Name: Hello Everyone by Asha Puthli in fnk - part 2
Duration: 3 min 4 s
Description: This track is from the album The Devil is Loose and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/puthli1

fnk - part 2

This track is from the album The Devil is Loose and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/puthli1

Hello Everyone

Tracklist - Collective Groove (Hour 1)

Sould Out & The Funk District – Love 2 Dub U [Self Released]
Sould Out – Bassline Fever [Self Released]
Sould Out – Electric Forest [Tropical Disco Records]
Never Dull – Just Feel Good [Self Released]
Delfonic & Kapote – Lazy Rejam [Self Released]
The Magic Track – Suriname Life [Furious Mandrill]
Tuesday Brunch – Back Together [Spinning Around]
Risk Assessment – Highly Addictive [Tropical Disco Records]
Hotmood – Electric Jungle [DOBRO]
Lup Ino – Love Change My Life [Yesenia]
Jazz Mango - Juicy Life [Hive Label]
Pete Maxey – Right On (Art Of Tones Remix) [The Disco Express]
Scruscru, Iner – Three Gigs Night [DOBRO]
John Dean – Show Me A Witness (Mr Doris D-Funk Remix) [Ghetto Disco Records]

Tracklist - Mr Doris (Hour 2)

Voodoo Disco - Chewy Rubs
Talkin Bout Life - Aroop Roy
Back In ‘95 (Fingerman’s Nude Disco remix) - Toby O’Connor
Any Time - Michael The Lion
Las Salles Arc-en-Ciel - We Should Hang Out More
Over (De Gama Re-Built) - AlexNy
The Nebroni (Phil Weeks Remix) - Jerk Boy
Booged Out (Julien Sanza remix) - Phunktastike
Time (Koko Paradisco re-edit) - Light Of The World
Hustle Do Brasil - Aroop Roy
Boogie Bones - Las Inferno
Disco Permanente - Soul Of Hex
Good, Good Feeling (Agent 86 Booster) - WAR
Ultimate Funk - Bob Sinclar 
Balandra - Lex & Locke
Your Love Is True - Nebraska

Soundcloud: @mrdoris
Bandcamp: https://mrdoris.bandcamp.com
Traxsource: www.traxsource.com/artist/306281/mr-doris
Insta: instagram.com/mr_doris
Facebook: www.facebook.com/mrdoris

Mr Doris on That Disco Groove Radio Show 028

This is part of the opening set from a party we threw back in 2006. Special guests for the evening were the Inland Knights from Nottingham UK. This set is a tag session all the way through. Enjoi. :]

Craig n' Joe.. Opening set for Inland Knights 7-20-06 @ MINC, Dallas, TX

When it comes to disco, Dimitri From Paris @dfp is somewhat of an authority. An expert selector and connoisseur, the ‘gentleman DJ’ understands the history of the music that he plays and that he’s playing it for a new generation altogether. He’s been instrumental in the establishment of popular disco nights such as his own XOYO in London, while his remixes of disco classics have been burning up dancefloors across the world. About to headline a show for Mark Knight’s Toolroom at Studio 338 this week, we sat down to chat with the dance music icon about his history, his work, and about why disco will always endure.

Follow Dimitri From Paris:
IG https://www.instagram.com/dimitrifromparisofficial/?hl=en
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TW https://mobile.twitter.com/dimitriparis

Follow The Playground:
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Let's Start To Dance Again (Dimitri From Paris Remix)

TP Podcast #104: Dimitri From Paris

This came together and felt like my original 10 Maikol mixes, with a collection of groovy emotional indie dance favorites, new and old! So it felt appropriate to keep my old logo for one last time, which I have used for a decade now...I hope you feel nostalgic while also discover some new jams when listening to this mix!

Unknown Album

Maikol's Suave Mix

09. The Dude (Rayko re-edit)

An excerpt of a four hour mix played live at Bigfoot West in Los Angeles 1/12/24

Live @ Bigfoot West (LA) 1/12/24

Wah Wah 45s are proud to present the second single on the label from a very special new artist, Léa Mondo.

Hailing originally from the Democratic Republic of the Congo, by way of Wigan, and now settled in North London, this young singer-songwriter and guitarist enjoys a plethora of eclectic influences. Léa’s musical output is a smorgasbord of experimental styles fusing aspects of soul, high life, bossa-nova, jazz and reggae. Drawing inspiration from reggae icon Bob Marley, and Malian artists such as Fatoumata Diawara and Rokia Traorè, as well as Nigerian born UK soul superstar Sade, her music largely talks about life, love, peace and freedom while reflecting on the state of the world.

Vices is a song about Lea’s personal struggles. The singer’s lyrics explore the highs and lows of personal addictions and her history of poor relationship choices. Drawing influences from Red Hot Chilli Peppers (Californication) drums and arrangements, the melody of the tune is curated in a way to take the listener on a journey that leads to a climax to convey the feeling one feels when they’re coming up, to eventual peak.

Léa and her band recorded the song live at That Sound Studio, Tottenham with producer Louis Auneau and engineer Bar Huss. The band consists of Jasmine Burton (Bass), Alex Karakurt (Drums), Tawanda Manika (Guitar), Olivia Cuttill (Trumpet), Max Rodriguez (Rhythm Guitar) and Léa herself providing lyrics, vocals, guitar, arrangements and co-producing the track.

Since 2021, Léa has been somewhat prolific on the London live music scene, co-founding famed female & non-binary improv session Peng Femme Jam, and sharing stages with our very own Afrobeat Ambassador Dele Sosimi and Afla Sackey’s Afrik Bawantu project. 
credits
released January 19, 2024

Léa Mondo - lyrics, vocals, guitar, arrangements, co-production
Jasmine Burton- Bass
Alex Karakurt - Drums
Tawanda Manika - Guitar
Olivia Cuttill - Trumpet
Max Rodriguez - guitar
Louis Auneau - Producer
Bar Huss - Engineer
Studio - That Sound studio
license

Léa Mondo - Vices

Marquis Hawkes - Let's Do It

I Can Tell - Yung Bae

Time Today

To tie-in with my 200th blog post, this was the last mix I ever tape edited, putting it together on my original Revox B77 reel-to-reel, which I’d bought 14 years earlier, back in 1982. See the post with accompanying images at the blog:
http://www.gregwilson.co.uk/2012/11/the-monastic-mix/ 

THE MONASTIC MIX:
‘The Monastic Mix’ was very much a labour of love, gradually assembled in stages, as I bounced between reel-to-reel and DAT in order to add further textures. I did it in collaboration with a young DJ from Liverpool, Matt Shannon, who was into the Trip Hop / D’n’B vibes of the time, which I really liked myself, but didn’t have any of the records (I was, as you might say, on the bones of my arse brassic back then, so I wasn’t in the position to be buying anything other than the bare essentials). We fused Matt’s tunes with mainly older stuff from my own collection for the mix, which appeared on one side of a free cassette that was given away to everyone who attended the launch of 'The Monastery', an experimental monthly club night on Merseyside (plus a couple of Wednesday specials at London's 'Mars Bar' in conjunction with Microdot, the design company ran by Brian Cannon). We made things particularly difficult for ourselves, holding the night on a Sunday, and choosing an off the beaten track venue, Stairways, a Birkenhead Rock club, to which we bussed people through the Mersey Tunnel from Liverpool, as well as attracting others from The Wirral. However, despite all the drawbacks, we somehow managed to keep things afloat for the best part of a year, enjoying some great memories and much musical mayhem along the way.

‘The Monastery’ brought together a collective of DJ’s and musicians who were largely disillusioned with the local dance scene - Derek Kaye, Bernie Connor, DJ Trix, Phil Jones, Desa, Girls On Top, Phil Melia, Kerry Harrison, Ciaron Bell, Matt and myself all played our parts, doing it for the love rather than money, with Martin O’Shea (who, as it would work out, went on to manage the successful girl group, Atomic Kitten) promoting the nights. The basic premise was that we didn't go down the four-on-the-floor path, as this was being played pretty much everywhere else at the time, concentrating instead on groove-based music from the 60's to the 90's.  

Featuring Soul, Funk, Electro-Funk, Hip Hop, Indie-Dance, Trip Hop, Drum & Bass and more, ‘The Monastic Mix’ became cult listening for many of the people who got hold of the cassette, although I’m sure that others found it a bit too eclectic for the time and never gave it a second hearing. I’ve been told that it’s quite a demanding mix to listen to, dark in places and somewhat ‘druggy’ (‘one for the heads’ being a comment made about it back then). 

It’s close to my heart because it reflects my state of mind at the time it was made, which was pretty turbulent. Since my production work had ground to a halt a few years earlier, I was very much in no man’s land, completely detached from the music scene and with no means of expressing myself. I was still totally illiterate as far as computers were concerned and I remember feeling old and out of touch. There were moments when I wanted nothing more to do with the music industry, being punch drunk from the knocks I’d taken during recent years, but, having never had a ‘proper job’ in my life, I was pretty much in a catch 22 situation. I had no money and no prospects, life was passing me by and I was more or less washed out creatively. Suffice to say it was a very bleak period for me.

It was during this time that my friends, seeing how much I was struggling, were urging me to get back into deejaying, telling me that I could make good money by trading on my reputation of old. However, there was a big catch, which was that I’d have to decide what area of dance music to specialise in, which was an alien concept for me, having made my name playing the best of a whole range of styles, rather than just one narrow area. Thankfully (and I can only say this with hindsight) I resisted the temptation to take this option, which would have amounted to selling my DJ soul for a quick cash-in.

The idea behind The Monastery was planted in my mind by my friend, Kermit, who, following on from the Rap Assassins, had hooked-up with former Happy Mondays mainman Shaun Ryder to form the band Black Grape.  Just before they were about to do the final mixes on their debut album, ‘It’s Great When You’re Straight…Yeah’ (which would subsequently top the British charts), Kermit came to see me in Liverpool with a cassette of all their tracks. I was blown away with what they’d come up with, but it also served to highlight my own shortfallings. I commented that he’d done so much while I’d been wasting away at home doing nothing, but he told me that the time I was spending, in relative seclusion, with my music, books and videos, would prove to be time well spent. He likened my existence to being in a monastery – a comment that very much resonated within me and somehow gave me renewed hope for the future.

The following year, when the idea of a putting together a club night was put to me, I suggested it should be called The Monastery, with the music policy and presentation completely unlike anything else that was happening, combining DJ’s with live musicians. When it came to putting the mix together, I wanted to reference as many of my musical influences as I could, even if it only be a tiny snippet. I managed to cram a lot of them in and I can guarantee that, even after numerous plays, you’ll still recognise new elements hidden away in there. There’s a lot of stuff going on in the detail and, listening back to it later down the line, I became aware of a definite autobiographical slant that didn’t seem so obvious then, reflecting the struggle and soul searching that summed up my life at the point it was made. A mix will, obviously, always have something of yourself within it, but this is undoubtedly more personally revealing than anything else I’ve done – there’s some kind of twisted narrative in there, and I can hear me talking to myself via some of the samples I chose (for example, when you hear the words ‘does anyone remember who I am?’, I really meant it, trapped in obscurity as I was). Even the discordant parts, the bits that jar with me now, show me exactly where my head was at.

It was an important personal step for me, and I thank Matt Shannon for what he brought to the table – I didn’t have all the ingredients myself, and he was also pretty handy on the decks, so Matt was, of course, key to this. He no doubt reads it in a different way to me, but I know it has its own special symbolism for him, especially given he never followed the DJ route, and instead carved out a rewarding career working in the computer, rather than in club realm. 

‘The Monastic Mix’ very much informed what I did later, especially the Teenage DJ project, which built on that autobiographical slant I’d stumbled across. It’s echoes can also be heard via my use of samples in a live context - people who know my mixes from more recent times will, no doubt, recognise many of the samples I’ve subsequently used, which are spun from the same tape, but in a different context – from another time and place.

I think it’s a mix that’s most conducive to a chilled-out environment (and state of mind). I might have given the impression that it’s pretty heavy-going, but you’ll find lots of familiar stuff throughout (it makes for a great game of spot the sample) and I’m sure it’ll raise a smile, and perhaps even the spirit, here and there. 

Greg Wilson - November 2012

THE MONASTIC MIX (by greg wilson and matt shannon for the monastery 1996)

She's a Happy Face in a Crowded Place - Yung Bae

Sunshine - Yung Bae

original c90 tape recordered live at Cap Creus in Imola in 1994, the Cap Creus was a very big club, in order to understand was a real discoteque , every friday it was crowded with more than 1000 people dancing on a real dancefloor all night long without fear of 80-90bpm, it was magic ! pure club culture!

Ltj live at Cap Creus, Imola 1994

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Tough times for musicians, DJs. I had my last DJ gig on march 9th! You can make it possible for me to survive (and continue to do what I do...) in these crazy times by helping out with a little coffee-money on ko-fi

This mix was a guestmix for the great @discoholicsanonymous radio show "Hot To The Touch".

Hello Everyone

Asha Puthli

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