In an era when the vibrant beats of the 1980s gay porn scene are resurfacing, a poignant collection of music from James Allan Taylor, affectionately known as Spider, shines a light on the contributions of artists who were tragically lost to the AIDS crisis. With the recent release of *Surge Studio Music*, Taylor’s work is being celebrated anew, offering a bittersweet reminder of the creativity that flourished during a turbulent time.
A Meeting of Soulmates
Michael Ely vividly recalls the moment he met Taylor, a serendipitous encounter at a gay bar in Sunset Beach, California. Both had arrived with false identification and an eagerness to explore their identities. “I was only 18 but I knew I had just met my soulmate,” Ely reflects. Their bond lasted until 2015, when Taylor succumbed to liver cancer. The recent unveiling of *Surge Studio Music* not only revives Taylor’s musical legacy but also highlights a niche genre that many, including Ely, had forgotten existed. “I was stunned to discover there’s a fanbase for 80s gay porn music,” Ely admits, laughing at the memory of finding the old cassette tapes tucked away in a closet.
Unearthing Hidden Gems
Josh Cheon, the visionary behind San Francisco’s Dark Entries record label, is on a mission to resurrect the sounds of forgotten gay artists, many of whom fell victim to AIDS-related illnesses. His label has previously released compilations featuring the likes of Patrick Cowley and Man Parrish, and now celebrates Taylor’s contributions alongside the newly released collection *Deep Entries: Gay Electronic Excursions 1979-1985*. “For 16 years, I’ve been trying to amplify this underground gay music scene,” Cheon explains. “Much of this work has been erased or discarded over the years, and it’s time to bring it back into the spotlight.”
The proceeds from these releases often benefit AIDS charities, a testament to the ongoing impact of the epidemic on the community. Cheon shares a humorous yet sobering anecdote about Man Parrish’s early compensation for his work—“Oh, I think I got $50 and a blowjob,” he chuckles. “Which he then spent on drugs.” This rich yet complicated history is part of what makes these soundtracks so significant.
The Sound of a Generation
Taylor’s early work emerged from the creative chaos of a Los Angeles glory hole club, Basic Plumbing, where he collaborated with Al Parker and Steve Scott of Surge Studios. The trio produced soundtracks for a series of adult films, crafting music that was both atmospheric and innovative. “Al and Steve were known for sourcing original material, but they also borrowed from big names like Brian Eno and The Human League,” Cheon notes. “They would manipulate these tracks into something entirely new.” Taylor’s compositions, marked by moody synths and textures, were often seen as simply a means to support his and Ely’s artistic pursuits.
However, the couple’s journey through the vibrant underground music scene was not without hardship. Ely recalls the challenges they faced as an openly gay couple in a world still rife with hostility. “We encountered a lot of really terrible things,” he says, recounting a particularly harrowing incident involving their beloved pet. Despite the adversity, they thrived in a community that celebrated diversity and creativity—until the AIDS epidemic began to take its toll.
The Aftermath of Loss
Ely’s memories of the 1980s are tinged with both joy and tragedy. “One moment it was a little blip, something we heard was going on in San Francisco. The next, friends of friends were dying, and then our friends were gone,” he recalls, the weight of those losses evident in his voice. The couple eventually relocated to Arizona, seeking solace from the ghosts of their past in Los Angeles. “We lost so many friends; it changed us. We didn’t want to be in LA anymore. There were too many reminders of those we had lost.”
The recent releases from Dark Entries, including *Fallen Angel* by Brandy Dalton—a collection of soundtracks from an acclaimed series of gay porn films—serve as powerful tributes to the resilience of these artists. Dalton, who passed away from an AIDS-related illness in 2006, had roots in the experimental edge of the gay community, creating music that pushed boundaries. “It’s so nice to have Brandy’s work out in the world again,” shares Dalton’s bandmate John Munt. “He continued to make music even as AIDS ravaged his life.”
Why it Matters
The revival of these soundtracks is more than a nostalgic journey through a forgotten era; it is a vital recognition of the artists who shaped the soundscape of a generation. By bringing their work back into the public consciousness, labels like Dark Entries are not only celebrating creativity but also preserving the cultural history of a community that endured immense suffering. As Ely poignantly states, the music is a lasting tribute to Spider: “I want people to remember him. I want people to hear his music. It’s the least I can do for him.” In this way, the legacy of these lost artists continues to resonate, reminding us of their indelible impact on both music and culture.
