“He told me he could sing,” sighed producer Trevor Horn when I interviewed him last year. ![]() And McLaren was completely deficient in the latter. ![]() But ideas are one thing, and discernible musical talent is another entirely. When Weltman went to Charisma Records in 1982 – best known for being home to Genesis – he signed McLaren without the latter having done a note of music. In 1981, he had pitched Steve Weltman of RCA some intriguing, if confused, ideas: Appalachian square dances, the South American and Caribbean music he’d discovered on a scholarly 1958 album called The Dances of the World’s Peoples (Vol 3), while browsing the record library at the Pompidou Centre in Paris, plus something about a club he had visited in New York where people span on their heads while listening to “DJs who use record players like instruments … moving the needle manually backwards and forwards”, which he kept insisting was the new punk rock.
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