About this blog


Not long after I began digitising my vinyl late in 2011, I started coming across tracks that I’d forgotten about, not appreciated at the time or never even clocked at all (“I was looking around but you were there all the time”), so I thought I’d start blogging to share some of my thoughts and feelings about this new-old music.

While some (very few) of my records date back to my childhood, I built most of the collection during my 30s and 40s when I became wholly gripped by DJ culture, and spent more time than was good for me (and probably a lot more money, too) cruising the record shops around Soho looking for new tunes (and a lot of old disco). Throughout that time, I could rely on the help of many independent record shop staff who recommended particular records, reserved music they reckoned I would like, and discounted many of my weekly purchases. So profound thanks particularly to Rap Saunders at Black Market, J-P and his team at Vinyl Junkies (RIP that wonderful shop) and Paul Farris at Uptown Records.

I also owe an enormous debt of gratitude to all the DJs who have kindly ID-ed tracks they were playing or other people were playing, which once even involved Jonathan at Southport writing his phone number on the back of a cigarette packet so I could call him the next day, by which time he would have remembered the name of a track Ron Trent was spinning in the early hours of a Sunday morning (it was Black Rascals’ Keeping My Mind): Ashley Beedle, Joe Claussell, Quentin Harris, David James, Danny Krivit, David Mancuso, Colleen Murphy, Joey Negro, Tanya von Pear, Timmy Regisford, Alan Russell, Alan Thompson, Andy at Whistlebump, and everyone else whose names right now escape me (including the unbelievably helpful Drama DJ who gave me a record he’d just played in the middle of his set at The Cross).

Finally (for now), my thanks to the DJs/label-owners who have sent particular records through the post, particularly Antonio Ocasio at Tribal Winds in New York, Martin Brodin at Deeplay in Sweden, Terre Thaemlitz in Tokyo and the brilliant person at Tummy Touch who dug out a copy of the label’s first 12″ (The Nite Flite EP) for me after I became obsessed about the B-side via X-Press 2’s Late Night Sessions mix on Open (thank you, Ian).

Martin Moriarty
February 2013



    • Martin Moriarty

      Hey Madrid, thank you for stopping by, and sorry for taking soooo long to reply while my blog was on the back-burner. Now that I’m back, I’m even more grateful for your words than when they appeared last year.

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