Harri Edit)
Pushin On (Situation Edit) / Disco Deviance
Gotta Keep Workin’ It (GW Mash) / Reactivate
Rip It Dub (Dicky Trisco Edit) / Disco Deviance
6th Borough Project / Do It 2 The Max
Stevie Wonder / Superstition ( Todd Terje Edit)
Give Me The Sunshine (Social Disco Club Edit)
Rufus & Chaka Khan / Ain’t Nobody (Frankie Knuckles Hallucinogenic Dub)
Sonic Assassins / Fumble In The Bungle
We Love Leon / Tribute
Disco Easy (Situation Edit)
We Love Mondays / Tribute
BBG / Snappiness
Blue Boy / Remember Me
The Orb / Little Fluffy Clouds (Pal Joey’s Cumulo Nimbus  Mix)

Last week (last Thursday to be precise), I was asked to do a mix and interview for the Tropical Space Machine show on deep frequency radio. The initial part of the show (the first hour and half) was a mix from Johnny Chingas, and is a fantastic laid back mix of old and new sounds in super slo mo style. Then, straight after, there is a short interview with me and a very Cosmic Boogie flavored mix. You can catch the whole show in the archives here on Deep Frequency:

http://deepfrequency.com/archives.php?selectdate=2009-07-16

Just in case that dissapears, here is the mix I did for the show seperately – as soon as I can get the full show for archive I will put it up here. Tracklisting is provided…

Full Tracklisting

Interspace  / Droids (with War Of The Worlds Intro)
Space Machine (Cosmic Boogies 9000 edit) / The Undisputed Truth
Don’t Tell Me, Tell Her / Odyssey
Aint Got Time Fo’ Nothin / The Futures
Ooh Child (Cosmic Boogies Extend Yourself edit) / Charles Jackson
Strawberry Letter 23 / The Brothers Johnson
I Don’t Know If I Can Make It / Dawson Smith
Everything Is OK (Ashley Beedle’s Love Boogie Edit) / Al Green
It’s Critical / Billy Paul
Say Blow By Blow Backwards / Fred Wesley and The Horny Horns
Do Your Dance / Rose Royce
The Users / Johnnie Taylor
Railroad Man (Ashley Beedle’s Soul Train Edit) / Bill Withers

If you haven’t already heard the excellent Out In The Sticks edits, then you really should. Most people would question what you could do to a track like Forget Me Not (apart from Will Smith clearly), but listen – and you shall see. I’m a big fan, Greg is a big fan, in fact everyone who has heard them is a fan. The other stuff I have heard that they are sitting on is also dancefloor killer. Out In The Sticks might be out of town, but they certainly aren’t out of touch (ooph!).

I got in contact with them a few weeks back, through the splendid Disco Deviance chaps, and have for your entertainment been sent back the answers to some questions, and a mix so unbelievably good it actually sounds like an hour and a half edit. Spot the joins if you can. Download or stream it with the links right after the interview. I’d like to thank the lads for taking the time out from going to the beach, sitting around playing pool, and looking at dangerous wildlife in their back gardens.

Out In The Sticks Interview

Q. Your name “out in the sticks” is reference to you being out in Australia. Are you from Australia originally?

“Out in the Sticks” is one of the many names we go under….  it refers to our location in Australia.  It is a bit of a private joke between friends for our proximity to the big smoke!   There are two main members of OITS but we like to keep quite about our identities a secret!

Q. Did you have any background with music before you got there, or has this just been a hobby?

Yeah we have all been huge music fans from early ages, playing various instruments and experimenting with pieces of studio equipment etc…  One of us is a DJ and has been for fifteen years overseas and in Australia.

Q. What kind of disco scene do you have out there?

The music scene is Australia is very good.  We have a lot of very talented producers that are doing really well now overseas and have some great parties playing everything you can hear in the UK.

Q. Did this scene push you down the path you find  yourself on now?

The scene is great here.  The only thing that frustrates us is getting an international DJ over here takes a lot of organising.  In UK you can have a heap of awesome talent on the one bill where as here it is a bit more sporadic.

Q. Did you expect your edits to be picked up and released or was it something just for you?

Initially they were just DJ tools for myself to DJ and they started to get good reactions.  I put some up on the internet and got some amazing feedback from a whole list of people we look up to.  It really blew us away!

Q. I know Greg absolutely loves the track – how much did you know  about Greg before he picked up on it?

We knew Greg from his legacy but for him to pick up on the edits and give them the support he did – we can’t thank him enough!

Q. What do you use to edit the tracks?

We use Ableton and then Logic and a bit of TLC.

Q. And the music…how much does it mean to repaint these classic  tracks?

We love the originals and just wanted to give them a little touch up and hair cut to make them more effective on todays dancefloors.

Q. Whats next? Are we expecting an Out in the Sticks party out there…?

Yeah that would be nice hey?!!  Well, I think a record of our own would be an idea we would like to see come to light, lots more tracks and remixes and definitely some sort of ‘live” show – if we ever make it in to the big smoke!  Hopefully some more DJ gigs.

Q. Finally, who will win the Premiership this season?

In an ideal world – Leeds United!

DD08 / Out In The Sticks Edits

Disco Deviance has uncovered yet another amazing unknown talent for number eight in the series. Out in the Sticks (as the name suggests) have come from out of nowhere to deliver two absolute disco gems of the highest quality on this their debut release. With their dubbed out disco sound and trademark heavy space echo delays, these are two seriously good dance floor cuts. First up is ‘Forget Me Vox’ which is a killer reworking of Patrice Rushen’s ‘Forget Me Nots’. This cut has featured heavily in Greg Wilson’s sets for over a year now and it teases out a top quality new version of this absolute classic track by working the break sections and finally letting loose on the vocal for pure Disco Heaven. On the flip side, a lesser known disco gem by Game is recycled into yet another heavy dance floor groove with absolutely maximum impact. Re-mastered and cut loud onto the vinyl for peak time pleasure, Out in the Sticks announce their arrival on the edits scene with some style.

Enjoy the music!

DJ Play: Greg Wilson, Laurent Garnier, Ashley Beedle, Optimo, The Revenge, Gerd Janson, Faze Action, Pete Herbert, Harri, Marius Vaareid, Dicky Trisco, Ilija Rudman, Ladydriver, Social Disco Club, Cosmic Boogie.

Out In The Sticks Mix

Really, I should call this a megamix. You could spend hours playing spot the track just like I did the first few times I listened to it, or, you can just peruse the tracklist below and see if you can fill in any gaps. A superb infusion of all the elements of disco…

Tracklisting

Intro
OITS / Bangkok Detroit Experience
Mike Grant Accapella
OITS / In the Dark
Touch Sensitive / Body Stop
OITS / Untitled edit
Move D loop
Rene and Angela / Who’s Fooling Who?
Swag / Music Box (remix)
Carol Williams / No One Can Do It Like You Do (Shep Pettibone remix) (OITS edit)
Lil Louis Accapella
Annie / Greatest Hits
Natural Rhythm / Jive (Attaboy remix)
Illija Rudman / Dance Disorder (Faze Action remix)
D-Train / You’re the one (OITS Edit)
Scoper and Bubba / Untitled
6th Borough -/ Hang On
Mach / On and On
Popular Peoples Front / My Baby Stays Out All Night
Master Jay and Michael Dee / TSOB
Situation / Pushing On
Kid Sublime / FX
Master Jay and Michael Dee / TSOB
Chic / Good Times (OITS Edit)
Tuxedo Rapping
OITS / My Super Lady (Beats)
OITS / Untitled Edit
OITS / My Super Lady
OITS / Forget M’edit
The Sermon accapella
Modern Romance / Can You Move
OITS / Do It
Lace / Can’t Play Around
Don Ray loop
Konk beats
K-9 Corp / Dog Talk
“Get Down Tonight” (OITS edit)
Jamie Principle / Baby Wants to Ride
Joe Claussell / Je Ka Jo
Unknown Beats
Raven Maize / Forever Together NYC edit
Todd Terry / The Feeling
Runaway / Just Got Paid
Dj Pierre
Situation / Get On Up

Theo took some time out to answer some questions we sent him on e-mail for the upcoming archive night in Liverpool. I wont bang on myself, just let the man do the talking…

Q. You play regularly in the UK – is that because the UK understands your sound, or you understand the UK?

Sometimes there’s understanding, sometimes not, you never know. Its not a conscious strategy…

Q. Does the sound you produce get shaped by the places you go to?

It Depends on how those folks at that particular party reacted and whether that reaction is inspirational to me…and if I can get In the studio when I get Home.

Q. You won an award from Giles Peterson for your Sound Sculptures album – does this, or any recognition, change the way you approach making music?

Its tempting to let it change my approach, but that stance can easily stagnate your output, which I definitely avoid.

Q. We love the Ugly Edits – how did they come about?

Fun. at the time I was bored with what i was hearing at the stores.Wanted to make something fun, but something quirky , weird, and in low volume. never anticipated the reaction, however.

Q. Are there too many edits at the moment, and not enough original ideas?

I’d say there arent enough original edit Ideas. AND not enough original ideas.

Q. Your variety of influences is difficult to find in many people, did this help or hinder you with production? Did everyone get what you were trying to do?

My Influences cant be tracked clearly enough to make it as binary as ‘help or hinder’ in terms of my creative output, and, no everyone doesn’t get what I was trying to do, or what I am doing now.. luckily there are more people that get it, though…..

Q. Is there any form of music that you can’t take anything from at all?

Absolutely not. All musical forms have potential in some area or another, be it production value, content, energy, or attitude.

Q. How important is it to play a long set and shape the whole vibe of a night?

Long set, short set, there are only preferences for that musical provider. Personally, I tend to enjoy longer sets, because there’s more time to live with those people that showed up, and perhaps tell them a story or two.

Q. You can bring one person back to perform with. Who is it?

There are far too many to bring back. But I would put Jimi Hendrix on lead guitar,with Eddie Hazel. Bob Marley on backup guitar and vocals, Ella Fitzgerald on main Vox, with Phyllis Hyman on Backup Vox, with AAliyah, Miles Davis on Trumpet1, Dizzy Gillespie on trumpet 2, John Coltrane on Sax, Art Tatum on lead keys, Johnny Hammond on second keys, Art Blakey on drums, Jaco Pastorius & James Jamerson on Bass, with Duke Ellington & James brown directing and writing for them, but when they went in the studio, JD would produce them.

Q. Liverpool play Man United in the European cup final. Who wins?

The Detroit Pistons

Whilst we are certain it would be Liverpool, we would, of course, like to thank Theo for taking time to answer. You can find out more about the archive night by reading the post about it, listening to the promo mix, or joining the facebook group.