A fascinating and in depth look at radio through the eyes of some of the world’s finest presenters. Here DJ Paulette travels the globe speaking to some of our friends of the airwaves including grandmaster Greg Wilson, Rinse FM’s Luke Howard and Josey Rebelle, Coco Cole from Capital XTRA, Sophie Callis of Soho Radio fame, the legendary Marcia Carr from Mi-Soul, Jo Jo from Capital FM and Ibiza Sonica’s Andy Wilson. All of whom who prove the point and agree with our girl wonder that…YOU DON’T HAVE TO BE A PRODUCER WITH A TRACK IN THE BEATPORT TOP 10 TO BE A RELEVANT AND WORKING DJ. Enjoy the read…
Radio Daze with DJ Paulette…
RADIO STATION : VIRGIN RADIO (FRANCE)
FREQUENCY : 103.5FM (FRANCE)
ONLINE: http://www.virginradio.fr
MIXCLOUD: WWW.MIXCLOUD.COM/DJPAULETTE
RADIO SHOW: PAULETTE GOES BANG – DJ SAVE MY NIGHT SLOT, EVERY SATURDAY NIGHT FROM MIDNIGHT TIL 01 AND REPEAT 3-4
CORE AUDIENCE : 25-35 – POP, ROCK, NU HOUSE, DEEP HOUSE, ALTERNATIVE DANCE – PLAYLIST AND FREE CHOICE
Radio has played a central part in my musical life for practically as long as I can recall having memories. I remember bawling along to the radio as a toddler…I was half crying, half singing along and in the process realised that what was going on in that magical music box was way more interesting without my tearful harmonies. The radio became my friend. When I was 10 my elder sisters entrusted me and my twin sister Paula with the mission of catching and taping the records they liked off the radio whilst they were out. Home taping on a stack of TDK C60/ C90/ AD and SA90s soon became second nature to us and the library of my family’s diverse and refined music tastes grew. By the time I was 14 my sisters had become staunch fans and followers of Mike Shaft’s weekly TCOB (Taking Care Of Business) soul and funk show on Piccadilly Radio 261. Mike Shaft was a regional radio legend (he was also a cool dude with an American drawl who just happened to be my brother Robert’s DJ partner and best friend).
Through Mike’s show (and club nights) me and my family began to follow two DJs called Hewan Clarke and Greg Wilson – both of whom had similarly cutting edge music tastes. They played hard to find promos and imported jazz, jazz funk, funk, disco and electro music from all over the world – but mainly American. Whilst the John Peel and Annie Nightingale shows satisfied my rock, New Romantic and post-punk tastes, my twin Paula had started buying huge ‘ghetto blasters’ and ‘boom boxes’ with integrated tape decks and she occasionally made me hi-speed copies of her coveted Greg Wilson tapes. I was enraptured. Greg did his own re-edits which changed the structure of the original 12” records. Greg’s style made me curious about DJing and Annie’s style made me curious about serious music broadcasting.
At 18 I applied to Piccadilly Radio for a roving Junior Reporter’s job on a new Saturday morning magazine show called Saturday Express. I got the job and spent a year or so working alongside a very young Chris Evans and Becky Want responsible for human interest strands, celebrity interviews (Martin Fry from ABC was one of my first), theatre, cinema and concert reviews and listings recaps. I was hooked. I even worked in the Piccadilly record library to fund my radio obsession, but didn’t last long there. Then in the 90s I was chosen to co-present the first Gay Radio magazine programme on Radio 1 ‘Loud and Proud’ with Boy George. I loved working in radio studios, producing the content, doing interviews and connecting with the public.
I moved to London in 1994 with big radio dreams but Simon Sadler – the then head of music for Kiss who went on to Radio 1 and The Box – told me that I would never work in radio in London because of my Manchester accent. I voice tested for Radio 1 too and failed. Since then I have recorded a hallowed Essential Mix, done regular guest spots on Kiss and Radio1, have hosted a weekly online / digital show with Ministry of Sound radio and have hopped across the pond to do long running mixshows on the French radio stations FG and now Virgin Radio. It’s an obsession that has overcome various challenges (radio shows and fat paychecks aren’t synonymous terms) and has seen many technological transformations. I still have a crazy, mad love for radio that endures even after all.
I took a two week sabbatical from my weekly talk-free mixshow to explore the importance of radio to us in 2015, spending time with some cutting edge new presenters in London, Leeds and Ibiza who unquestionably bear the standard for radio in their given fields today.
My first stop was Coco Cole at Capital Xtra…
Coco Cole
RADIO STATION – CAPITAL XTRA PART OF CAPITAL (DANCE. URBAN. UK)
FREQUENCY 95 – 106 FM
ONLINE CAPITALXTRA.COM (LONDON / UK)
SOUNDCLOUD: https://soundcloud.com/cococole/sets/guest-mixes-for-capital-xtra
RADIO SHOW: MONDAY TO THURSDAY FROM 3AM – 7AM,
3-4AM SPECIALIST SHOW WITH HUGE GUEST MIXES AND 4-7 DANCE AND URBAN.
EVERY FRIDAY FROM 4PM – 7PM CLUBBERS GUIDE WITH MINISTRY OF SOUND
CORE AUDIENCE 25-35
It’s a rainy Friday in good old London Town. The Global Group building – home to Capital Radio and ten other stations can currently be found sheltering In the wings of the largest ‘Spectre’ poster hoarding in the heart of Leicester Square. Even with today’s efficiency of British Airways, the DLR and TFL and despite a little touristic time-wasting and a leisurely China Town lunch, I am still a good hour early for our meet but Coco Cole greets me warmly in the reception when she arrives. She is un-rattled, friendly, instinctively maternal and asks if I want a tea or coffee, asks if I’m comfortable, settled and if I need anything, then shows me to the work / lounge area before disappearing upstairs to prepare.
10 minutes before the show starts, she returns to collect me, buzzing with pre-show adrenalin, armed with a script with links for the show segments and links to pre-record ‘as live’ for the new Capital Xtra application whilst juggling a coffee, her rucksack and her laptop. She plugs in to the desk, delivers her intro, is unphazed when the keyboard goes on a key strike lockdown, calls the IT department for another keyboard, sets the studio lighting to a softer blue hue and then switches to her full force, power personality for the next link of her show. The studio is filled with the latest DJ and studio equipment and banks of TVs strobing music video clips on looped, muted play. Coco’s delivery is every bit as slick and polished. She is knowledgeable about music and her listeners and delivers it all in an upbeat tone with dry, humourous banter, punctuated with urban buzz phrases like ‘it’s a beast’. Throughout the show Coco checks the socials for dedications, live tweets replies and Buzzfeed gifs and shout-outs her way through three hours of rapid fire programming. She is relieved that she is not doing a mix today she is alone in the studio. Of this she says: “working in a bar trained me well for this”…
You’ve recently been nominated for Best Radio Show in the DJ Mag Best Of British Awards but what was your first life memory of anything to do with radio?
When I was about 15 listening to Radio1 on a Friday night. I always loved it and would get so excited that I’d scream at the radio.
How and when did you get your show on this station? Was it planned or a happy accident?
I suppose my radio history started with work experience at local radio stations in Rugby and in Wolverhampton with Beacon FM. My work experience was three days placement sitting in on the Breakfast Show. I took a 2½ hour train journey just to get there but I loved it. Next I did placement at Heart FM. Then I went away to University and gained the most valuable experience working for University Radio York. It was there that I had my own show and got into playing more specialist stuff. Once I finished my degree I did an internship with Civil Music as their Promotions Manager. Almost as soon as I started that job I was offered another job working part time for the new label, Black Butter Records. I left home, travelled up to London and took the job. Luckily it turned into a full time job within two weeks. I did promo, bookings, label management and through this met all the upcoming producers. Then I got a manager and I started doing voice overs for the BBC – for Annie Mac, Pete Tong – big shows. I did a pilot for the BBC but I knew I wasn’t big enough for Radio 1. Then I got three requests from Capital to pilot a show. I’m glad I finally accepted as I’ve joined a great team and I got their immediate respect.
Tell me about your show – how long has it been going and what’s your motivation?
I’m really serious about what I do and I want to make great radio. I’ve had the show for two years now and it’s still evolving. I like to play a variety of music every week. I don’t play EDM on the show but I’m open to playing tracks across the genres. This week’s playlist includes Matrix’s ‘Happy Alone, The Disciples ‘APE’ on Calvin Harris’ Fly Eye label, the Clean Bandit remix of Jack U and Aluna George ‘To U’, Mike Wooller’s remix of Blinky ‘Don’t Give Up On Love’ (which he whatsapp’s her to tell her that it gains 100 ‘identify’ clicks on Shazam during the play) Tom Zanetti’s ‘Darlin’, Format B’s ‘Chunky’, Aprés & Andrea Martin ‘I Know this Ain’t Love’, Tiesto and Oliver Heldens’ ‘Wombass’ and a High Contrast drum and bass reworking of Adele’s ‘Hello’ – the spectrum of urban and UK sounds is fully represented.
Are you a DJ too? What style do you play? Does your club style differ from your radio style? If so, why?
Yes I am a DJ. It’s a tough call when you do so much radio (Coco is on air 6 days per week) knowing which is working the best in the clubs so I pay particular attention to the journey of a set. I try to keep it party, am not afraid to throw in some more well known tunes if needed but whatever I play I try to keep it ‘all killer, no filler’. My DJ set is closer to the late night specialist shows that I do – deep / tech house. I get a lot of freedom on the radio though and I also get a lot of exclusives from new and upcoming producers that give the show an edge.
In a world of streaming and talk free radio – why is talk radio important to you? And why do you think radio is so important for people in general?
I think that it creates a sort of family with the team working on the show and that extends to the people listening. I’m passionate about the people / producers that I support on the show and about music in general. Talk radio is the best way to get that across to the listeners.
Is London town the best place for radio in the world?
Yes. It’s in our heritage.
Where do you see your career in three years time?
‘Say Yes’ is my life motto. I love working with the team here at Capital so of course I’m going to make even better radio. I will continue making contacts through my radio show and DJing. Then I want to build an empire starting with A&R-ing and managing my record label ‘Say Yes’, then with club residencies and club nights. The digital only ‘Say Yes: Volume 2’ compilation featuring my new found talents Barber, Timanti, Ireen Amnes and BOY is coming out at the end of November and the label / launch party is at HUB 16, Stoke Newington on Saturday November 28th. In February I did a Point Blank online course in Ableton Music Production – it’s the best £700 I’ve spent this year. Now I am starting to find my production sound using Ableton and various software / plug ins. I have a lot going on.
And do you have a message for anyone who wants to get into radio?
I survive on booze and caffeine. Be prepared to work your ass off.
Sophie Callis
RADIO SHOW : CALLIS IN WONDERLAND, EVERY SATURDAY FROM 9PM – 11
RADIO STATION : SOHO RADIO LONDON
FREQUENCY : INTERNET
ONLINE www.sohoradiolondon.com
MIXCLOUD : SOHORADIO
LISTENBACK https://www.mixcloud.com/sophiecallis/
YOUR CORE AUDIENCE : GEEKS
This week Sophie has booked me as a guest on her Callis In Wonderland radio show. Thing is, we talk so much in the car on the way over there that I know the interview thing is going to be ‘out there’ and not really an interview at all. When we get to the studio there is a problem with Serrato – one deck won’t fire. Even though there are some big tunes locked in that computer, Sophie is calm like a zen master. She has a yellow usb stick filled with musical sunshine and we will do the show as two girls hanging out, playing ping pong with their favourite records. The show is great fun – we get away with murder…
https://www.mixcloud.com/sohoradio/callis-in-wonderland-14112015/
First life memory of anything to do with radio :
Playing with a handed down dual stereo cassette boombox from my big brother and discovering pirate radio frequencies for the first time.
Memory of any radio show or presenter that influenced you in the past and made you think – I want to do that.
Kenny Hawkes (RIP) and Huckleberry Finn – Girls FM 106.6
How and when did you get your show on this station? Was it planned or a happy accident?
I’ve presented on many radio stations over the years, many respected pirates and guested on a variety of specialist music shows. Soho Radio is in a league of its own. The vibe, energy, people, concept is something that Soho/central London has been crying out for. This coffee shop/radio station features some of the most highly respected presenters, original homegrown roots DJs who have paved the path for so many of us. I fell in love with the concept and the people – guested on a show, and then got offered my own.
Tell me about your show – how long has it been going – what’s your motivation?
Music is my motivation. The show is never really planned unless I have a guest, then I have more of an idea of what direction It will flow. I’m a lover of TOO MANY different styles of music. I’ve spent 20 years digging in crates and often fall into an online music vortex. The listeners and I never really know what’s going to happen…I see the show as a 2 hour weekly window for me to share my passion, promote the people who create sounds that make my spirit skip, or on the reverse make me bawl my eyes out. That’s music, it’s emotion and a universal healer. All our ears are very unique, I know what I like, ‘n’ what I like is shit hot. Might sound arrogant, but it’s the truth.
Are you a DJ too? What style? Does you club style differ from your radio style? If so, why?
I am a DJ too yes. Sometimes club style will differ from radio style. With radio, I could simply beat mix tunes for two hours, but I can do that in my studio and upload to Mix/Soundcloud anytime. This is why I like to use the radio time to bring in guests, pull out some alternative sounds that might not work at 2am on a dancefloor…but then again…who knows, as the DJ you’re the one in control. A lot of it is about reading/feeling the room and hoping for a musically open/responsive crowd.
In a world of streaming and talk free radio – why is talk radio important to you? And why do you think radio is so important for people in general?
Talk radio is important because no matter what topic is being aired, it can help/encourage people to listen and maybe hear/see things from different perspectives. Everyone has a voice now with social media madness, but to actually hear someone’s voice, that’s powerful. I personally feel more connected to hearing a conversation than staring at trails of dialogue on a phone/computer screen. Radio fits into everyday life. We don’t all have time to watch TV and a lot of us don’t like it anyway. You can listen to your favorite music/talk shows from anywhere in the world, in the car, on the bus, in the kitchen, bath, garden, it’s a trusted companion and there is now so much choice and so much to discover. Radio leaves something to the imagination, it will transport you into many dimensions in a way that no other medium out there can. Radio has also helped to build my own confidence. For many years I hid behind the decks and the mic.
Is London town the best place for radio in the world?
London Town is the best place in the world full stop! Lol. I think over the years a lot of movements and creativity has emerged out of the hub that is London Town. Today I’d say as far as radio is concerned there is a lot of strong competition out there worldwide.
Where do you see your radio career in three years time?
Oh boy! I’m struggling with the year ahead plan let alone the 3 year plan. Having a music passion is never ending. For the rest of my life I’ll always have something to discover and share, albeit on air or on a dance floor or festival field. Over the years I have worked and continue to work with some incredible people on a variety of music related projects. The plan is to continue working with likeminded music folk worldwide, to grow and inspire as a radio presenter and remain true to the music that drives me. I like having the freedom to work with different people on music based projects, you never know where the road will take you, but it’s the not knowing that makes the surprises and rewards even more special.
Message to anyone who wants to get into radio?
Do your research, believe in yourself, network your ass off, know why you want to do it, be charming and remember although it’s nice to be important, it’s more important to be nice.
Luke Howard
RADIO STATION : RINSE FM
FREQUENCY : 106.8FM LONDON
ONLINE : www.rinse.fm
RADIO SHOW : HORSEMEAT DISCO – SUNDAYS WEEKLY 13-15
I am supposed to meet Luke at the Bagel Shop on Brick Lane but am hemmed in by ‘Shadow Marchers’ who are dressed in black and protesting plans for a forest of skyscrapers in Bishopsgate Goods Rail Terminal, Shoreditch and Spitalfields. Together with the Shoreditch Sunday shoppers this means I am….a) taxi abandoned b) late c) nowhere near meet point. We meet outside 93 Feet East and head to the Rinse FM studios together which is located in an old brick factory inside the 93 Feet East courtyard. In the process of being redecorated inside, this is a medium sized, well equipped studio. As he prepares his records, Luke introduces me to Josey Rebelle (who is finishing her show with Greg Wilson guesting.) I sneak a look at Luke’s selection and see that it’s an educational journey – with regular stops of vinyl envy I nick it when his back is turned. Luke plays strictly vinyl for the show – gospel, disco and funk classics and some cool rarities. This is not a show impeded by playlist restraints – no specialist shows on Rinse FM have to play any playlist tracks. There is one producer on hand to help out in the studio – Jack Jacobs – but Luke handles the decks and the equipment perfectly well alone. I leave Luke to concentrate on the show and pose my questions when he’s finished…
So filthy Luka, what was your first life memory of anything to do with radio?
My first radio memory would be of me and my sister in the mid 70s listening to the charts rundown on Radio 1 on a Sunday. Then I listened to John Peel and the then illegal pirate stations, Norman Jay on Kiss, LWR and Sunrise when I moved to London.
Memory of any radio show or presenter that influenced you in the past and made you think – I want to do that?
Norman Jay, Paul ‘Trouble’ Anderson, Danny Rampling, Bobbi & Steve – I was always tuning in to hear good music and always writing down tracks from their playlists.
How & when did you get your show on this station? Was it planned or a happy accident?
It all started with our show on Ministry Radio (online) – they didn’t really know how or where to place us so we lost that show in the reshuffle. Then two years ago we were surprised when Rinse FM offered us a Christmas Show. We didn’t really know what we were doing but we were keen to broaden our musical spectrum. We pre-recorded the show, they liked it and we were thrilled to be offered a regular slot. It’s a huge honour to be part of the Rinse FM family.
Tell me about your show – how long has it been going – what’s your motivation?
We play old stuff (laughs)…It’s really just about playing great music on a Sunday afternoon. We expand it to include the music we play in clubs, we can dig a bit deeper but we’re not afraid to play the more commercial tracks. I like to include gospel music to slow it down, a two step section, rare groove and a curve ball that’s not necessarily disco. For this week’s show the curve ball choice was a toss-up between Orange Juice’s ‘Rip It Up’ and Human League ‘Being Boiled’. Luke chose ‘Rip It Up’. The vibe is not too strict, always positive, up, fun and an attitude of ‘if I was at home listening I’d love to hear this tune’. The music should always put a smile on everyone’s face.
Tell us about your DJing. What style do you play? Does your club style differ from your radio style? If so, why?
All four of us are DJs first, but only myself and James present the radio show. When we play the Horsemeat Disco club at the Eagle in Vauxhall, London, we take it in turns and usually play two together. This year is the 12th anniversary of the club when Mark Moore guested.
In a world of streaming and talk free radio – why is talk radio important to you? And why do you think radio is so important for people in general?
For our radio show we do talk but not loads – more for giving out information, telling little anecdotes. I think that radio is important for the listeners in general because people are interested in the music they are hearing, they want information on artists, albums and labels, producers…that kind of thing. When James is here we do have a bit of banter between us, we’re not a comedy act but we try and make things fun. It’s important to have a personality behind the music and to always be enthusiastic.
Is London town the best place for radio in the world?
Not sure if London is the best place but it is really good. There are still loads of pirate stations and commercially there is room for much more. There’s definitely room for more underground and specialist shows.
Where do you see your career in three years time?
We love this show and are going to carry on here at Rinse – and keep doing radio – for as long as they’ll have us. You get to experiment and explore with this and we’re really happy that this is the path we’re following. It would be great to be syndicated world wide like Gilles Peterson.
And do you have a message for anyone who wants to get into radio?
Start podcasting, create your own shows. Learn how to put a bit of yourself into the show, don’t just do a mix.
Josey Rebelle
RADIO STATION – RINSE FM
FREQUENCY – 106.8 FM London
ONLINE – www.rinse.fm
RADIO SHOW: JOSEY REBELLE EVERY SUNDAY FROM 10-1pm
CORE AUDIENCE – varied…rare groove, house and techno heads
As I settle down to listen to Luke Howard’s zen calm presenting skills and collectable ‘vinyl envy’ grooves for the Horsemeat Disco show, I click immediately with Josey and we start chatting and whispering like kids in the back of the room whenever there’s a break in speech. Studio etiquette says it’s time to leave and continue our conversation – and my sneaky incoming interview – somewhere less distracting, so we install ourselves around a table in the office next door and have a little girly chat…
Josey, can you tell me what the first radio memory of your life is?
When I was younger I was a die hard junglist. I was 14 when I started raving and I covered every inch of my bedroom wall with flyers. I was also obsessed with pirate radio and particularly the jungle station called KOOL FM.
Do you have any memory of a radio show or presenter that influenced you in the past and made you think – I want to do that?
I liked Caribbean house, rare groove/revival and Selecter C’s shows.
How and when did you get your show on this station? Was it planned or a happy accident?
I was your classic bedroom DJ who people were always telling to get out there and play tunes, but it took me a while to get started. Then when I started I got a lot of work quickly. I was offered to play at the Boiler Room’s first official broadcast and later I played for their 5th birthday party. I was then headhunted for Rinse by station legend Rat. I was working the TV production company Fremantle and also writing at the time. Rinse offered me a Thursday night 3am slot and I took it. I started when Rinse was a pirate station and have watched it grow into its legal status with a community radio license. I loved doing the show and got locked into that weird nightshift routine. My mum thought I was crazy and was always commenting on it. Then I lost my sister and I realised that something had to change. I discussed it with the Rinse FM directors and they changed my slot from the two hours Thursday 3am show to Sunday at 10 am for 3 hours.
Tell me about your show – how long has it been going – what’s your motivation?
This is my fourth year here with Rinse FM and I love it. I love to hear music that I love out loud and even though I’m a ‘head down’ kind of DJ, I love to share my passion with people who are equally passionate about music. I get my buzz off the music. Sometimes when I’m playing at home I will just keep rewinding tracks, just picking up the needle and taking it back to the beginning – you know, THAT buzz.
Does your DJ club style differ from your radio style? If so, why?
On radio I play everything from house, techno, electro funk and garage to rare grooves and soul. For my club/DJ set the new stuff has a classic feel to it so everything flows.
In a world of streaming and talk free radio – why is talk radio important to you? And why do you think radio is so important for people in general?
Talk radio is important to me because I love that human connection. Any time I hear someone being passionate about the things they love, that’s my thing. You know when you can feel there’s so much love coming through. Sometimes music speaks for itself. Then there’s the regulars that tune in and make it a weekly ritual, we’re friends on the other side of the airwaves. I love that.
Is London town the best place for radio in the world?
You know what? I don’t know. A lot of commercial radio has no soul but I think we’re starting to see a lot more community radio starting up which is hugely positive. You know, like NTS here in London – it’s even starting in Berlin now. I think people are craving that old school human connection, craving solidarity and enjoying sharing that love. For me – and here at Rinse FM – it’s all about community, love and passion. We’re just people who love what they do, are obsessive about music and that’s more important than anything.
Where do you see your career in three years time?
I’m not really a huge planner as I tend to follow my heart and head and see where it leads me – so as long as I’m doing something I love in three years, whatever that is, I’ll be happy!
And do you have a message for anyone who wants to get into radio?
There are so many great stations – terrestrial, internet, online, community – the choice is much wider than ever before. Be persistent with your applications and if it’s not working set up your own show / podcast or station. Literally go out there and just do it but remember to ask yourself ‘what am I going to do that’s different?’
Greg Wilson
Bumping in to Greg Wilson at the Rinse studios on Sunday afternoon was strange synchronicity. Having long been my inspiration for all things specialist music, radio and club DJing – I seized the opportunity to ask him a bit about his radio history…
So Greg, what was your first radio memory?
A big radio memory for me was listening to Radio Luxembourg late at night over a trannie (as we called them) when I was in bed. I particularly remember hearing Isaac Hayes with ‘Theme From Shaft’ when it had just been released in 1971 (I was 11 at the time) – it was the Radio Luxembourg ‘Power Play’, which meant it was featured on the hour every hour. Already a big Soul music fan thanks to my older brother and sister, I was blown away with this track and stayed awake another hour just to hear it again. In 1976 soon after I’d started in the clubs, I hosted a hospital radio show locally. Back then the idea of making a career out of being a DJ was generally tied in with getting on the radio – and hospital radio was seen as a good starting place back then. I was on a station called Radio Catherine (St Catherine’s Hospital in Birkenhead), and my show was called ‘Saturday Satellite’. I left after a matter of months because I couldn’t play the type of music I wanted to, the audience being mainly older people with more conservative tastes. My ambition then, like many club DJ’s, was landing a radio slot. I became friendly with a couple of the presenters on BBC Radio Merseyside and it was one of these, Dave Porter, who showed me how to edit. In those days a demonstration tape for a radio presenter needed to be sent in on a reel – that was the protocol, ’topped and tailed’ with green leader tape and red finishing tape. If you sent a cassette in they just wouldn’t bother listening – this was considered unprofessional.
My dream was to get onto radio before I was 18, and it very nearly happened. Terry Lennaine, who did the weekly Soul show on Radio Merseyside had been shortlisted for Radio Luxembourg along with Andy Peebles (Piccadilly Radio / Manchester), Mike Read (Radio 210 / Thames Valley) and Rob Jones (Radio City / Liverpool). There were two jobs up for grabs and Peebles was the overwhelming favourite – if Lennaine didn’t get the other slot he was also lined-up to take over the Soul show from Peebles at Piccadilly. So it was considered a given that he’d be leaving Radio Merseyside one way or another and I was actually announced as his replacement – not on the station, but on stage at Lennaine’s big weekly club night at The Hamilton in Birkenhead. In preparation I’d been ‘driving’ the show, getting me used to all the studio equipment. The upshot was that it was Read and Jones who got the Radio Luxembourg positions with Lennaine and Peebles staying put – although Peebles would land the big one a couple of months later, joining the staff of Radio 1. I was devastated – so close yet so far. I put my radio ambitions on hold and would soon try my hand as an ‘international DJ’, working monthly contracts in Denmark and Norway in 1978 before heading back to the UK homesick and taking up my former club residency at the Golden Guinea in New Brighton once again. I’d head back out to Europe a couple of years later, in 1980, a bit older and wiser, and it was whilst I was working in Germany that I landed the residency at Wigan Pier.
Was there any radio show or presenter that influenced your style and made you think – I want to do that?
Terry Lennaine was a big influence. He was an excellent presenter with a great radio voice and his show ‘Keep On Truckin’ which featured the latest Soul and Funk was right up my street. I used to regularly sit in on the show even before I became linked with the potential vacancy. With regards to national radio I was really into the Los Angeles born Emperor Rosko, who, I subsequently came to realise, based his microphone style on the legendary US presenter Wolfman Jack (who featured in the 1973 George Lucas film ‘American Graffiti’). The Wolfman had been inspired by black presenters like Jocko Henderson and Dr Jive – their rhythmic / rhyming style a precursor to rap. Emperor Rosko was on Radio 1 until 1976 (having previously been on the off-shore pirate station Radio Caroline, and, for my money, played the best music on the station – his great love being Soul. He would also compile a series of albums for Atlantic Records, complete with vocal links, called ‘The Rosko Show’, and featuring some of the biggest Soul and Funk tracks of all-time. In 1976 ‘Emperor Rosko’s DJ Book’ was published advising aspiring DJ’s like myself on various aspects of the trade. It was from the appendix of this book that I got all the addresses of the UK record companies of the time, and set about applying to be added to their club promotion mailing lists. Within 2 years I had been sent around 2000 advanced promotion copies of UK releases as a consequence, a month or more ahead of their official release.
How and when did you get your radio show? Was it planned or a happy accident?
The owners of Wigan Pier opened a second venue in Manchester called Legend in 1980. This was the reason the Pier residency came up, their previous DJ moving across to Legend. Having made a success of their Tuesday night Jazz-Funk session, I was offered a failing Wednesday Jazz-Funk night at Legend. John Grant, who’d previously been at the helm, had moved to a rival night called The Main Event at Placemate 7 which he worked at in conjunction with the guy who’d taken over the Piccadilly Radio Soul show from Andy Peebles when he’d landed the Radio 1 job – this was Mike Shaft. The Main Event was promoted by Piccadilly Radio and Blues & Soul, the essential magazine for black music followers and then something of a DJ bible, containing info about all the main club / all-dayer events, as well as DJ playlists from up and down the country, my own included. I slowly set about re-building the Wednesday night – like Wigan Pier, Legend was a state-of-the-art venue with sound and lighting that outstripped anything around the time, Legend being the first UK club I worked in with SL-1200’s and a sub-bass system – it was light years ahead of the competition. This was also at a time where specialist black music nights were usually restricted to run-down / ramshackle venues struggling for business – Wigan Pier and Legend completely bucked the trend. Further to this, I’d decided to place the emphasis on mixing – this was at a time when only a handful of UK DJs had built a reputation in this direction, and nobody on the black scene up North. The third element fell into place with the Electro-Funk sound out of New York evolving throughout 1982, and playing right into my hands. It was the dawn of electronic dance music as we know it, and I was at exactly the right venue with exactly the right crowd. By May 1982 Legend was packed every Wednesday with queues up the road, and it remained that way until I stopped DJing at the end of 1983 – it was the most cutting-edge night in the country at the time, the majority of the music played being US imports, mainly fresh out of New York on labels like Prelude, West End, Tommy Boy, Sugarhill, SAM, Emergency, Profile and Salsoul (during its latter period).
(Greg Wilson in his home studio in Wigan 1983 – the place where the radio mix magic happened)
Mike Shaft wasn’t a fan of the more ‘blatant’ Electro but recognised that his younger listeners were big into it suggested that I put together regular mixes for his show – ’T.C.O.B’ (’Taking Care Of Business’) featuring the type of stuff I played at Legend. These were the first mixes of their type in the UK, the initial one being broadcast in that fateful month of May ’82 – the month ‘Planet Rock’ came in on import as well as the month The Haçienda, where the following year I’d launch their first weekly dance night, opened. The mixes were initially recorded as live during the daytime at Legend. Mike Shaft would bring in a Revox B77 reel-to-reel from the station and we’d record onto that before taking it over to Piccadilly and getting a technician to ‘top and tail’ the tape so it was broadcast ready, and execute the odd edit where we might have stopped and re-started. One day there was no technician on hand at the station and I slipped into one of the editing booths and gave it a try myself, remembering the basic instructions Dave Porter had given me when I made my presentation demo back in 1976 (the editing in this case was to truncate the records featured, the emphasis being on presentation style, so the station didn’t want to hear the full tracks prior to each link – the slicker the editing, the more professional it was considered). Anyhow, I took to it like a duck to water and even began trying some tricks, turning bits of the tape backward. By the end of the year I’d bought my own B77 and a couple of 1200’s setting up a home studio from which I subsequently produced my mixes, with ‘The Best Of ’82’ featuring 52 tracks (sometimes just a snippet) gaining huge acclaim and enhancing my reputation no end…although listening back it sounds decidedly ropey to my ears, especially given how far mixing would evolve. I’d be invited onto the show whilst the mix was broadcast having a chat with Mike before and after it was played. He often referred to me, in that unmistakable mid-Atlantic accent of his, as ‘the boy Wilson’. I was 22 when the mixes began. My final mix for Piccadilly was ‘The Best Of ’83’, and this end of year ‘Best Of’ tradition would continue on Piccadilly and later Key 103, into the 90’s with Chad Jackson, Stu Allan and DJKA subsequently taking up the baton.
Best Of 82: https://soundcloud.com/gregwilson/the-best-of-82-by-greg-wilson
Best of 83: https://soundcloud.com/gregwilson/the-best-of-83-by-greg-wilson
MARCIA DAVINYLMC AKA MARCIA CARR
RADIO SHOW: MARCIA’S MIXEDBAG
RADIO STATION: MI-SOUL
FREQUENCY: DAB MI-SOUL RADIO
ONLINE: http://mi-soul.com
MIXCLOUD: https://www.mixcloud.com/Marcia_CarrtheDJ/
SOUNDCLOUD: https://soundcloud.com/ms-marcia
LISTENBACK URL https://www.mixcloud.com/discover/misoul/ / https://www.mixcloud.com/Marcia_CarrtheDJ/
CORE AUDIENCE : 30-55 YR OLDS
Marcia was one of the first people I knew to do an internet radio show in London, it was called uk-rumble.co.uk and she used to work out of the next studio to Basement Jaxx based in Camberwell around 1995/6. I guested on it a few times, Marcia had a brilliant knack of pulling in all the American DJs – legends such as Kerri Chandler, Kenny Carpenter and Terry Hunter. This was in the days when no one had decent internet at home, everyone was on dial up and the station signal was inconsistent, but that never deterred Marcia…she powered on anyway. She was way ahead of the curve…
First life memory of anything to do with radio?
Listening to LWR, Invicta and the likes of Greg Edwards when I was a teenager. But before that I often heard the sounds of Frankie Crocker on a station called WBLS in New York at my uncle’s house when I lived in Brooklyn back in 1975 and 1976.
Memory of any radio show or presenter that influenced you in the past and made you think – I want to do that.
Subconsciously, I always admired the voices I heard on radio but not sure if anyone specifically inspired except for Greg Edwards – his jingle “the bugged refugee from across the sea” used to make me smile, along with his musical choices.
How and when did you get your show on this station? Was it planned or a happy accident?
It was suggested to me that I approach the station (Mi-Soul) – I was aware that friends like Jumping Jack Frost and Sy Sez had previously recommended my name, but I actually received a call from the Managing Director Gordon Mac, who invited me to come on board, and after trial show the rest is history.
Tell me about your show – how long has it been going – what’s your motivation?
I have been with Mi-Soul for two and a half years so far and enjoying it thoroughly. My motivation are the listeners; feedback and genuine appreciation from them spurs me on more to want to satisfy their tastes which is reflective of what I like – it’s a great buzz!
Are you a DJ too? Does you club style differ from your radio style? If so, why?
Yes, I have been spinning records since I was a teenager playing the spectrum of black music at clubs, house parties, corporate events and festivals. My sets always vary from client to client, whereas on radio I have a regular format of content which changes subtly depending on where my show is placed in the schedule ie. the time of day.
In a world of streaming and talk free radio – why is talk radio important to you? And why do you think radio is so important for people in general?
I enjoy listening to master mixes on radio and feel there is a place for it – it suits the mood as a precursor to a night out on the weekend, and works well if TV is not your thing, or too much of a distraction. Bonuses to part speech based radio shows are all about engaging the invisible audience with something that is not just entertaining for entertainment sake, a program should engage the listeners, even get them to interact and it helps to be informative in some fashion with coming across as conceited to the audience. Putting one’s personal stamp on a radio program is what helps your program stand out from just being mediocre – some (not many) presenters have the ability to achieve this successfully even within a corporate environment – you cannot communicate this without having some (coherent) verbal content. Some people only have the company of radio, at work, or perhaps some disabled (blind people) to whom radio is their world and preferred medium, so it is important and does have a place globally to bring people together – especially where music is concerned.
Is London town the best place for radio in the world?
The avenues of radio from the pirates, to the internet based, to community, terrestrial and now DAB stations has allowed many individuals to shine – the saying “you have a great face for radio” does apply for the creative chatter box types who would not necessarily fare well on TV. Having said that, with all the great radio programming afforded to us – via the internet, a lot of trashy output gets onto the airwaves. It is refreshing to hear what is going on in other parts of the world – the UK is not the only place with talent doing incredible things, suffice to say though we certainly are consistent with offering up premium quality programming in my opinion.
Where do you see your radio career in three years time?
Three years from now I would like to be able to take the high quality independent music I play to a wider audience ie. nationally. As much I would like some of the music to remain uber cool and underground, I want those behind the music (production/songwriters) to be accepted and supported with huge followings (of fans) without compromise or watering down of they have to offer. I would ideally like to see the soul of the quality music (all genres of dance etc) touch more people – to be able to present it to the public, to be a part of that growing movement would ultimately be rather exciting. If this means syndication of my shows and taking things on the road via festivals, both at home and internationally, I am ready.
Message to anyone who wants to get into radio?
Know your field whether it is a genre of music, or a specialist subject for speech radio. Being haphazard and flakey makes you look unreliable to others and less attractive. Try to be original. As the legendary DJ and producer Danny Tenaglia once said on record…“Be yourself” – your character is what makes you special and standout. Seeking to get into radio should be something you are passionate about – the fame (if that happens) can come later. Take the knockbacks; rejection as something to learn from and better yourself in moving forward.
JoJo
RADIO STATION : CAPITAL FM – YORKSHIRE
FREQUENCY : 105FM
ONLINE – www.capitalfm.com
RADIO SHOW : CAPITAL BREAKFAST
CORE AUDIENCE : YORKSHIRE – BIGGEST STATION OUTSIDE OF LONDON
What was your first life memory of anything to do with radio?
Being interviewed on Radio Leeds by Peter Levy about getting into The National Youth Theatre.
Memory of any radio show or presenter that influenced you in the past and made you think – I want to do that?
I used to listen to a late night phone in show with a female presenter called Alex Hall on the Bradford based radio station The Pulse. I loved how listeners shared their intimate secrets with her. It was very one to one and it felt very naughty to listen to the listener’s problems and confessions.
How and when did you get your show on this station? Was it planned or a happy accident?
I fell into radio by accident really. I did some voice overs for Pete Tong in the early 90’s for the Essential Selection after meeting him at the legendary Vague club where I worked. I just loved hearing my jingles on his show (“Are you train spotter? Choo Choo!”) – it was the easiest £200 I ever made. I then got to be part of a documentary on Radio 1 about the differences between clubbing in the North and the South. Then a few years later I met Tim Sheridan who invited me to audition for a new radio station for Yorkshire, Kiss 105. He was in charge of specialist music and thought I had a good voice and interesting profile. I remember thinking I’d flunked the interview, but to my surprise I got a call back and they said that they didn’t know what to do with me, but they definitely wanted me to be part of Kiss 105. To my absolute surprise I was offered a co-host position on the Breakfast Show with the infamous Bam Bam, the flagship show of most stations…and considering I had no live radio experience, I had no choice but to give it a go!
Tell me about your show – how long has it been going – what’s your motivation?
Connectivity. It’s all we have. Finding common ground.
Does your DJ club style differ from your radio style? If so, why?
My radio show is hit music, but if I was to DJ it would be disco, funk, gogo, French house. There’s no genres other than it’s a good piece of music or not. Ace or shit!
In a world of streaming and talk free radio – why is talk radio important to you? And why do you think radio is so important for people in general?
Radio connects with people and that’s what I love. Okay the music is important, but talking, being open, well…an MP3 can’t give you that! It’s about trying to communicate on a personal level. The listeners are individuals and we need to engage and accept that.
Is London town the best place for radio in the world
No.
Where do you see your career in three years time?
Gods knows! I think I must be one of the longest reigning breakfast presenters in the UK other than Chris Tarrant! Call Norris! I’m at almost 19 years!
And do you have a message for anyone who wants to get into radio?
Be honest! And if an idea is shit have the courage to say so and back it up!
Andy Wilson
RADIO STATION : IBIZA SONICA
FREQUENCY : 94.2FM IN IBIZA
ONLINE www.ibizasonica.com
SOUNDCLOUD: https://www.mixcloud.com/ibizasonica/
RADIO SHOW: BALEARIA
CORE AUDIENCE : MUSIC LOVERS, FREE SPIRITS, PEOPLE FROM IBIZA
What was your first life memory of anything to do with radio?
Listening to Radio One at home with my mum in the 60’s – Tony Blackburn, Ed ‘Stewpot’ Stewart, Alan ‘Fluff’ Freeman – lots of Beatles and Motown.
Memory of any radio show or presenter that influenced you in the past and made you think – I want to do that?
Definitely John Peel. I would listen to his show in bed every week night ’77- ’81, a massive musical influence. Also loved Stu Allen and Mike Shaft in Manchester and Rodigan in London.
How and when did you get your show on this station? Was it planned or a happy accident?
I moved to Ibiza in ’99 with the idea of trying to start a radio station, but got a job as presenter at a Spanish commercial station (happy accident!) where I started my Balearia show in about 2000. I helped launch Ibiza Global Radio in 2004 then left with two partners to start Sonica in 2006, so definitely planned!
Tell me about your show – how long has it been going – what’s your motivation?
I’ve always loved lots of different styles or genres of music and loved the Balearic idea of ‘if it sounds good it is good’, so radio is the best platform to share the great music I’m always discovering. I started the show around 15 years ago as there was very little non-mainstream music on Ibiza radio.
Does your club style differ from your radio style? If so, why?
I DJ in clubs, parties, beach bars and sunsets…what I play depends on the setting and the time of day and who’s listening – anything from ambient to house, dub to disco. In clubs I play mostly house and disco with a few curveballs if I can get away with it!
In a world of streaming and talk free radio – why is talk radio important to you? And why do you think radio is so important for people in general?
It’s all about community and communication – and hopefully providing good company.
Is London town the best place for radio in the world?
I think so. When I lived there we had the original Kiss FM with Rampling, Norman Jay and everyone – plus JFM, LWR, Horizon, Centreforce and loads of great pirates. Now there’s Rinse, Mi-Soul, NTS, Flex, Hoxton FM and Soho Radio and loads I probably don’t know about. The musical culture of London and the UK is incredible.
Where do you see your career in three years time?
I don’t think about it. I just keep on keeping on. I love what I do.
And do you have a message for anyone who wants to get into radio?
Do it for the love of music.
My conclusion
Radio wields such absolute power over our attention and audition – it is a sound-only focal point that keeps you stuck to your mobile handset, to the home radio, the TV channel, the car radio and even has its place in the office. You can listen practically anywhere – even in posh hotel shower cubicles. We can’t ignore it. Even when the content isn’t all that – we still listen and argue back. The radio is our invisible friend.
This year Apple bought ‘Beats1’ and poached Radio1’s key youth presenter Zane Lowe as the figurehead for the station (they also took Rinse FM’s Julie Adenuga). 6Music has rock stars including Cerys Matthews, Iggy Pop and Jarvis Cocker presenting shows and Annie Mac has moved from specialist to mainstream enjoying life as a daily presenter on Radio1. Soho Radio has shows from esteemed journalists like Pete Paphides nestling alongside the best that Bestival has to offer in festival entertainment. Everyone, it seems, is welcome to the Generation Z ‘On Air’ party.
Even with the seductive allure of Spotify and personalised programming via Mixcloud and online streaming sites, the world of radio broadcasting – whether traditional terrestrial, commercial like Kiss and Capital, internet / digital online stations like Sonica, Openlab and Ministry of Sound, community like NTS and Soho Radio or simple podcasts – has never been more diverse or vibrant. University, college and hospital radios are still fully active and operational whilst supermarkets, high street chains, gyms and airlines rely on radio to drive their daily operations. You can truly spend 24 hours a day in a radio daze.
For sure it’s not like the good old days when the wireless was the first stop for news, views, public information and human interest stories. The internet and social media have got that on lock. But in a climate where the BBC currently stands to lose its license to protect, inform and serve the public, there is a brave new microcosmic world out there where commercially minded mavericks, radio DIY’ers and community groups are taking their tastes and desires into their own hands and making the sort of radio that they – and that we – want to hear and who will shape the musical culture of future generations to come and that can only be a good thing.
DJ Paulette…
VIRGIN RADIO –
Saturdays weekly http://www.virginradio.fr/
DMC World Magazine Online: www.dmcworld.net/reviews.html
www.djpaulette.com
www.facebook.com/djpaulette
http://twitter.com/DJPAULETTE
www.mixcloud.com/DJPAULETTE
www.soundcloud.com/DJPAULETTE
http://www.tumblr.com/blog/paulettereviews
www.residentadvisor.net/profile/djpaulette
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