Black music record stores have always been more than just places to buy records. These spaces became lifelines for communities, cultural hubs where people gathered, shared stories and connected over a shared passion for music.
From the early days of the Windrush generation to the present, these stores have been a vital part of the Black cultural experience. For many, they were crucial in shaping not just their musical tastes, but their sense of identity and belonging.
I am part of a new research project, The Record Store and Black Music: A UK History, which is aiming to shine a spotlight on this legacy by documenting the untold stories of Black record stores across the UK to preserve them for future generations. Through oral histories, films and photos, we are capturing the vibrant world that flourished within these stores.
“I don’t know how, especially as Black Caribbean people, we’d have survived in England if we hadn’t had music,” Claude Hendrickson, founder of the Chapeltown Youth Association Leeds, told us. His words emphasised how deeply intertwined these spaces are with the community’s survival and cultural resistance.
For many Black people, these stores transcended their commercial nature to offer a sense of belonging, a space where you could learn about new artists, hear the latest sounds and connect with kindred spirits. As British DJ and presenter Trevor Nelson told us: “the first community I had in music was in a record shop”. He remembered how important those early interactions with his first music community were, building connections that would shape his career.
What made these stores even more unique was their ability to foster a network of collaboration. Record shops weren’t just about selling music; they were about creating it, too. Artists, DJs, promoters, radio stations and music journalists used these spaces as meeting points to exchange ideas, feedback and be inspired.
As David Rodigan, a legendary figure in UK radio and reggae aficionado, explained to us: “The whole business of going to a record shop was very much an advent of gathering like-minded souls.”
The original taste-makers
Before the age of streaming, record stores were an essential part of how music moved and evolved. Long before algorithms suggested new tracks, the person behind the counter was the original taste-maker – someone who knew their music and their community and could help shape what you listened to next.
In this way record stores didn’t just reflect musical trends – they helped create them. For example, shops that catered to soul, R&B, reggae, jungle, drum ‘n’ bass, UK garage, dub, hip-hop, and other Black music genres played an instrumental role in shaping the UK’s music charts. They guided the preferences of their customers and, by extension, the nation.
In an era when mainstream radio and major record labels often ignored Black music, these stores provided a crucial alternative. They were the places where artists got their start and where word of mouth helped build careers.
In doing so, these stores became the heart of a cottage industry that supported independent artists and labels, allowing Black people to thrive in an industry that wasn’t always welcoming or accessible.
Our project doesn’t just celebrate the past – it also asks what these spaces mean in today’s world. Although record shops aren’t as ubiquitous as they once were, their impact on the cultural landscape remains undeniable. By documenting these stories, we ensure that the contribution of Black music stores isn’t forgotten but rather remains an integral part of the UK’s cultural heritage.
As we continue to explore and document their history, we are reminded of their immense contribution – not only to the music industry but to the very fabric of British cultural life.
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Developed by 2Funky Arts, this research project was made possible by the National Lottery Heritage Fund and will include the release of a documentary, book, educational resource, podcast and website. Visit https://theblackmusicrecordshop.co.uk/ to learn more.
This article was originally published on The Conversation. Read the original article.
