One of Manchester’s finest, most respective, innovative and forward thinking home-grown techno producers, A Guy Called Gerald’s fame spread outwards from the global 88 hit that he’ll never escape, ‘Voodoo Ray’, arguably the first British house record to simulate and soundtrack the atmosphere of that period at The Hacienda. The producer was born in Moss Side, raised in the Spin Inn and given his stage name by Stu Allen, who used to play his tapes on his massively influential Sunday night radio show, “This one’s by......a guy called......Gerald”, and ‘Voodoo Ray’ was the record that was to take him out of his day job at McDonald’s and into the career that has taken him all over the world and lasted some 23 years. Well-travelled and much in demand across the US, South America, Europe, The Far East and from his present base in the European techno capital Berlin, A Guy Called Gerald’s production career began when he decided to leave DJing behind in the mid-80’s, working on cheap analogue synths and drum machines. From the springboard which was that record, supported and played to death by Radio One’s John Peel for whom Gerald recorded a Peel Session in 1990, Gerald’s album career began with “Hot Lemonade” and then signing to Sony Music with Automannik, whose lead single ‘FX’ was remixed by one of Gerald’s then heroes, Derrick May. Moving to New York in 1997 and recording albums ‘Essence’ and ‘To All Things What They Need’ for Berlin’s immensely respected Studio !K7 label, Gerald returned to the UK in the aftermath of September 11, living in London for a couple of years before decamping to Berlin, where he continues to be based, immersed in the city’s techno scene and vibes. His two most recent albums, ‘Proto Acid’ and ‘Tronic Jazz’, both part of the ‘The Berlin Sessions’ series, showcase his production skills and class, and have shown his development as a complete artist on par with the early legends that inspired him and the likes of Underground Resistance. Still much in demand for the classier, hipper and more knowing festivals and clubs, Gerald now appears ‘Live in Session’ at events, improvising on the spot between two laptops and keyboards, showcasing all his own productions and remixes of classics. Although his remixes are also in-demand, including the likes of David Bowie, Cabaret Voltaire, Black Uhuru, Finley Quaye, Lamb, Tricky, D:Note and The Stone Roses’ ‘Fools Gold’, it is Gerald’s own productions, his consistent innovation, excellence and refusal to plough anyone’s furrow but his own which have marked him out ever since the early days.
A Guy Called Gerald’s