It wasn’t until 2001 that Justin stepped out under his own name releasing house and techno like ‘Have Mercy’ for the Bugged Out imprint. In 2001 he recorded his most critically acclaimed project to date Justin Robertson presents Revtone which brought primitive house and new wave disco into the digital age. Originally on Nuphonic the best tracks came out through Bugged Out, with ‘Love Movement’ - remixed by Ulrich Schnauss who cited Justin’s early work as an influence - being placed second best single of 2003 by Jockey Slut magazine. Contemporaries Black Strobe, Chicken Lips and Kiki also remixed Revtone tracks.
For someone with such diverse tastes it should have come as no surprise to anyone when Justin began recording and singing with a guitar. He has been writing songs since his school days and played electric guitar in Lionrock. 2004’s ‘Twisted and Torn’ (released on Slut Smalls) reflected his love for singer songwriters like Gram Parsons ,Neil Young and Nick Drake. In the same year he also wrote a song with Tim Burgess and Rob Playford called ‘Yes It Is’. It became one of the most requested songs on Sean Rowley’s BBC London show and came out on Justin’s Blister Ballads 7” label in the fall of 2006.Justin continues his successful song-writing carrier with songs on Norman Cooks new album . As a man as reknowned for his reggae collection as his electronica Justin was an obvious choice for Wall of Sound’s Two Culture Clash album project. He recorded in Jamaica in 2005 at the legendary Gee Jam studios with the lovers rock of ‘Save Me’ - featuring guitarist Ernest Ranglin and Nadine Sutherland - the beautiful result.
As a DJ Justin plays a mix of techno and electronic house at clubs such as The Loft in Barcelona, Pacha in Buenos Aires, Bugged Out in Manchester, Roxy in Prague, Chibuku in Liverpool, Fabric in London, and at various clubs all over Europe and the rest of the world. He also plays more eclectic sets featuring his love of reggae, northern soul and pop at nights like Sunday Best.
Justin will continue to wear several hats, metaphorical as well as some stylish real ones!
Justin's Discogs Page
Justin's Website
Paul Wain
After a few technical issues with the castle owner blowing up the sound system 20 minutes before the doors opened we got our sound technician who luckily lives nearby to the castle to get it up and running and with Danny Walsh opening the Main Room got the room movin and groovin....then Paul hit the decks with a collection of classics that showed why VENUS was voted Britains Top Clubnight...
Paul worked the crowd like no other and was good to see a master craftsmen like him at work and to top it all the place went nuts when the first bars of ERUPTION-I CAN@T STAND THE RAIN filled the room...think Dean was actually crying at that point....hehehehe......
we will need to do it again ..and on a sound system that will do this all round top bloke justice.....
Graeme Park
Graeme Park: 10 years on the radio, 20 years on the decks, 40 years on the clock, still looking forward….
The story of DJ Graeme Park really mirrors the story of the evolution of dance music and club culture itself.
The story of DJ Graeme Park really mirrors the story of the evolution of dance music and club culture itself.
DJ Graeme Park began his career in the mid-'80s, spinning records out of the UK town of Nottingham and working at a local record store. His boss bought a club in the city and asked Park to be the resident house DJ. Graeme had his doubts, but by 1987 he was kick starting the acid house scene with his innovative playlists and an ear for the next big thing. Determined to showcase this new style of music, his reputation as a house pioneer soon brought him to the attention of Mike Pickering at the Hacienda in Manchester, who asked him to cover for him whilst he went on holiday in 1988. Simply put, there was no-one else in the country that could do the job. The Summer of Love followed, and Parky quickly became one of the biggest names on the emerging dance scene. Aside from his eight-year residency at the Hacienda, he was the first British DJ to play places like Australia and some South American countries, as well as producing and remixing tracks for the dancefloor. From 1989 to 1992, he continually won the DMC DJ of the Year Award, one of the most prestigious honors in the DJ circuit.
OK, so far so good and most folk know all of that, unless you have spent the last 20 years living under a rock, or at least listening to it. Fast forward 20 years and where are we at now? As far as Graeme's concerned, who celebrated his 20th anniversary all through 2004, things are as fabulous as ever, and as far as the industry is concerned? Well, if club culture really is at a cross-roads, who better to ask directions than the man who wrote the disco A-Z? 'I started doing it purely by accident,' he details. 'And then realised I was actually pretty good at it. But I never thought I'd end up doing it for 20 years. I see no need to stop at the moment. I don't think age matters anymore.'
The Hacienda was a club without a purpose until house music filled its cathedral-sized dimensions. It undeniably defined Graeme as a DJ, but in 2007, that can only be seen as one chapter in an on-going tale.
Aside from all the regular gigs across the UK and productions under the guises of GP Inc., Papa Cool and Arouser, Graeme chose the occasion of his 20th anniversary to reunite with his old DJ partner Mike Pickering, for a series of very special parties - including closing Glastonbury on the Radio One / Tribal Sessions stage and also the grand finale of the Sankeys Soap 10th Anniversary celebrations, and their 2004/5 New Year warehouse party. Although keen not to be bracketed as a 'classics' DJ, he couldn't let the occasion of his 20th anniversary go by without delving into the three lock ups he has filled with vinyl, and dusting down some belters for a nationwide tour of Revolution bars.
They say life begins at 40 and, Graeme also started a new radio show on Key 103 in 2004. Bridging the tricky gap between day-time and evening (7pm-10pm, Saturdays), according to Rajar he's already upped listening figures. You can also hear him on Liverpool's Juice FM too. Also celebrating 10 years as a radio jock in 2004, Parky understands the specialist skills required by a radio DJ.
Whether through his sets, his radio shows or simply by getting to know that audience, Graeme has spent the last 20 years getting his jocular personality across. He was there before it all started, he was at the forefront of the dance scene when it was at its zenith and he's still here, still rocking it, more than 20 years later - longer than some of the people on the dancefloor have been on the planet. And the best thing is he still loves it, still loves the music and still loves to play it for people to dance to.
The Hacienda is now an apartment building (the developers asked Parky to DJ at the launch; he politely declined). At the back of the building there is a time-line, carved into steel, detailing the history of the club from Madonna's early performance to its closure. And there's Graeme's name not once, but twice - carved into the metal for time immemorial. What other DJs - what other venues - have had that significance in clubland?
OK, so far so good and most folk know all of that, unless you have spent the last 20 years living under a rock, or at least listening to it. Fast forward 20 years and where are we at now? As far as Graeme's concerned, who celebrated his 20th anniversary all through 2004, things are as fabulous as ever, and as far as the industry is concerned? Well, if club culture really is at a cross-roads, who better to ask directions than the man who wrote the disco A-Z? 'I started doing it purely by accident,' he details. 'And then realised I was actually pretty good at it. But I never thought I'd end up doing it for 20 years. I see no need to stop at the moment. I don't think age matters anymore.'
The Hacienda was a club without a purpose until house music filled its cathedral-sized dimensions. It undeniably defined Graeme as a DJ, but in 2007, that can only be seen as one chapter in an on-going tale.
Aside from all the regular gigs across the UK and productions under the guises of GP Inc., Papa Cool and Arouser, Graeme chose the occasion of his 20th anniversary to reunite with his old DJ partner Mike Pickering, for a series of very special parties - including closing Glastonbury on the Radio One / Tribal Sessions stage and also the grand finale of the Sankeys Soap 10th Anniversary celebrations, and their 2004/5 New Year warehouse party. Although keen not to be bracketed as a 'classics' DJ, he couldn't let the occasion of his 20th anniversary go by without delving into the three lock ups he has filled with vinyl, and dusting down some belters for a nationwide tour of Revolution bars.
They say life begins at 40 and, Graeme also started a new radio show on Key 103 in 2004. Bridging the tricky gap between day-time and evening (7pm-10pm, Saturdays), according to Rajar he's already upped listening figures. You can also hear him on Liverpool's Juice FM too. Also celebrating 10 years as a radio jock in 2004, Parky understands the specialist skills required by a radio DJ.
Whether through his sets, his radio shows or simply by getting to know that audience, Graeme has spent the last 20 years getting his jocular personality across. He was there before it all started, he was at the forefront of the dance scene when it was at its zenith and he's still here, still rocking it, more than 20 years later - longer than some of the people on the dancefloor have been on the planet. And the best thing is he still loves it, still loves the music and still loves to play it for people to dance to.
The Hacienda is now an apartment building (the developers asked Parky to DJ at the launch; he politely declined). At the back of the building there is a time-line, carved into steel, detailing the history of the club from Madonna's early performance to its closure. And there's Graeme's name not once, but twice - carved into the metal for time immemorial. What other DJs - what other venues - have had that significance in clubland?
He remains a popular sought after DJ who continues to do remixes and work on his own music.
Chad Jackson
Chad Jackson started behind the decks before it was even trendy to be a DJ, and today can be credited as one of the people that popularised the art of DJ Mixing and remixing around the world. He was one of the first ever globally known superstar DJs.
Back in the late 80s, a flyer with his name on it meant queues outside clubs like Legends in Manchester and the infamous Wigan Pier. Chad was one of the first British DJ to start DJ mixing in the early 80s. His regular live and recorded mixes on Manchester’s Piccadilly/Key 103 radio station had the whole of the North West of Britain with their fingers on the tape-deck record button. The original cassettes are highly prized today, with people inundating Chad’s website for copies of these famous mixes.
This soon led to Chad being headhunted by Manchester’s legendary Hacienda club, who asked Chad to become resident. Chad was one of the architects of the scene that followed, introduced the crowds, including many who would go on to create the ‘Madchester’ scene, to the newly emerging house music sound and creative DJ mixing techniques.
While at the Hacienda he started producing remixes exclusively for use on the legendary DMC DJ only collections showcasing his eclectic taste, including Grace Jones, Prince, Public Enemy, Deelite and Fatboy Slim, many of which are highly collectable on sites such as Ebay today.
In 1987 he proved his mixing abilities by becoming the Technics/DMC World DJ Mixing Champion at the Royal Albert Hall in London, having secured the UK title a year before. This success led to him being one of the first DJs to undertake a world tour, including stop-offs in New York to become the first European competitor in the Battle For World Supremacy at New York’s New Music Seminar, Russia, Japan, Brazil, the Cannes Film Festival and an MTV Christmas Party!
By 1990 Chad’s focus had turned to studio production, with the creation of his Inner World Audio recording studio – in which numerous productions and remixes took place, remixing the likes of De La Soul, Norman Cook’s Beats International, Kirsty McColl, Bizzare Inc, Run DMC, and Mantronix.
His first solo work followed and Chad Jackson’s ’Hear The Drummer Get Wicked’ went straight to the top of charts around the world, No 1 in the UK Dance Charts, No.2 in the UK National Chart.
When MP3 arrived, Chad saw the possibility of a long-lingering death for his beloved vinyl. Ministry Of Sound also saw that possibility, and together they toured the major UK Universities, performing perhaps the first ever computer MP3 mixing demonstrations, in workshops designed to promote the arrival of digital mixing.
This gave Chad a taste for the rewards of education, which has led to his current lecturing positions as a tutor of Music Production, Music Information Technology, DJ Skills & Music Culture at many acclaimed establishments including the Academy Of Contemporary Music in Guildford, and Point Blank Music College in London. Many of his past students are currently having great success in many areas of the industry.
Recent original production projects include ‘Energise’ on Fabric Live – Plump DJs’, ‘Do You Do Voodoo’ on Audio Therapy and ‘Get Your Boogie On’ with Cut La Roc’s Rocstar label.
Also ‘Brake’ and ‘Rock’ on the Acetate label, ‘Nova Symphony’ by Feedback (No 1 Update Buzz Chart) and Drumscape ‘Peptide Bass’ and ‘Transmission’.
He is currently producing a new project, Group Therapy, with old friend DJ Dave Seaman. The first two releases in the bag ‘My Own Worst Enemy’ and ‘Faith Again’ have received widespread DJ acclaim and heavy chart action. 2005 saw a No1 Music Week Club Chart from Dave and Chad (under the Brothers In Rhythm guise), for a remix of Tears For Fears new single ‘Closest Thing To Heaven’.
