Sad to have missed this one, hope you guys turn up at Country Life/Wildlife one summer

dam ! some fine music really enjoying this

Luke looks like a morphed up Peter Andre/Worzel Gummage on that photo

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www.discogs.com/sell/release/155840

The Electric Chair: Basement Soul Music

782 - Electric Chair - 'Basement Soul Music' (2000)

Recorded for the back to basics 30th anniversary 1991 - 2021

Track List and story: 
http://www.ralphlawson.co.uk/basic-vision/2021/12/6/back-to-basics-30

basics 30

back to basics 30 - just when I thought I was out...

digging deep into my collection for this one, from early 90s italian house masters don carlos and alex neri, all the way through to new balearic sounds of chaos in the cbd and glenn Davis , we used to call stuff like this ambient house back in the day and it was played in raves clubs and free parties all over the uk, from sasha to DIY, it was the piano style house sound. I’ve also included some new artists who are breathing new life into this early sound… from Rome, to Ibiza to London and back… this is a all vinyl mix, expect snap crackles and the odd duff mix, as thats how it was, photo taken by my self, Ibiza 2018….we continue 

alex kassien - strings of eden  2022
session victim - orbits of dust 2022
glen davies - hold tight 2021
space ghost - time to dance 2019
jose padilla - whistle dance 2016
donalds house - melodies on the meridian 2021
yadava - camomile samba 2021
B.U.M. - feel alright 2018
doruk ozlun - do you feel me 2006
elements of life - innocence 1998
dayeene - body action 1992
jamie principile - date with the rain 1990
alex neri - the wizard 1991
rhythm of paradise - signals 2018
raze of pleasure - on a level 1990
don carlos - play it again 1990
the african dream - your in my soul 1992
chaos in the cbd - green dove 2018
azura - parisio 2017
nikita warren - i need you 1992
shades of rhythm - everybody 1991

Enjoy on the beach!

121*Adventures In Paradise 1990 - 2022.  Numero uno! 🌅

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About the CD:
Our 50th episode is a recommendation from one of the UK's most talented djing duos, People Get Real aka Simon Lister and Peter Wilson. After quickly establishing themselves as Newcastle heavyweights, the lads have gone onto play the epic Hideout Festival in Croatia every year, they've been Wax:On residents for years and played pretty much everywhere including Fabric, Japan and Ibiza to name a few. They're also the brains behind the excellent Join Our Club records.

This selection shows the understanding of music and versatility they're famous for. Here Morgan Geist pulls together disco rarities from 1978 - 1985 and brings a welcome change to our tradition CDs features on this page. Thanks again for the shout PGR! Turn it up, and enjoy the mix.

Buy on Discogs

050 - Unclassics by Morgan Geist (2004) - Recommended by People Get Real

Nancy Noise's set from Low Life Valentines 2023.

NANCY NOISE | Low Life Valentines, Sat 11th Feb, 2023

Simon DK - “Float Laboratory” (1994)
After hearing the news of Simons passing and remembering with friends the subject of a certain mixtape came up …we all searched our boxes of cassettes without much luck and some empty cases …however Pete Slotter discovered and found what might well be the only existing copy …and as luck would have it the original tape!
Recorded at Simon DK's flat in Nottingham after the after party on a DiY Bounce night in 1994 after Bath crew John Kesecki & Pete Slotter went back to his and asked him to make a tape, which he did and named it 'Float Laboratory'. 
It's a lovely pitched down mix perfectly capturing those early hours.
It was brought down to Bath - copied and played ALOT!!. It was one of those tapes that just did the rounds and was loved by many…
So it was only right at this time to immortalise it and make it available for you to enjoy again or hear it for the first time...
Rest in peace & power the genius that is Simon DK Smith

Simon DK - Float Laboratory 1994

Captured way back when on all Hallow's Eve…Luke & Justin live from Bill Brewster & friends London town shindig, Lowlife!

Enjoy...

Unabombers at Low Life - Halloween 2011

Luke Unabomber live recording form The Warehouse at Vintage 2010.

www.vintagefestival.co.uk

LUKE UNABOMBER Live recording from the Vintage Warehouse

Joe Morris Live at Pikes Ibiza 28.7.19

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)

I first met Andrew Weatherall about 15 years ago when he played for us at Autodisco in Dundee. Dave Bowie, who I ran the night with, was a good friend of his. I had to pick him up at the airport and as always he turned up looking like a maverick man of style and attitude while demanding instant hashish. Half way through the journey he said something like this ‘Barrington (I had never been called this before but immediately took to it) my nicotine habit way exceeds the length of this current journey’ and I told him he was welcome to spark up. For years afterwards my kids used to say when they smelt cigarette smoke in the car, ‘has Andrew Weatherall been in town?’.
 
Weatherall played for us many times at Autodisco and then I started doing the ALFOS nights in Dundee with him and Sean. To be honest I loved what Sean did for Andrew. I think he allowed him to play a load of non-techno music that he had been wanting to express (again) for years.
 
I remember having a real promoter moment early on at the first ALFOS night in Dundee when someone was carried out of the packed dance floor around 11.30pm…I thought shit, what’s it going to be like at 3am!!!
 
As well as doing nights together in my city we spent quite a bit of time hanging out at festivals in the summer whether on sun beds in Croatia, stone boats in North Wales, caravans in Glastonbury or wherever.
 
I have to say he was one of those guys that kind of taught you how to do things properly. How to be a good guy. How to be a good DJ. I will not forget that. You always seemed to learn things around Andrew as well as laugh your tits off.
 
Anyway I am digressing…back to the current story.
 
For years as blanket-bombing digital promotion in dance music took hold, Andrew was the only guy I knew who preferred the personal touch to emails. So I used to text or call him on the blower and send him regular CDs of our latest stuff. He liked a hard copy. The stuff I sent was from the various labels we ran over the years and sometimes just random bits and pieces we made for DJing, which I thought he might like. After all Andrew playing it really meant something.
 
I called these CDs ‘Weatherall’s Bits’ which seemed to amuse him.
 
Anyway, recently during the non-stop lockdowns I have been switching my music over from an old laptop to a new one and I came across the ‘Weatherall’s Bits’ playlists on my itunes.
 
I cried when Andrew died. I heard about it at the airport and I cried. We didn’t know each other so well. But he was really kind and considerate to me as a producer, a promoter and a fellow human being. He encouraged me and always got back to me about my tracks. And he just seemed to have a real significance as a character in the generation of producers and DJs that he led by default, charisma and good taste.
 
He also did something that very few people do these days. He would pick a track out that no one else would play and he would make it his. He would play it until people got it. I loved that.
 
Anyway faced with deleting these playlists – ‘Weatherall’s Bits’ - I decided, as I hadn’t made any tribute to Andrew, to make a mix out of them. Mainly because I realised that, as often was the case with Andrew, he made me try to be better than I was. And the tracks I sent him were probably better than the ones I played. I certainly tried to send him the good stuff. If you thought Weatherall would like it then that was a good sign. And you always knew he would pick up on stuff other people would ignore.
 
I also just wanted to remember once more and it brought back a flood of memories doing this mix.
 
So here it is. This is my tribute to a lovely, funny, creative and truly inspiring man.
 
Cheers mate and thank you.

I hope you enjoy it.
 
Love Barrington x

Weatherall's Bits - Barrington Mix

The sounds of all things Electric Elephant, End Of Year Riot & beyond...

Unabombers at Low Life - Halloween 2011

electriks music

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