Name: Live at Shoom December 2012 by Bushwacka! in dance
Duration: 2 h 5 min 43 s
Description: Here is my set from the legendary Shoom 25 year anniversary party... Acid House all the way, with special edits, and a couple of modern twists added. :) Enjoy!

dance

SOUL FOOD – THE BROAD CHURCH OF NORTHERN SOUL
This podcast accompanies a blog piece ‘Northern Renaissance’, which simultaneously went online. Below is an excerpt; you can read the full piece here: 
https://blog.gregwilson.co.uk/2013/11/northern-renaissance/

As I hope this piece will illustrate, Northern Soul back in the 70’s was a much broader church than many might imagine. Whilst the stompers were central to the scene, especially when Wigan Casino was at its peak, not everything ran at breakneck pace as is often suggested, the movement encompassed a whole spectrum of styles and tempos. The scene was notoriously very snobbish about its music, dropping a previously loved record like a hot potato because it had subsequently achieved commercial success, although it was this fervent elitism that played a major part in its success and longevity. It’s also the reason why a track many might consider to be as Northern as they come, like Jackie Wilson’s ‘(Your Love Keeps Lifting Me) Higher And Higher’ (a Detroit artist doing an uptempo dance track with Funk Brothers backing) isn’t Northern Soul according to those at the cutting-edge of the scene, despite the fact it was a big favourite in the Soul clubs following its 1967 release. It’s sin was that it became a UK hit in 1969, just before the Northern scene got into its stride, so, along with a whole heap of Tamla Motown tunes that are Northern in everything bar their success in connecting with the masses, it was banished to the realm of pop. This is why another famous Jackie Wilson track, ‘I Get The Sweetest Feeling’, this time a 1968 recording, which, on the surface, given it’s much mellower vibe, is far less stereotypically Northern than ‘Higher And Higher’, is, in contrast, considered a bone fide Northern classic – the reason being that ‘I Get The Sweetest Feeling’ didn’t become a hit until 1972, having broken out of the Northern scene, then in full swing.

So, with the various aspects considered, I’ve put together an epic 3 hour 20 minute podcast selection of records that I hope will reflect Northern Soul in its wider context, from the nailed on classics to those with more nominal status. What can’t be disputed is that each and every track included has been played, at least somewhere at one point or another, under the Northern Soul banner. There are 70 tracks in all, with just 2 artists with more than 1 inclusion, the aforementioned Jackie Wilson and the great, but tragic songstress Linda Jones (3, if you count Frankie Valli, here both solo and with the Four Seasons). The idea to put this together grew out of a CD compilation I made for myself back in the 00’s to listen to whilst I was driving, which I called ‘Soul Food’, and the intention is for it to act as solid introduction for those wanting to hear what Northern Soul was all about, in all its diverse glory, whilst I’d like to think it will also evoke fond memories for those who were there at the time. The fact I wasn’t a part of the scene has hopefully allowed me to approach this selection in a more objective way than someone embroiled within it, who may not be able to resist the inclination to pack it with tracks nobody else, apart from other ultra-obsessives may know, or who might want to brush a few of the inclusions under the ‘you had to be there at the time’, carpet. Consider this, if you will, a beginners guide, of which I love all of the selections, each in its own way - just wonderful wonderful uplifting music.

Greg Wilson – November 2013

SOUL FOOD - THE BROAD CHURCH OF NORTHERN SOUL (greg wilson selection)

For the full tracklisting, head here: https://www.complex.com/music/complex-sessions-071-jon-dasilva

Complex Sessions 071: Jon DaSilva

The 4th mix in the series documenting the life and times of back to basics club in Leeds.

Full tracklisting and blog piece here 

http://www.ralphlawson.co.uk/blog/2015/11/17/back-to-basics-the-mint-club-years-1998-2002

back to basics // The Mint Club Years // 1998-2002

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Thanks for the share on this one! You know who you are! :D

Buy on Discogs

211 - Kerri Chandler - Mix The Vibe 'Kaoz on King Street (1997)

MUSIC IS BETTER RE-EDITED HIGHLIGHTS 20.12.03
Related blog post here:
http://www.gregwilson.co.uk/2011/09/music-is-better-re-edited-highlights 

When I upgraded my SoundCloud account it was with the intention of adding selected mixes from the period 2003-2009, bringing everything under one roof by placing them alongside the ongoing additions that have been continually made available since I uploaded the first of my SoundCloud mixes, recorded at Café Mambo in Ibiza exactly 2 years ago today (27.09.09). So it’s fitting that Music Is Better Re-Edited Highlights, the mix that marked my return to the DJ world, should kick off this process, with further uploads to be added periodically.

The following piece was written in 2004, some months after the Music Is Better mix had been made available as a limited CD via Manchester's Piccadilly Records.

MUSIC IS BETTER RE-EDITED HIGHLIGHTS:
Last December, twenty years on from when I stopped deejaying professionally, I came out of retirement, so to speak, and made what seemed like, as I described it at the time, a ‘second debut’ (my first being way back in 1975). In the two decades that have passed since I decided to call it a day, I’ve made the odd guest appearance here and there, but had no inclination to seriously start up again.

That all changed during 2003, with the launch of the electrofunkroots.co.uk  website, which I’d set up to document the crucial early 80’s period, when dance music (or black music as it was still referred to) was going through some radical changes that would have a huge bearing on the subsequent course of club culture. It was at this point in time that I was fortunate enough to find myself behind the decks in two of the greatest British clubs of the era, Wigan Pier and Legend in Manchester, where I’d bring a new flavour of music to the table, along with a fresh (from a UK perspective) approach to the way I worked, as one of just a handful of British DJ’s back then who had made the decision to switch the emphasis of their presentation style from microphone to mixing. 

I had no idea that, all these years on, an ever-increasing amount of clubbers were now beginning to look back to exactly this time and rediscover the great underground music, mainly from New York, that preceded House, and which was originally played here in the UK on the specialist black scene. Having decided to become pro-active in drawing people’s attention to this hugely important, but largely overlooked period, it was a pleasant surprise to realise that this process was already underway. Before I knew it, I began to receive enquiries about possible DJ bookings and it soon became obvious that the logical next step for me to take was back into the clubs, so I could actually play these records to an audience who’ve finally come to appreciate their significance in inspiring the music that inspired them.

Had this been all about playing some tunes for old times sake to the people who were there at the time, there’s no way I’d have been into it as anything more than an occasional one-off. However, the fact that there’s a whole new generation who are looking for a return to underground values, as well as an older audience who (having maybe got into dance stuff at a later stage) missed much of this music first time around, prevents it from becoming a purely nostalgic exercise and, instead, presents a whole new dynamic. For this is something relevant to now, which is rooted in the past, yet forward looking.

To further emphasise this link, the equipment I decided to use was a Revox B77 reel-to-reel (past), vinyl (present) and laptop (future). It was also important that I didn’t just stick to the records that I used to play, but included a few more recent releases, from artists with a clear respect for what’s gone before, like Chicken Lips, Metro Area and Diplomat. The laptop would also allow me to feature my own re-edits and the Revox to add live sounds and effects. Having been regarded as progressive in my approach to deejaying back then, I figured it was only right that I should continue to work by the same principles, trying new ideas alongside the old ones in an effort to highlight the ongoing links between then and now.

The night I chose for my ‘comeback’ appearance was called ‘Music Is Better’. It was held at The Attic in Manchester. It obviously had to be Manchester as this, although not my actual home, is certainly my ‘spiritual home’, the place where I found my ultimate DJ highs – so it was important to make that vital connection with the past immediately. ‘Music Is Better’ was the perfect type of night for me, suitably low-key, whilst attracting the kind of people who understand that four-to-the-floor isn’t the be all and end all.

I’d planned to use the night as a tester, so I could identify what worked and what didn’t, before I started accepting the bookings I’d been offered in other parts of the country. I’d anticipated a gradual acclimatization for myself, estimating that once I’d got 3 or 4 appearances under my belt I’d be able to gauge things better. In no way did I expect this first night to go so well for me, without any of the teething problems I’d envisaged. 

The night wasn’t recorded, but it was decided that, to mark the occasion, I’d re-create it track for track for a limited edition CD (edited down from the two and a quarter hours I played to single disc length). 

So this is how ‘Music Is Better – The Re-Edited Highlights’ came to be. The 500 copies that were made have now all gone, the response to the CD echoing the positive reaction on the night. I’ve since taken bookings (and often re-bookings) in Birmingham, Bristol, Dublin, Glasgow, London, Leeds, Limerick, Liverpool, Newcastle, Nottingham, Plymouth, Sheffield and Wrexham, along with further dates in Manchester. 2004 has been a year I’ll never forget and I can’t thank everyone enough for their support, their warmth and their energy. Having been totally detached from the club scene for so many years, it’s all been a bit of a Rip Van Winkle re-awakening for me! 

I never thought I’d say it, but it’s great to be a DJ once again. 

Hope you enjoy this mix,

Greg Wilson
http://www.electrofunkroots.co.uk
 
WRITTEN FOR SIX MILLION STEPS WEBSITE IN 2004

UPLOADED ONTO SOUNDCLOUD 27.09.11


MUSIC IS BETTER RE-EDITED HIGHLIGHTS 20.12.03 (by greg wilson for ltd cd 2004)

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Perceptions Of Pacha Vol 1

252 - Perceptions Of Pacha Vol 1 mixed by Farley and Heller (2000)

The first in a series of mixes celebrating my 20 years as resident at back to basics club in Leeds, UK.

visit www.ralphlawson.co.uk for track listing and sleevenotes for the mix and stories from the club.



back to basics // the>music:factory years part one // 1991-94

Buckley live @ Back to Basics 20th birthday -nov 2011 -  20 years of acid house!

A one hour mix of classics from the hazy days of acid house and the first illegal raves... enjoy <3

Dance 88 89 Mix 1 2017

Terry Farley takes the helm of the DJ Mag Podcast this week, delivering 90-minutes of music that showcases exactly where house music is at for the UK veteran in 2017. You can listen to it above.

Farley hits Farr Festival in Hertfordshire next month, as part of a line-up that includes Floating Points, Omar-S, Leon Vynehall, Todd Terje, Booka Shade and Honey Dijon, alongside Mister Saturday Night, Detroit Swindle, Axel Boman, DJ Tennis, Kornel Kovaks, Young Marco and many more.

Last year Farley’s three-hour 30 years of Boys Own set with Pete Heller at Farr Festival got one of the biggest crowd reactions of the weekend.

Through his career, Farley has been responsible for some of UK house music’s most enduring cuts. These have come under his own name, as well as Roach Motel, Bocca Juniors and as one half of Heller & Farley.

As a regular at Fabric and Ministry of Sound in London, he also continues to spin on the world’s most revered dancefloors. And it's easy to see why with his 90-minute 'That’s House 2017’ DJ Mag Podcast.

The mix includes music from DJ Pierre, The Revenge, Re.You, DJ T, KiNK, Deep Dish, Cozzy D and many more, and rides right through from deep and acid house to techier cuts.

Listen to Terry Farley’s 'That's House 2017' DJ Mag Podcast above – engineered at the Cat Sanctuary By South Beach Recycling.

 

Farley’s ‘That’s House 2017’ tracklist:

1. Patti Labelle ‘The Spirits in it (Skit)’
2. Dj Spinna ‘TB or not TB (Acid)’
3. Terry Hunter ‘The Beat Begins’
4. Re.You ‘Dreams’
5. Karizma ‘Work It Out (skit)’
6. Honey Dijon ‘Personal Slave’
7. Kiddie Smile ‘Teardrops in the Box (Mystic Bill Vocal Mix)’
8. Christophe ‘Dance Pants’
9. Dj Pierre ‘What’s Mine is Mine’
10. DJ T &amp; Kevin Knapp ‘That Beat’
11. Pastaboys Feat. Osunlade ‘Deep Musique (Rampa Remix)’
12. Inaky Garcia ‘Afrovita’
13. ?? ‘Waiting for a Woman ( The Revenge Rework/Dixon Beat Edit)’
14. Robert Owens x Jus Friends –‘As One’
15. DJ T &amp; Icarus ‘Wake Up’
16. Cozzy D and Timmy P ‘Meat Feast’
17. KiNK ‘Beats’
18. Cozzy D ‘Panorama’
19. KiNK x Unit 2 ‘Sunshine’
20. Loose Joints ‘Is it All Over My Face (John Morales M & M mix)’
21. Deep Dish ‘Case De X’

Rob McCallum is DJ Mag’s deputy digital editor. Follow him on Twitter here.

DJ Mag Podcast: Terry Farley

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509 - Inland Knights 'Family Duals' (2005)

Here is my set from the legendary Shoom 25 year anniversary party... Acid House all the way, with special edits, and a couple of modern twists added. :) Enjoy! 

Live at Shoom December 2012

Fred Everything @ Flash DC 01/04/20

Boiler Room w/ Todd Terry & Dj Sneak

[Broadcasted on 6th May 2013]

Tracklist & video at boilerroom.tv

DJ Sneak 55 min Boiler Room mix

Jean Bruce Rave Gener8tor (Altern 8 live remix by Mark Archer) NOCTU 003

Matthew ‘Bushwacka’ B, a percussionist in the London School Symphony Orchestra who was converted into a member of the infamous Rat Pack after a warehouse party in ’88, has been DJing for over 30 years now. From that first Acid House experience Matthew quickly started playing all over London, holding residencies at four of the most famous clubs in town by the time he was 18 years old. From London the gigs spread countrywide, doing up to 8 shows a weekend, and then into Europe and the USA by 1992.
 
It was via a mutual friend Mr C that Layo & Bushwacka! first met, whilst Matthew was working at his studio, and by the mid 90s the two had started writing music together. Over a decade later, the partnership has yielded three artist albums, three mix albums, internationally renowned club residencies and a superb record label. 

By 1999 they’d already composed their debut album, ‘Low Life’, released on End Recordings, the label spawned by The End. The album announced the arrival of the duo as a force in electronic music, with a record that brought together electro, house and breakbeat fused with blues, dub and downtempo, all underpinned and informed by their collective experience of underground culture. This inclusive and open minded approach to sound became the blueprint for their future work.

Their sophomore album followed in 2002, this time released on the mighty XL Recordings. Entitled ‘Night Works’, the record featured their unforgettable top ten hit ‘Love Story’, and took their sound onto a bigger and broader canvas, charting all over the in the process. The accompanying live show brought further acclaim with stunning shows from Homelands to Sonar, whilst their famous DJ sets had now garnered residencies at some of the world’s finest clubs including Space in Ibiza, Warung in Brasil and of course The End in London. While this explosion was happening, Matthew was also achieving huge solo success with his remixes for Depeche Mode, his bootleg of Michael Jackson’s Billie Jean, and getting phone calls from Madonna wanting him to work on her music. It was a crazy time. 

Their End residency, known as All Night Long, became one of the capital’s most revered nights with Layo & Bushwacka! taking the club through an edifying tour-de-force of electronic music.
 
When The End closed its doors for the last time in 2009, Layo and Bushwacka! started the Shake It brand and threw amazing warehouse parties all over London, booking Carl Cox, Richie Hawtin, Magda, Laurent Garnier and many other friends, and created dancefloor destruction for 4 years. The parties were legendary, the energy incredible.


Layo & Bushwacka!’s reputation as two of the world’s foremost DJ duos is rock solid. Four artist albums have proven them remarkably talented producers, capable of mixing styles, tempos and genres to create enduring and engaging electronic music. Their trio of mix albums and international club residencies have shown they are masters of the turntables, sonic connoisseurs who can guide a dance floor on an epic journey through the many facets of their sound. Their label Olmeto meanwhile has become a bastion for quality, a label that, much like its figureheads, has become a rubber stamped seal of class, and many of their vinyl only releases have become sought after rarities.
 
In 2013 Bushwacka! took some time out to focus on his solo Just Be project, recording on Crosstown Rebels, Get Physical and Intec, while Layo created a new empire in Soho, of world class restaurants, applying his magic touch to everything he does. Five years later, Bushwacka! started touring and recording again under his original name, only on select shows and keeping it special for the fans, old and new.

Live at Shoom December 2012

Bushwacka!

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