“It was a magic time for me. I`d been exposed to Larry Levan and had started hanging out at the Paradise Garage. Post Punk, New Wave and Rock artists wanted to make Disco records. Disco artists wanted to make more New Wave and experimental records. There was an amazing amount of great new music coming from everywhere. It was the perfect time for me to really start finding myself and come into my own as a DJ.”
As Justin says musical boundaries were being blurred: New Wave artists, in a move away from Rock following Punk`s guitar wars, were embracing the Funk, while the Funk, always hungry for a freak, was getting it on with New Wave. As a consequence the music here isn`t easily pigeon-holed into safe genres. There is the pioneering work of artists such as Kraftwerk and Yello, producers like Martin Rushent (experimenting on post-Buzzcocks Pete Shelley and coming up with proto-House), and DJs John Luongo (Material, Yoko Ono), Francois Kervorkian (Timezone, D-Train) and Mark Kamins (Quando Quango) establishing the art of the remix, all of whom add to the confusion. The remixers` apparent free reign arguably due to the commercial awakening of the majors to the success of NYC`s melting pots, The Loft, Paradise Garage, and Justin`s previous gig, the Mudd Club.
The Police do Reggae de blanc, and Reggae covers The Police. Rock meets Hip Hop in ex-Ant Kevin Mooney`s Wide Boy Awake and talcy Malcy takes poor old Adam for everything he`s got as Bow Wow Wow add Burundi drumming to The Strangeloves` classic. Ministry are here, from back when Seymour Stein & Sire still had hopes of Mr. Jourgensen fronting the next Depeche Mode. Before Sherwood, before Hansa Ton, before crack. The Stones try to keep up. Most of the music is heavy on then emerging electronics. This was new music for a new clubbing experience.