Genres worn thin at the edges. Half-remembered rhythms reconstructed. The Revenge has spent most of his years dissolving familiar forms to create something that feels at once forgotten and ahead of its time.

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More info and links: https://linktr.ee/peteherbert

Ian Dewhirst D.J. Biography

Ian Dewhirst started his D.J. career in 1971 at the age of 16 years old with a warm-up slot at Leeds Central for Northern Soul DJ Legend Tony Banks. Following several successful weeks of ‘warming-up’ Tony left the venue and Ian took over as resident at one of the North’s most respected Northern Soul venues.

Following his success at Leeds Central, Ian started finding more and more Northern Soul U.S. imports and both his record collection and reputation started to grow. By 1972-1973 Ian secured several other residencies including weekly and bi-monthly all-nighters at Wigan Casino, Cleethorpes Pier and Sheffield Samantha’s. This was during the ‘golden age’ of Northern Soul where Ian discovered and played such records as The Carstair’s “It Really Hurts Me Girl”, The Tomangos “I Really Love You”, Tobi Legend’s “Time Will Pass You By”, The Four Perfection’s “I’m Not Strong Enough”, Gerri Grainger’s “I Go To Pieces”, Lenny Curtis’s “Nothing Can Help You Know”, Clyde McPhatters’s “Please Give Me One More Chance” and Yvonne Baker’s “You Didn’t Say A Word” among many others.

Following his growing disillusionment at the way that record prices were escalating and the amount he was personally being charged for ‘unknown’ records, Ian decided to move to Los Angeles and search for Northern Soul rarities himself. So, in 1975 Ian moved to the U.S.A. and started hunting for rare up-tempo Northern Soul records. Within weeks he discovered many major rarities and new ‘unknown’ records including Willie Hutch’s “The Duck”/”Love Runs Out”, Judy Street’s “What” and literally hundred’s of other records which have since become Northern Soul classics.

Whilst in Los Angeles, Ian became involved in co-producing a Motown medley disco record, which was eventually called “Uptown Festival” by a group named and formed by Ian called Shalamar. The record was signed to Don Cornelius’s Soul Train records where it topped the Billboard dance charts for 6 weeks, hit the U.S. top 20 pop charts and eventually sold one million copies around the world by the end of 1976.

Ian returned from the U.S. after a highly successful 6 month stay and immediately returned to deejaying on the rapidly emerging Northern Jazz/Funk/Disco circuit with residencies at Leeds Central and all-dayers at Blackpool Mecca, Manchester Ritz, Nottingham Palais and Birmingham Locarno along with Colin Curtis, Ian Levine, Neil Rushton and Paul Schofield.

In 1979, following his success on the Northern Jazz/Funk/Disco circuit, Ian was invited to become resident DJ at the U.K.’s first U.S. style dance club – Leeds Warehouse. He was taught to mix by U.S. DJ Greg James and with his new skills Ian started mixing more eclectic styles of music which included Disco, Funk, Jazz-Funk, Electro and other styles from 1979-83. Whilst at the Warehouse Ian also introduced Soft Cell’s Marc Almond to Gloria Jones’ “Tainted Love” which later went on to become a 34 million-selling worldwide hit for Soft Cell and the longest running record ever on Billboard’s U.S. Top 50 singles chart.

In late 1983 Ian moved to London and commenced work with EMI Records as Head Of Club Promotion/A&R where he scored instant successes with Ashford & Simpson, Maze, Freddie Jackson, Lillo Thomas, Tavares and Diana Ross. During this period Ian also introduced the Pet Shop Boys to EMI where they shortly scored a worldwide No.1 hit with “West End Girls” and forged a successful, career thereafter. Ian also commenced a Saturday night DJ Residency at The Playground at The Lyceum Theatre in London with Rusty Egan and Steve Strange.  

Ian then moved onto Serious Records where he compiled and oversaw the Upfront and Best Of House series before moving to Island Records and overseeing Sly & Robbie’s only U.K. hit with “Boops (Here To Go)” and the signing of the Wild Bunch, who later mutated into Massive Attack and Soul 11 Soul.

In 1990 Ian conceived and created the Mastercuts series which became the biggest-selling none T.V. advertised compilation series in the U.K. with such genres as Classic Funk, Classic Jazz-Funk, Classic P-Funk, Classic Mellow, Classic Mix, Classic House, Classic Electro, Classic Salsoul, Classic Rare-Groove etc, etc. During the period from 1990-1995 Ian did a number of prestigious guest slots on various Radio shows including Kiss FM and GLR. 

In 1998 Ian helped found Simply Vinyl where he re-released over 400 albums on 180 gram vinyl and over 80 12” Dance Classics with the S12 series.

In 2003 Ian became co-owner of Suss’d Records and embarked on a huge re-release campaign for the legendary New York dance label Salsoul Records with over 90 releases in the last three years of operation.

As a result of the renewed interest in 1970’s and 80’s dance music, Ian started to DJ again with residencies at The Salmon & Compass in Islington and The Medicine Bar in Shoreditch and assorted guest appearances at Turnmills in Farringdon, Pop, Herbal, Cargo and The New Marquee in Central London as well as occasionally heading up North to the Hi-Fi Club's 'Move On Up' New Years Eve do's. The reaction to Ian’s sets has rekindled his enthusiasm for the wheels of steel and his gigs are now becoming sell-outs.

Recent gigs have included Vintage 2010, Sands Ibiza, Es Vive Hotel Ibiza, Aura Ibiza, The Baltic Soul Weekender, The Blackpool Soul Weekender, The Birmingham Luxury Soul Weekender.

Ian currently runs Harmless Records for the Demon Music Group with such hit series as Disco Discharge, Backbeats, Philly Re-Grooved, Mellow Mellow, Pulp Fusion, Jumpin’, Trax Re-Edited, Mixology: The Definitive Salsoul Remixes, Weekender, Philadelphia International: The Re-Edits, Philadelphia International: The Tom Moulton Remixes, Philadelphia International: The 40th Anniversary Box Set, Holy Spirit and coming up shortly, "Inspired: Blood, Soul, Sweat & Cheers" and "Mixoolgy: Sam Record Extended Plays". 

Also watch out for the Original Mastercuts Show which Ian broadcasts live every fortnight on Sunday afternoon between 2.00-4.00pm on www.starpointradio.com. The show is now the most popular on the station and reached 1000’s of listeners across the world every week with the downloads being every bit as popular as the live broadcasts. The show has now been running for over 5 years now and prides itself on never regularly repeating the same tracks with an average 100 hours of original programming every year. 


All the info >>> https://linktr.ee/phatphilcooper

Since the early 1990s, Phat Phil Cooper has been navigating DJ culture with a restless spirit and an open ear, shaping a career that has never stood still. From Cream’s legendary dance-floors to sun-drenched terraces across the globe, Cooper has built a reputation not just as a DJ, but as a curator, artist manager, label founder, and storyteller whose journey continues to evolve.

In 2012 he launched NuNorthern Soul, a label that has since become a lighthouse for Balearic-minded sounds and eclectic treasures. Its releases, supported worldwide by DJs and collectors, reflect Cooper’s belief in music as something both timeless and borderless. More than a record label, NuNorthern Soul is part of a broader vision that blends curation, community, and a dedication to championing artists and sounds that might otherwise go unheard.

Now, with over three decades of experience, Cooper is moving beyond the booth. His current projects — from managing and developing artists, to creating YouTube vlogging series that explore culture, landscapes and hidden corners of places like Ibiza, Istanbul and beyond — point towards a future where DJing, storytelling and travel are interwoven. Whether capturing a sunset set in Bali, walking and talking with fellow artists on Ibiza’s coastal paths, or documenting his slow, overland travels across continents, Cooper is carving a new role: that of a cultural guide as much as a selector.

Still, at the heart of it all is the same spirit that defined his earliest residencies — an instinct for the right record at the right moment, and a commitment to creating shared moments that linger long after the music fades. The journey isn’t finished; if anything, it’s only just opening up into new chapters.

Bookings: matt@thepool-london.com 
Promos: promo@gregwilson.co.uk 
DJ Dates: https://blog.gregwilson.co.uk/upcoming-dj-dates/
Greg began DJing in 1975 and is regarded as one of the most important figures on the UK dance scene. He enjoyed hugely popular residencies in the early eighties at Wigan Pier and Manchester’s majorly influential Legend, having originally started out in his hometown, New Brighton. A pioneer of mixing in the UK, he became the first ‘dance music’ specialist hired for a regular weekly session at Manchester’s now legendary Haçienda club in 1983. Greg was instrumental in breaking the new electronic, post-disco records coming out of New York, a sound he has dubbed ‘Electro-Funk’.

In 2003 he set up electrofunkroots, a website documenting this crucial era in the evolution of dance culture. After a two decade hiatus from the booth, he returned to DJing and soon welcomed bookings throughout Europe and, subsequently, worldwide.

Greg was the first DJ to mix live on British TV, putting together the first UK radio mixes of their type for Piccadilly 261 in Manchester and showing a certain Norman Cook (later Fatboy Slim) how to scratch.

Nominated by DJ Magazine for outstanding contribution, and also named amongst their top twenty remixers of all-time, Greg’s remix credits include Grace Jones, The XX, Groove Armada, Bryan Ferry, Confidence Man, Gilberto Gil and Simian Mobile Disco, whilst he’s edited tracks by A Guy Called Gerald, Talking Heads, O.M.D., Electronic, Imagination and Missy Elliot.

In January 2009 Greg’s reputation was further enhanced when his Essential Mix on BBC Radio 1 received almost universal acclaim and was selected as one of 10 classics that spanned the show’s near 17 year history.

Greg’s Blog, ‘Being A DJ’, was launched in June 2010 for observations on various aspects of club culture now an online touchstone for an ever-increasing amount of dance enthusiasts and aficionados.

In August 2010 he co-curated areas at the inaugural Vintage Festival at Goodwood, which was named ‘Best New Festival’ at the UK Festival Awards.

He has produced a series of documentary podcasts, Time Capsule, Random Influences and Early 80’s Floorfillers, as well as the long-running blog series, Living To Music.

Greg has given talks on music and DJ culture at a number events at venues The Tate Gallery in Liverpool and London's Southbank and Institute Of Contemporary Arts, whilst in 2013 he was invited onto a panel alongside legendary figures Nile Rodgers and Giorgio Moroder @ ADE in Amsterdam. 

In 2014 he unveiled the multi-media label Super Weird Substance, focusing on recording and live events. In 2015, the label released 8 vinyl singles, brought together in the 2 CD comp, 'Greg Wilson Presents Super Weird Substance'. September 2015 saw a memorable Festival No.6 Happening in Portmeirion and Greg rounded off the year with the Liverpool-based celebration of the 40th anniversary of his first club date in 1975 as well as being presented with DJ Magazine's Industry Icon award.

Greg launched his Credit To The Edit club collective at 2016's Festival No.6 and since then has taken it to Liverpool, Berlin, Brixton, Bethnal Green and finally back to Portmeirion for Festival No.6 2017.

2017 saw his label host the epic 14 Hour Super Weird Happening at Liverpool's Florrie, following a mixtape collaboration with Alan Moore, who also appeared at the Happening, whilst it also saw the digital release of The Super Weird Society's 'Gone With The Vibe', released the following year on the first Substance Select 12" vinyl alongside 'The Ghosts Of Watling Street', 'The Best Is Yet To Come' and 'Summer Came My Way'. 2018 also saw the release of Vol.3 in Greg's long-running Credit To The Edit compilation series.

After a handful of further releases, the label was put into hibernation with the onset of covid. Diversifying, ‘Greg Wilson’s Discotheque Archives’ was issued during 2020 lockdown as a limited run paperback, with more books, both Wilson’s own projects and by other authors, now planned.

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