Walter Gibbons was not your average DJ. While most DJs in the disco era were known for their flamboyance and attitude, Gibbons was the opposite: He was diminutive and shy, with his hair parted conservatively, and he sported a mustache that looked fake.
He didn't look like a superstar of New York City's gay dance culture-- he looked like Lee Hazlewood's ugly doppelganger. Likewise, Galaxy 21, the nightclub that acted as Gibbons' primary residency in the mids, was not like most other disco nightclubs-- it was more like a mini mall for libertines.
It was located in two adjoining brownstones on 23rd Street, right near the Chelsea Hotel; the dance floor ran the length of both buildings, with Gibbons imparting his soulful, quirky music from a cramped booth in the back. There was also a restaurant above Gibbons' sweaty church, as well as a lounge, a cabaret in the penthouse, and an X-rated movie theater.
You could eat dinner, take in a show, go dancing, get worked up to porn, and fuck-- all in one building. Gibbons' DJ style was noteworthy for its innovation and skill.
He would put two copies of a record on the turntables and cut back and forth between them to extend the song live. He also had unusual musical taste, spinning fragments from something like The Wizard of Oz soundtrack alongside songs by Jermaine Jackson.
Advanced Search. Track Listing - Disc 1. Ten Percent. Block Party. Catch Me on the Rebound. Just as Long as I Got You. It's Good for the Soul. Vince Montana. Let No Man Put Asunder. Cheaters Never Win. Bunny Sigler. Track Listing - Disc 2. Nice 'N' Nasty. Hit and Run. My Love Is Free. As Long as You Love Me. I Can't Turn You Loose. Law and Order. Ice Cold Love. Where Will It End. Track Listing - Disc 3. Sign in to rate or review. Barcode More by Various Artists. Walter Gibbons was a true "Native New Yorker.
By 18 Walter was plugged into the emerging gay nightlife scene and he became one of disco's earliest DJs. The club was a cavernous affair created out of two brownstone town houses merged together. The club was an a pot pourri of black, latino, gay, whites and straights, all joined in Walter's tribal percussive symphonies played out with religious fervour.
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