A Guy Called Gerald
Manchester, England, United Kingdom | INDIE
Music
The best kept secret in music
Press
This band has no press
Discography
ALBUMS
2010 Tronic Jazz The Berlin Sessions (Laboratory Instinct)
2008 Black Secret Technology Remastered (AGCG)
2006 Proto Acid / The Berlin Sessions (Laboratory Instinct)
2005 To All Things What They Need - AGCG (K7)
2000 Essence - AGCG (K7)
1999 The John Peel Sessions Reissue – AGCG (Strange Fruit)
1995 Black Secret Technology – AGCG (Juicebox)
1992 28 Gun Bad Boy – AGCG (Juicebox)
1989 The John Peel Sessions– AGCG (Strange Fruit)
1989 Automanikk – AGCG (CBS/Sony)
1988 Hot Lemonade – AGCG (Rham)
SINGLES
(As A Guy Called Gerald unless otherwise stated)
2010 Tronic Jazz Vol 4 (Laboratory Instinct)
2010 Tronic Jazz Vol 3 (Laboratory Instinct)
2010 Tronic Jazz Vol 2 (Laboratory Instinct)
2010 Tronic Jazz Vol 1 (Laboratory Instinct)
2008 In Ya Head feat. Mia (Perlon 071)
2007 Proto Acid 2 (Laboratory Instinct)
2007 AGCG / Cassy - Beatstreet 01 (Beatstreet)
2006 Blow Your House Down Remixes (Theory Recordings)
2006 Time To Jack (Sender Records)
2006 Sufistifunk / Robogroove (Sugoi)
2005 Is Man In Danger (Protechshon)
2005 Flo-ride (Sugoi)
2005 First Try (K7)
2000 Humanity Remixes (K7)
2000 Humanity (K7)
2000 Fever (K7)
1998 Radar Systems / Fallen Prince Of Heaven (JB)
1996 The Curse Of Voodoo Ray (Promo Only) (JB)
1996 So Many Dreams Remixes (JB)
1995 Finley’s Rainbow Remixes (JB)
1995 Finley’s Rainbow (JB)
1993 Darker Than I Should Be / Gloc Remix (JB)
1993 Nazinji-Zaka (JB)
1993 Strange Love Remixes – Ricky Rouge (JB)
1993 When You Took My Love – Ricky Rouge (JB)
1993 De Ja Vu / All Over The World – Ricky Rouge (JB)
1993 Satisfaction – Inertia (JB)
1993 I Feel The Magic – The KGB (JB)
1993 The Glok / Ease The Pressure (JB)
1993 Song For Every Man – Ricky Rouge (JB)
1993 Strange Love – Ricky Rouge (JB)
1993 Too Fucked To Dance / Anything V2.1 (JB)
1993 Fragments / Anxiety – Inertia (JB)
1992 Changing / Got A Feeling (JB)
1992 The Musical Magical Midi Machine / Like A Drug (JB)
1992 Ses Makes You Wise / King Of The Jungle (JB)
1992 Cops / 28 Gun Bad Boy (JB)
1992 Digital Bad Boy / A Storm Is Coming (JB)
1991 Disneyband / Anything (JB)
1991 Nowhere To Run - Inertia (Retroactive)
1990 Emotions Electric (JB)
1990 Automanikk (Live Gun Shot Mix) (CBS/Sony)
1990 Automanikk (Bass Overload Mix) (CBS/Sony)
1990 Automanikk (Just 4 U Gordon Mix) (CBS/Sony)
1990 The Peel Sessions EP USA (Strange Fruit)
1989 FX Elevation Mix (CBS/Sony)
1989 FX Mayday Mix (CBS/Sony)
1989 Trip City
1989 The Peel Sessions EP UK (Strange Fruit)
1988 Hot Lemonade Youth Remixes (Rham)
1988 Hot Lemonade (Rham)
1988 Voodoo Ray Remixes UK & Aust (Rham)
1988 Voodoo Ray Remixes USA (Rham)
1988 Voodoo Ray Single (Rham)
1988 Voodoo Ray EP (Rham)
1988 Let Yourself Go – 808 State (Creed)
COLLABORATIONS
808 STATE
2004 New Order Remixes – 808 State (Rephlex)
2004 Prebuild - 808 State (Rephlex)
1989 Newbuild – 808 State (Creed)
1989 Pacific State – 808 State (Creed / ZTT)
HERBIE HANCOCK /BILL LASWELL / AGCG
2001 Black Gravity – from the album Future 2 Future
THE TWO G’$ (A GUY CALLED GERALD AND GOLDIE)
1995 Energy / Reno – The Two G’$ (JB)
US (AGCG/EDWARD BARTON/CHAPTER & THE VERSE)
1988 Born In The North – US (Wooden)
THE HIT SQUAD
1987 Wax on the Melt – The Hit Squad
REMIXES AND PRODUCTION
2006 Flügel + Dell (Infusion Mix)
2003 Roku – Wang (AGCG Mix)
2002 Clint Mansell – Body & Fear (AGCG Remix)
Requiem For a Dream Soundtrack
2002 Audrey Hannah – Liquid Touch (AGCG Remix)
2000 DJ Spooky Vs The Freight Elevator Quartet –
File Under Futurism (AGCG Jungle Mix)
2000 DJ Spooky Vs The Freight Elevator Quartet –
File Under Futurism (AGCG Ambient Mix)
2000 Finley Quaye – Spiritualized (AGCG/Finley Quaye Remix)
1998 Wunmi – What A See (AGCG Remix)
1997 Finley Quaye – Sunday Shining
1997 Finley Quaye – Even After All (AGCG Remix)
1997 Can – Tango Whiskeyman (AGCG Mix)
1997 David Bowie – Telling Lies (Paradox Mix)
1997 Finley Quaye – Lover A Need I (Sony Walkman Mix)
1997 Tricky – Piano (The Green Stinky Mix)
1997 Cath Coffey – Tell Me (AGCG Classified Mix)
1997 Cath Coffey – Tell Me (AGCG Instrumental Mix)
1997 Espiritu – You Send Me (Co-produced & Written by AGCG)
1997 Tamsin – Go Higher (Junkie Remix by AGCG)
1996 David Bowie Vs A Guy Called Gerald Vs Adam F
Telling Lies (AGCG Mix)
1995 Lamb – Cotton Wool (AGCG Mix)
1995 D*Note – Criminal Justice (AGCG Remix)
1995 Lamb – Cotton Wool (Erogenous Mix)
1995 The Orb – Oxbow Lakes (Everglade Mix)
1995 Flora Purim – What You See (Ghost Of Flora’s Dream)
1994 Project X - The Summit (AGCG Jungle Remix)
1993 Jane – It’s A Fine Day
1992 Indo Aminata – Love Will Be On Your Side (AGCG H17 Mix)
1992 Taste Of Paradise – Reach Out
1990 Turntable Orchestra – You’re Gonna Miss Me (Funky Sax Mix)
1990 Turntable Orchestra – You’re Gonna Miss Me (Mangous Ye Mix)
1990 My Jealous God –Everything About You (The Knowledge AGCG
Remix)
1990 Black Uhuru – Reggae Rock (Amazone Mix)
1990 Black Uhuru – Reggae Rock (Am
Photos
Feeling a bit camera shy
Bio
One of Manchester’s finest, most respective, innovative and forward thinking home-grown techno producers, A Guy Called Gerald’s fame spread outwards from global 88 hit he will never escape “Voodoo Ray”, arguably the first British house record to simulate and soundtrack the atmosphere of that period at The Hacienda.
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”, Voodoo Ray was the record that was to take him out of his day job at McDonald’s in Market Street 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, 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 which he still employs in his studio work today.
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. Like many diverse talented, self willed artists Gerald’s major label experience was not good as the label leaned on him for another pop hit while his interests remained with the underground and his music was never going to fit into their system. Beginning his excursion into breakbeat with 1991’s “28 Gun Bad Boy” on his Juicebox imprint, Gerald became one of the prime movers on the late rave and emerging jungle scene in the early 90’s, breaking his mate Finley Quaye’s career with “Finley’s Rainbow” and setting the blueprint for the emerging sound with 95’s seminal album “Black Secret Technology” which when reissued in 2008, proved that it still sounds as groundbreaking today as it did then.
Moving to New York in 1997 and recording albums 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” (his eighth studio album released in 2010), both part of the The Berlin Sessions series, showcases his production skills and class, 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 relatively enviable 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 and excellence and refusal to plough anyone’s furrow but his own which has marked him out, ever since the early days.
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