A Guy Called Gerald

Gerald Rydel Simpson, known as A Guy Called Gerald, was born on February 16, 1967. His early life in Moss Side, Manchester, exposed him to Jamaican roots music, including blue beat, ska, and Trojan reggae from his father’s record collection, and Pentecostal church sessions from his mother. He also absorbed jazz fusion and electro funk at local clubs and shebeens. These influences, combined with the emerging sounds of electro and early hip hop from Detroit and Chicago, shaped his musical direction. Simpson’s initial foray into music involved experimenting with tape editing and drum machines, which led to the formation of Scratchbeat Masters and later, a significant role in the electronic group 808 State.

Simpson co-founded 808 State and contributed to their debut LP “Newbuild” (1988) and the hit single “Pacific State” (1989). However, he soon left the group to focus on solo work. His solo efforts led to the creation of “Voodoo Ray” (1988), an acid house track that became a touchstone of Manchester’s acid house scene and reached No. 12 in the UK charts. After signing with Sony Music, he released the albums “Hot Lemonade” (1989) and “Automanikk” (1990). In 1991, Simpson established his independent label, Juice Box Records, which became instrumental in the development of jungle and drum and bass music. The label released his third album, “28 Gun Bad Boy” (1992), acknowledged as potentially the first full-length jungle album. His 1995 album, “Black Secret Technology,” further solidified his influence in the genre, reaching number 64 in the UK Albums Chart. After Juice Box Records closed in 1998, Simpson relocated to New York, continuing to release music, including the more ambient album “Essence” (2000) on !K7 Records, and subsequently a series of “Berlin Sessions” albums and “Silent Sound Spread Spectrum” (2013) with Bowers & Wilkins.

Throughout his career, Simpson has consistently pushed boundaries in electronic music production, demonstrating an early aptitude for manipulating electronic instruments and eschewing conventional approaches. He has collaborated with various artists, including Graham Massey, Goldie, Finley Quaye, and Herbie Hancock. His work has been recognized for its innovative use of samplers and drum machines, and he has often emphasized the emotional potential within electronic music. Simpson remains active, exploring new methods of music creation and performing live, maintaining his reputation as a visionary in the electronic dance music landscape and stressing the importance of protecting intellectual property for artists.