Submitted By: DSM

Genre: Jungle / Drum and Bass

Date of Set: Jun 4th, 2006

Filesize: 162.20 MB

Total Downloads: 7

One of the few British drum'n'bass DJs who doesn't moonlight as a producer, Bailey nonetheless became incredibly renown within the d'n'b community, spinning everywhere from international clubs to the BBC. Bailey's fascination with music began as a youth in the early '80s when he discovered hip-hop and electro. In addition to the music itself, with its beats and turntable mixing/scratching, the surrounding culture drew him in. The hip-hop/electro scene in South London at the time centered on sound systems, and Bailey quickly joined one and thereafter began DJing parties and making mix tapes. Within a few years, around 1988 or so, the acid house movement engulfed London, and the aspiring DJ became enamored with this new style of dance music just as he had with hip-hop and electro five years earlier. In particular, he found the breakbeat-style dance music most captivating, so once acid house morphed into breakbeat-powered hardcore a year or two later, Bailey knew he was on the right track. Of course, hardcore evolved into drum'n'bass soon after in the early '90s, and the fledging DJ embraced it fully. He began hosting mix shows on local pirate radio stations and aquainted himself with Kemistry and Storm of Metalheadz, who brought him along to the legendary club and offered him the opportunity to spin there. From here on, Bailey never looked back, retaining his affiliation with Metalheadz and spinning around the world, everwhere from South Africa to Japan. In 2002, after years of steady DJing and increasing recognition, the BBC brought him onboard for the launch of 1Xtra, its specialized black music station, and he became the weekly drum'n'bass resident. That same year Bailey recorded his long-awaited debut mix album, Soul Thunder, for Breakbeat Science.

Submitted By: DSM

Genre: Jungle / Drum and Bass

Date of Set: Jun 4th, 2006

Filesize: 162.20 MB

Total Downloads: 7

Since the 80's Manchester UK native 'A Guy Called Gerald', born Gerald Simpson, has proven to be among the most innovative modern music figures. His influence is international, and through his versatility he has spawned genres and generations of music culture. From his early experimentation with techno and acid house to his groundbreaking contributions to Drum'n'Bass, Simpson's art and craft has perpetually evolved regardless of his individual successes in each of those genres.

In the early to mid eighties, Manchester dancefloors at clubs like Legends and Wigan Pier were vibing to jazz-funk, jazz-fusion and later electro and 14 year old Gerald took full advantage hitting the dancefloors at night while studying contemporary dance by day. But later when electro-funk, breaking and b-boy culture fully hit the UK he left collecge to immerse himself in the music. He began rigging analogue and drum machines up together making his own formations.

His first creative efforts were in The Hit Squad, a Manchester hip hop collective. There was one release, 'Wax On The Melt' before Simpson, Massey and Price formed 808 State. It was a brief collaboration resulting in the album 'Newbuild' and co-writing their biggest hit 'Pacific State' (although not credited until later after a court battle). But by then, he had gone solo, releasing the album Hot Lemonade and unwillingly scoring a Top 20 smash worldwide with the seminal 'Voodoo Ray' - the track cited by many as the first to put British House music firmly on the map.

In 1992, following a brief period signed with major label CBS/Sony resulting in his 2nd album 'Automannik', he discovered the glory of breakbeats and began releasing a series of genre defining records on his own Juice Box Records label. The first singles were compiled and released on the LP '28 Gun Bad Boy'. 'If there was a blueprint for what would transform rave into jungle/techno then this is it' Simon Reynolds said in Melody Maker at the time.

After moving the label to London in 1995 he followed up that year with the critically acclaimed album 'Black Secret Technology' incorporating Goldie and the vocals of Finley Quaye. A busy period followed performing around the globe spreading the Drum'n'Bass sound, touring with Tricky and working with the likes of Flora Purim and David Bowie. In 1998 he closed the label and moved operations to New York.

In 2000 came Essence (!K7 Records) an experiment in transforming the sterotypically aggressive Drum'n'Bass sound into soulful arrangements. It featured musicians such as Lady Kier, Louise Rhodes, David Simpson and the singer/songwriter Wendy Page. The UK's Guardian newspaper described it as 'a perfect synthesis of Gerald's rhythmic technique and soulful Drum'n'Bass.... a triumph'. He took a live band on the road in 2001 touring the US and Europe jamming live the Essence sound. Other projects followed; a remix for the soundtrack to the movie 'Requiem For A Dream' and 'Black Gravity', a collaboration with Bill Laswell and Herbie Hancock.

In 2002 he moved back to Europe and disappeared deep into the studio to finish his next album. His 7th album 'To All Things What They Need' was released January 31st 2005 on www.k7.com !K7 Records. Recorded between London and Berlin, the album features the poetry of Ursula Rucker and long time collaborator Finley Quaye. If there's a dominant style on this album, it's atmospheres - the opening track American Cars is left beatless, Tajeen combines tabla percussions with electronic beats and acid sounds. Strangest Changes featuring Finley Quaye is a return to his urban drum n bass roots. All tracks are soacked in deep sounds, fragments of digital soul breathing a unique spirituality.

Finally 2005 also sees Gerald launching once again his own label: SUGOI Recordings. The first release, 'Flo-ride' is due out 5th September 2005.

http://www.myspace.com/aguycalledgerald

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