Karlainthemix @ Djoon for The Djoon Experience (Part 1) 18.11.23

Djoon Radio • Disco Frenchy

Aaron Sparks - Disco Brunch 2024

The final mix on the Camouflaged Disco www.myhouseyourhouse.net monthly radio show from our guest Trevor Vichas from across the the atlantic finishing our broadcast with a live mix on the day

Camouflaged Disco MHYH 06.01.2024.Trevor Vichas live guest mix

Hey, fellow time-traveller, my latest radio show for your listening pleasure. Another journey into the musical cosmos of my mind and ever-expanding music library...all mixed in an eclectic style.  I do hope you enjoy the journey…xxx
Hi-fidelity version of the show here:
https://www.mixcloud.com/ChadJackson/journey-through-65-radio-show-with-chad-jackson-hi-fidelity-version/

Tracklist:
1	Francis Lai - Un Homme Et Une Femme
2	Due South - Forget About Everything (Jon Carter Drown or Dub edit)
3	Chad Jackson & Steve Mac - Spread Love Acapella
4	Juan MacLean Man Power aka Juan Power - Astronomous
5	Fleetwood Mac - Dreams Take 2
6	Bold Parade feat Rose White - Sacrament
7	Smoove - Brothers 
8	Unlimited Touch - Searching To Find The One (David Kust Radio Remix)
9	X-Press 2 - Zeven (Original Mix)
10	Psychemagik - I Feel Love
11	Max Cooper - Perpetual Motion
12	Arnold Turboust - Lady's Fingers (Plaisir de France remix)
13	George FitzGerald - Burns
14	FranÃ§ois K - Dancer Dub (Live Stems Mix)
15	Summer Smoke
16	Instant Funk - I Got My Mind Made Up  (CJ Edit of Barry Harris 2022 Full Mix)
17	EWF - Runnin' (SKALP Remix)
18	THEUSS -  Hello
19	Chad Jackson & Steve Mac - Spread Love
20	Lukas Feser - Amahoro
21	Vandelux-Home_Icarus_Remix

Journey Through - 65 Radio Show With Chad Jackson

Hey, fellow time-traveller. If you are getting ready to go out or are planning to vibe at home….behold….my latest 'Journey Through' show for your listening pleasure. 
Another trip into the musical cosmos of my mind and ever-expanding music library. 
You are invited to feast on the aural delights and I will soothe your bruised soul and ignite the fire within. This episode is a special recording of my birthday set at The Hope in Windsor recently....Pt1.
Come and join us on the journey. I do hope you enjoy! xx
Hi-fidelity version of the episode here (if you are a bit of an audiophile):
https://www.mixcloud.com/ChadJackson/journey-through-68-radio-show-with-chad-jackson-hi-fidelity-version/

Journey Through - 68 Radio Show With Chad Jackson

Stimmen in meinem Kopf

Low-Fi Rebellion

Buy on bandcamp

All by Myself (& Calvin)

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)

Rinse FM Podcast

Download

Tiger & Woods - 23 June 2020

For all booking enquiries please contact: 
chadjacksonstudio@gmail.com 
DJ, Producer and Songwriter. 
Technics/DMC World DJ Mixing Champion.
Resident DJ at Manchester's infamous Hacienda.
Creator of the classic 'Hear The Drummer Get Wicked'.
Chad has been a DJ, music producer and educator since the mid 1980s, having bagged the crown of Technics/DMC World DJ Mixing Champion in 1987. Resident DJ at the now legendary Hacienda club in Manchester - to a worldwide smash hit in 1990 with ‘Hear The Drummer Get Wicked’, he has gained worldwide industry respect and recognition and was recently honoured with a DJ Legend award by DMC.
Chad has been a champion of contemporary music with his journey through many different genres throughout the years, always pushing the boundaries forward.
Originally from St Helens, Chad held a residency at Manchester’s groundbreaking Haçienda club during its heyday, being one of the architects of the newly emerging House Music scene, alongside fellow legends including Mike Pickering and Graeme Park.  Chad quickly became a key global influence in the popularization of the art of DJ mixing and remixing. While at the Hacienda he started producing remixes exclusively for use on the legendary DMC DJ-only vinyl collections, showcasing his eclectic tastes from notable artists such as Grace Jones, Kraftwerk, The Beastie Boys, De la Soul, Public Enemy, Deelite, Mantronix, Norman Cook’s Beats International and some bloke called Prince! 
Chad was one of the first British DJs to start mixing and exploring turntablism in the early 1980s. 
By the mid 80s a flyer with his name on it would guarantee queues outside clubs like Manchester’s iconic Legend club and Wigan Pier, which he took over from his great friend and early mentor Greg Wilson. Along with Greg, he was one of the first to champion the newly emerged Electro Funk sound from the likes of Newcleus, Midnight Star and Man Parrish, and was an early exponent of the newly emerging Hip Hop sound. 
Chad’s regular live broadcast sessions and end of year ‘Best Of…’ mixes on Piccadilly/Key 103 radio had the North-West of England hovering their fingers over the tape-deck record button. These original cassettes are highly prized today, with fans inundating Chad’s website for copies of these infamous mixes. 
1987 was a seminal year for Chad when he took the roof off the Royal Albert Hall in London with his skilful and entertaining DJ mixing performance at the Technics/DMC World DJ Mixing competition, where he quite rightly secured his place as one of the legendary World Champions. The world really opened up for him after winning the championship when he undertook a whirlwind 2 year world tour headlining clubs in New York, Russia, Japan, Brazil and even the closing party of the Cannes Film Festival! 
By 1990 Chad’s focus had returned to studio production, remixing and re-edits. 
His first solo work followed and Chad Jackson’s ’Hear The Drummer Get Wicked’ went straight to the top of charts around the world. It is now considered a 90’s classic. 
Three decades on and there is no sign of Chad slowing down – music flows through his veins more than ever and this is evidenced by his many current gigs, radio shows and various productions for release.  Chad has graced the decks at a range of events, from Festival No6 in Wales and Secret Garden Party in Huntingdon, through to the Hacienda in Manchester, Electrospective with Greg Wilson and Colin Curtis and the House of St Barnabas in Soho. He is currently promoting his 'Journey Through My Record Collection' imprint, with a regular radio show on Music Box Radio and a DJ tour at selected venues around the country.