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Above:
During the late 70's WCPC in San Diego, CA
was an innovative discotheque
breaking in much of the disco music of that period. |
It
was the dance music that fascinated me during my first visit
to a discotheque in the mid-seventies. The control that each
song would create on the dance floor was phenomenal. I was
fortunate enough to become acquainted with the disco mix by
hearing one of the most talented and imaginative disc-jockeys
in San Diego during this period, Mr. Ben Tobias. Tobias did
not allow the dancers to sense any familiarity in his program.
There was always a creative flow to his mixes. It was from
his influence that I developed my ever changing format and
aptitude to blend the appropriate selections.
Becoming
familiar with the music was not a difficult task. During
this period the music was creative, experimental, and definitely
fun to dance to. I quickly became a devout collector of
dance/disco music. Always referring to various play lists
and charts compiled from the hottest clubs in New York,
Los Angeles and Chicago.
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became a habit to buy every title I could get my hands on.
Unfortunately, at this time my collection was reserved to
a garage every Friday and Saturday night where I spent focused
and determined time studying the mix process and developing
a style of my own. It was throughout this period that I yearned
for the response from a real club dance floor. I accepted
many jobs as a mobile disc jockey spinning at disco house
parties. This gave me my first exposure and feedback. I immediately
adapted to the needs of the dancers and or cocktail groupies
who were always at the top of my list along with the
intent of framing the atmosphere with my music. |
Right: Glenn Rivera and hi-nrg diva,
Mary Griffin |
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A
few years later, at the age of nineteen, I obtained my first
club position at The Brass Rail in Hillcrest. There I was tailored
for any dance floor; unlike the many large clubs of the time
(ex. West Coast Production Company, Barbary Coast, etc.) The
Rail had a clientele which was the formation of circulating
partiers traveling to and from various clubs outside the area
to reach another "party light". This crowd was diversified
and demanded to hear almost everything and anything that was
happening. In addition to the regulars at The Rail who were
accustomed to hearing many standard dance classics such as "Bad
Girls" , "Take Me Home" or "Funkytown".
I developed quite a crafty mix process using my ability to travel
from various BPM levels as well as the now diversifying dance
music sound of the early eighties.
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Since this period, I have traveled to
San Francisco where I played at The End Up, and also Los
Angeles where I also acquired turntable wear at clubs such as
The Apache, Job-Site, The Spike, Probe, and Rafters. After
returning to San Diego in the mid-eighties I returned to The
Brass Rail and also worked nights at The Monastery/West Coast
Production Company, Rich's(DiscoRama on Wednesday nights) and
also The Grande On Garnet. I enjoy working in the club
atmosphere and spend most afternoons preparing a program for
that evening. I have always relayed on my large collection of
classic boogie, disco, funk, early morning, high energy, etc.
music to back-up the requirements that may become necessary in
the event of sudden gear changes in any club atmosphere.
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