January Mixes

Pre-order Neon Future I now! smarturl.it/NeonFuture1

00:00 Felix Cartal - New Scene (TokiMonsta Remix) (Exclusive Debut) 
03:35 Coone & Substance One - Drowning (Exclusive Debut) 
07:58 Autoerotique - LZR Bass 
11:02 Botnek - Through The Night (RESET! Remix) (Exclusive Debut) 
14:45 Steve Aoki & Angger Dimas - Annihilation Army 
19:58 Borgore & Victor Niglio - Booty Monsta 
24:04 Tai & Kay - The Thrill (Zoofunktion Remix) (Exclusive Debut) 
28:15 Steve Aoki - Bring You To Life (Garmiani Remix) (Exclusive Debut) 
31:48 Angger Dimas - More Than Just A Feeling feat. Tara Mcdonald & Piyu
36:56 Gtronic - Sergeant Bass (Vocal Version) (Throwback Track) 
41:16 Kenna - Heaviness (Exclusive Debut) 
44:58 Coone & Frontliner - World Domination (Exclusive Debut) 
49:12 Steve Aoki & R3hab - Flight
52:30 Empire Of The Sun - Celebrate (Steve Aoki Remix)
56:25 Kenna - Long Gone (Exclusive Debut) 

Aoki's House on Electric Area - Episode 106

Thank you for support & reposting.

More coming soon...

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GOLDSKIES BOOTLEG

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00:00 Borgore "Be Ourselves"
04:23 RL Grime "Core"
07:50 Steve Aoki & Waka Flocka - Rage The Night Away (Milo & Otis Remix)
10:50 Clockwork & Taylr Renee “Signals”
14:58 Felix Cartal & Autoerotique "Heat"
18:28 Borgore “Last Year” (Steve Aoki MainStage Remix)
21:58 Uberjak’d “Turn Up”
24:58 ShayGray "Hipster Hype"
28:14 Steve Aoki, Chris Lake, Tujamo Feat. Kid Ink “Delirious (Boneless)"
31:51 Mercer & Autoerotique “Murda Dem”
34:14 #TBT: Carnage & Tony Junoir “Michael Jordan”
37:29 #AokiFlashback: Steve Aoki & Rivers Cuomo “Earthquakey People (Dillon Francis Remix)
40:53 Steve Aoki, Autoerotique vs Dimitri Vegas & Like Mike - Feedback (Kill FM Remix)
44:27 Flux Pavilloin & Steve Aoki - Steve French 
48:27 D-Wayne & Leon Boiler “Detonate” [Out Now On Wall]
52:31 MakJ & M35 “Go (Showtek Edit) [Out Now on Skint]

Aoki's House - Episode 135

Vote for Steve Aoki for DJ Mag Top 100: http://steveaoki.is/VoteAoki2017

00:00 Jacob Plant ­ “Ice Cream” 
03:36 Aoki Pick Of The Week ­ Duke Dumont ­ “Won’t Look Back (Blue Brains Remix)” (Debut) 
08:21 Caked Up ­ Rave Police
11:06 Steve Aoki & Moxie ­ “I Love It When You Cry” (Debut)
13:40 Then: Dimitri Vegas & Like Mike ­ “Stomp”
17:59 Now: Steve Aoki ­ “Born To Get Wild (Dimitri Vegas & Like Mike VS BoostedKids Remix)” 
22:00 LA Riots ­ “Right Now”
25:33 Garmiani ­ “Zaza (Chary & Dimatik Remix)” (Debut) 27:52 Autoerotique & 4B ­ “Bukem”
 29:51 Dan Farber ­ “Belly Dancer”
33:04 Jacob Plant ­ “Louder (Kennedy Jones Remix)”
36:45 Aoki Flashback Track of The Week: Steve Aoki ­ “Ooh (Mustard Pimp Remix)”
40:22 Mr. Collipark & Dirty Audio feat. DJ Kool ­ “Shoulders” (Debut)
42:54 Albin Meyers ­ “Jump 2014”
45:07 Aoki Throwback Track Of The Week: Qulinez ­ “Drop It”

Aoki's House - Episode 158

In the March 2015 episode of Musical Freedom Radio, 3LAU explores this musical freedom outside the realm of his typical sets in a one-hour mix of down-tempo, drum & bass and more. 

Tracklist:
1. 3LAU - ID vs Surrender (Acapella)
2. Gesaffelstein - Pursuit
3. Justice - Genisis
4. Boys Noize - Lava Lava
5. Jakwob feat. Maiday - Fade
6. Wiley Webb - Chromeflower
7. James Zabiela - The Healing
8. Moderat - Rusty Nails
9. Mat Zo - Bipolar
10. Laurel - Shells
11. Odesza feat. Zyra - It’s Only
12. William Fitzsimmons - So This Is Goodbye (Pink Ganter Remix)
13. Freelance Whales - Broken Horse
14. 3LAU feat. Bright Lights - How You Love Me (Acoustic Version)
15. Delorean - Deli
16. Cut Copy - Hearts on Fire
17. Tycho - Awake
18. Pierce Fulton - Kuaga (Live Version)

Musical Freedom Radio Episode 14 - 3LAU

Subscribe to Dada Life: The Podcast here: http://bit.ly/DadaPodcast

Tracklisting:
1. Don Diablo - My Window
2. Morten - Himalaya
3. Marco V - Chikago
4. Orlando Voorn - In Da Jungle (Chocolate Puma Remix 2015 Edit)
5. John Dahlback feat Olivera - Shooting Star
6. Sultan & Shepard feat. Denny White - Dont Let Me Down (Hook N Sling Remix)
7. Sander van Doorn - Ori Tali Ma
8. Promise Land - Love I Feel
9. Eric Prydz - Generate (Extended Mix)
10. Martin Garrix & Tiesto - The Only Way Is Up
11. Oliver Heldens - Bunny Dance
12. Firebeatz & DubVision ft Ruby Prophet - Invincible (Vocal Mix)
13. Harry Romero - Rapture
14. L’Tric - This Feeling (Kryder Remix)
15. Dada Life - Tonight We're Kids Again (Kaaze Remix)
16. Soulsearcher - Cant Get Enough (Misha K & Josh Philips Remix)
17. Mark Ronson ft. Bruno Mars - Uptown Funk (Misha K Remix)

Subscribe & Download

Dada Life - April 2015 Mix

More info at BBCR1xtra: www.bbc.co.uk/programmes/b01dmw90

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Track list:
DIPLO X CL X RIFF RAFF X OG MACO - DR. PEPPER (STEVIE G BOOTLEG)
Big Grams ft. Skrillex - Drum Machine
INTL PARTY - WORK IT OUT
Clips X Ahoy - Blitz
Calvin Harris - How Deep Is Your Love (Dj Snake Remix)
Keys N Krates ft. Katy B - Save Me
diplo - x Liz - Set Me Free
Major Lazer - Roll The Bass (Happy Colors Remix)
A Rock - This Is It
Choppa Dunks & Clips X Ahoy - Shelala
Wax Motif - Krush Groove
Silento - Watch Me - Sam F Remix
Stoltenhoff - Lick It Lick It
Skirllex & Jauz ft. Fatman Scoop - Squad Out
Major Lazer - Jah No Partial (Jack Beats Remix)
DJ Mad vs Blasterjaxx vs Migos & Drake - Versace (Club Killers Flip
Edit)
Ghastly - Get On This
Calum John - Get Low (Audio1 Edit)
Nero vs. Nicky Romero  - Crush On Toulouse (Ken Loi Mashup)
Richard Fraioli & Daniel Illetscheck - Arcade (Danny Diggz Daft Punk
Vocal Edit)
Tommy Trash ft. JHart - Wake The Giant - Jordy Dazz Remix
Junior Jack - E Samba x mix with U & I
Deise Tigrona - Injeção
Love Taps ft Maya Killtron - 04 - Back For More (Eyes Everywhere Remix)
[The Remixes Vol 05]
Chris Lake - Stranger
Disclosure ft. Gregory Porter - Holding On - Armand Van Helden Remix
Tiesto & Oliver Heldens - Wombass
A-Trak - We All Fall Down feat. Jamie Lidell
Jackal - Animal Style
D'Maduro & Tropkillaz Ft. Bounty Killer - Murdara
Sean Paul - Get Busy - Mastamonk & MGM Twerk Remix
ROLL-UP-THE-GREEN
Eva Simons ft. Konshens - Policeman Major Lazer dubplate
Bishu - Shuffle Box
Disclosure ft. The Weeknd - Nocturnal
Lil Kleine & Ronnie Flex - Drank En Drugs (D'Maduro Sober Bootleg)
TWRK - Helicopter (Bad Royale Remix) 
Lady Bee - Return Of The Mack - Mark Price vs The Chainsmokers Bootleg
Sex 4 Money, Ying Yang Twins - The Whipser Song (Sex 4 Money Remix)
Snow - Informer (D'Maduro Rudeboy Remix)
Mark Ronson ft. Keyone Starr - I Can't Lose - Duke Dumont Remix
Feder - Goodbye feat. Lyse (Original Mix)
Chris Lake & Anna Lunoe - Stomper
The Game ft. Skrillex - El Chapo
Drake & Future - Jumpman
Post Malone - White Iverson
Falcons - Aquafina (ft. GoldLink & Chaz French)
Migos - Look At My Dab
Tyler, The Creator - SMUCKERS
Major Lazer & DJ Snake - Lean On (feat. MØ) (Dj Phyer Remix)
Travis Scott - 90210

Diplo & Friends BBCR1XTRA: October 17th 2015

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)

Follow our Tritonia Selects playlist on Spotify: tritonal.fanlink.to/TritoniaSelects

Subscribe to TRITONIA here: bit.ly/Tritonia
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1.   Lea Rue - Can’t Say No! (Broiler Remix)
2.   Zara Larsson & MNEK - Never Forget You (Husman Rework)
3.   Suspect 44 x Soar - Fall For You 
4.   Tony Junior n Riggi & Piros - Make You Go
5.   Gryffin ft Josep Salvat - Heading Home
6.   Jochen Miller - Viper 
7.   MOTI - Turn Me Up (VIP Mix) 
8.   Kaskade ft Ilsey - Disarm You (Ryos & Slywalker Remix)
9.   Paris Blohm - Get There
10.  Galantis - Louder Harder Better (Inpetto remix)
11.  Illenium - Fortress ft Joni Fatora
12.  Oliver Smith - Mirage
13.  Myon & Shane 54 w/ Haley - Round We Go 
14.  Curbi - 51
16.  CID - Love Is Blind feat Glenna (LuQus Remix)
17.  Steve Aoki feat Matthew Koma - Hysteria 
18.  Tritonal - Blackout ft Steph Jones
19.  DJ Khaled - All I Do Is Win feat Moonzz (Prince Fox Cover)

Free Download

Tritonia 119

DO NOT ATTEMPT TO ADJUST YOUR RADIO - MARCH 2004
Six Million Steps (named after the Rahni Harris & F.L.O track from 1978) are a collective of old soulboys who really know their mustard. Their website www.sixmillionsteps.com is a veritable treasure trove of radio shows and mixes aimed at black music enthusiasts. In early 2004, aware of my return to the DJ realm, they asked me if I’d be up for doing a mix for them, and, being an old soulboy myself, it would have been extremely rude not to oblige my Southern-based brethren.

Given that the site was geared to radio rather than the clubs, I wanted to do something a bit different for them – something that contrasted with, yet complimented the Music Is Better mix, which I’d just put together (see http://soundcloud.com/gregwilson/music-is-better-re-edited). I decided to kick things off with the intro part of a favourite track by Parliament, ‘P Funk (Wants To Get Funked Up)’, which had blown me away when I first got a copy on import 7” in March '76 (one of the first imports I ever bought, released back to back with the equally wonderful, but more club friendly ‘Give Up The Funk (Tear The Roof Off The Sucker)’). I looped the opening lines to set the tone - ‘good evening, do not attempt to adjust your radio, there is nothing wrong, we have taken control as to bring you this special show, we will return it to you as soon as you are grooving…’.

I also had some old jingles that fitted the theme I had in mind, which was a radio show, but without a presenter - instead the tracks would be segued together via edited sections, sound bites and samples. It’s a real cut-up, very raw and experimental, referencing a wide spectrum of black music, mainly from the 70’s and early 80’s, taking in Soul, Funk, Disco, Jazz-Funk, Electro-Funk, Hip Hop and Boogie, but with a few curve ball edits thrown in for good measure. Listening back I can clearly hear that, in some respects, I used it as an ideas pad, a number of which came to fruition later down the line.

It’s not a mix in the traditional sense, where the emphasis is placed on dancefloor flow – here the tracks are forged together in a more abstract manner via the link sections I created, and there’s certainly nothing linear about the programming, the tempo likely to slow down or speed up at any given juncture. Included is an old tape sketch, ‘Get Ready I’m A Comin’’, that I remember editing together in ’86 - the main loop being the drum break of Kool & The Gang’s ‘Jungle Jazz’, which would turn up the following year on the huge chart hit ‘Pump Up The Volume’ by M/A/R/R/S. There are some edits in progress, with the working titles ‘Still Lovin’ It’, ‘Sesame Seed’ and ‘T’s On The Mike’, which would appear a year later on Credit To The Edit Vol 1 - ‘Ooh, I Love It (Love Break)’ by The Salsoul Orchestra, ‘Open Sesame’ by Kool & The Gang and ‘Do It Anyway You Wanna’ by Mike T (‘Sesame Seed’ and ‘T’s On The Mike’ retained these titles for the first of the accompanying Credit To The Edit 12” releases). There was ‘Amp Trouble’ (mashing Amp Fiddler with rappers Double Trouble), which was later included alongside ‘Gotta Keep Workin’ It’ on the Young Dog Alien 12” in 2006. Then there were also a few more ruff’s that never got to see the light of day, at least not as yet – ‘Worldwide’, ‘Just A Touch’ and ‘This Is For You’.

Greg Wilson – October 2011

Check out my label's music at: https://superweirdsubstance.bandcamp.com

DO NOT ATTEMPT TO ADJUST YOUR RADIO (by greg wilson for six million steps 2004)

From latest blog post - 'Manchester Vibes In The Area':
http://www.gregwilson.co.uk/2011/10/manchester-vibes-in-the-area/

The Electric Chair, with its legendary residents, The Unabombers (Luke & Justin), ran from 1995-2008, hosting 151 ‘executions’. A who’s who of guests, from both sides of the Atlantic, appeared during this time, and it was the favourite UK night of so many DJ’s. After 13 years they decided to go out at the top, their beloved ‘dirty basement’ still packed to the rafters for the monthly sessions (the venue, the Music Box, was previously another seminal Manchester club called Rafters, which I first became aware of in the late 70’s when it was at the forefront of the North’s Jazz-Funk scene, with DJ’s John Grant and Colin Curtis at the helm). Luke & Justin now run a successful bar, Electrik, in Chorlton, Manchester, whilst still making DJ appearances – they also host the Electric Elephant Festival in Croatia once a year.

Playing for the first time at the Electric Chair, on February 26th 2005, was a big deal for me, not only because it was the leading night on the scene I was now a part of, but also because it represented a lineage of cutting-edge Manchester clubbing dating right back to the 60’s, including Legend and The Haçienda, 2 landmark clubs I had the good fortune to be personally associated with 2 decades earlier. 

So, as you can appreciate, there was a deeper sense of time and place, almost a sniff of destiny, about that night at the Electric Chair for me. I’d prepared in accordance, putting together some new edits for the occasion. I started off with a mash-up, ‘Soul Squelch’, which coupled a contemporary track, ‘Squelch’, by Manchester’s own Dubble D, a Chair regular, with the classic Rakim rap from ‘I Know You Got Soul’ (Eric B & Rakim), which harked back to my 80’s Hip Hop connections with the city – this would be pressed-up on the first Redux 12” as ‘Soul Squelch’ (by Dubble D & Rakim). 

My final track, again specially edited for the occasion, was Mr Bloe’s harmonica workout, a feelgood favourite from my younger years, 1970’s ‘Groovin’ With Mr Bloe’. This would later be become more widely known as the closing cut on my first ‘Credit To The Edit’ compilation, which was issued the following August. 

The recording features an additional ‘one for the road’ track, which was an extended edit I did of ‘The Word’ by The Beatles. Luke and Justin always played the last spot, but they got me to come up at the end of the night to spin a final tune, and this is what I went with. Also, the recording is presented here for the first time as a whole 2 hour mix. It was originally split into 2 CD length halves, hence the fade out you’ll hear on ‘WFL’ by the Happy Mondays at the end of what was Disc 1.
  
Prior to my initial Reels Of Steel at Band On The Wall, Stretch Disco, who were hosting the night, put a YouTube piece online, where I was interviewed about my career defining ‘Manchester Moments’ - Legend and The Haçienda first time around, and Music Is Better and the Electric Chair more recently. Here’s what I said about my Chair debut:

“I knew about the Electric Chair beforehand, and I’d recognised it as the leading night on the scene, not just in Manchester but nationally. I think Electric Chair is one of these nights that, now, I don’t think people give full credit to - it will need a separation of time, give it 10 years and people will talk about the Electric Chair in real hallowed terms because, you know, the amount of nights up and down the country that I’ve done since that have said that they got their inspiration from the Electric Chair. It was just such a great night! 

What they were doing was mixing all the different styles together and I think that reconnected to the original spirit that went back to my time (at Legend). I can remember when I first went in there, listening to some of the tracks that were being played - I knew that Justin (Unabomber) had come from an Indie side, he was in a band called The New Fast Automatic Daffodils, and I was aware of this, but I didn’t know much about Luke at the time. I thought there’s a connection back to the black scene here, but I couldn’t quite work out what it was, and then I realised what it was, it was that Luke was from Sheffield and he’d been schooled at a night called Jive Turkey, which Winston (Hazel) and Parrot were the DJs at. Now they were kids on the scene who used to come to the All-Dayers that I used to do - no doubt that they came to Legend and stuff. So it’s all within that side of things, and he (Luke) made his connection there, and that made perfect sense to me as to why that black sensibility was there within the music that was being played at the Electric Chair. 

It was an incredible night, I mean they still do one-offs now, but obviously the night was at The Music Box - not the original though, they started in pubs in the 90s. I mean it was going for a long time beforehand but eventually found its home at The Music Box with a real dedicated crowd who were really into the music and everything. So when I came to play there it was like a homecoming in a way, and in a sense it made me feel like I’d arrived as a DJ again - it had gone beyond the stage that here’s somebody from the past and there’s a novelty value aspect to it, to somebody who’s current and doing stuff now, and I felt that very much with playing at the Electric Chair, with the warmth and reception of the crowd.”

The full ‘Manchester Moments’ clip can be viewed here:
http://www.youtube.com/watch?v=MXHJQ_mDPiU

Greg Wilson - October 2011


ELECTRIC CHAIR MANCHESTER 26.02.05 (greg wilson live mix)

The 3rd single from my album FIRE AND ICE will be ROOM FOR HAPPINESS. It will be out everywhere on February 7th. Here is a preview of the BIG remix done by Feenixpawl!

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Kaskade feat. Skylar Grey - Room For Happiness - Feenixpawl REMIX PREVIEW

DOWNLOAD HERE: http://itunes.apple.com/us/podcast/dada-life-the-podcast/id395713233?mt=2

1.Dada Life – Kick Out the Epic Motherfucker (Otto Knows Remix)
2. Ansol and Dyro – Top Of The World (Original Mix)
3. Hardwell – Kontiki (Dyro Remix)
4. Takeshy Kurosawa feat Mia J – Let Me Go (Stefano Pain Main Mix)
5. John Dahlback feat Urban Cone and Lucas Nord – Embrace Me (Dirty South Remix)
6. Hard Rock Sofa and Swanky Tunes – Here We Go
7. Thomas Gold – Fanfare
8. Calvin Harris feat Example – Well Be Coming Back (R3habs EDC NYC Remix)
9. Wolfgang Gartner – Flexx (Original Mix)
10. Qulinez – Troll
11. Knife Party and Beastie Boys – Rage Valley/Fight For Your Right
12. Gregor Salto – Azumba (Gregor Salto Rave Mix)

Dada Life - July 2012 Mix

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)

Full 3 hour mix from a superb New Year’s Eve gathering at Manchester’s 2022NQ . 

Check out my label's music at: https://superweirdsubstance.bandcamp.com

2022NQ MANCHESTER NYE 31.12.12 (greg wilson live mix)

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