Quiet please World...I am now floating in the universal spectrum of Dieter & Boris that is Planet...YELLO!!!

Yello made me think about music in a different way, each track is different & off the cuff, cheers for the post

Oh wow this is so good 🔥x interesting sounds 😎x

Pre-Recorded DJ Mixes

So that was the final night at the Paradise Farage. Sadly the club has had to be closed down, demolished and the site turned into a giant lorry park as a result of Brexit. For our last show, we travelled to Ray Mang's studio and streamed live from deepest East London with Mr Mang himself, a Leftside Wobble guest mix and me. Enjoy and thanks so much for all the support I've received over the past 15 months, it's really appreciated. 

If you fancy coming to see myself and Raj play together in the actual flesh, we're playing at Alfresco festival in Kent on August bank holiday weekend. Ticket details here:
https://alfrescofestival.co.uk/tickets/

BILL BREWSTER, RAY MANG & LEFTSIDE WOBBLE | Live At The Paradise Farage, 12th June, 2021

To celebrate the release of PH Reworks Vol 3, here is a mix of PH Reworks galore recorded Live @ Campfire, Kings Cross, London. October 2021
Aired on DJ Rim K's Soundstraffic Radio Show, Brussels Sat 16th October.
https://www.bruzz.be/radio/soundtraffic

Volume 3 available here: https://peteherbert.bandcamp.com/album/ph-reworks-volume-three

PH Reworks MegaMix #1

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)

Returning to the Chug this is a mix full of sweet tunage to get your Groove on to. 

In the mix there's some dreamy music by Carl Craig, Caribou, David Holmes, Sabres Of Paradise and Metro Area with the beginning of the Mix starting with a fine remix of Frankie Goes To Hollywood 'Welcome To The Pleasuredome'. 

We have another low slung groove of a mix put together with Love by @thefunkassassin 

There are more Electronic music sessions to come, Follow @thefunkassassin for all future mixes, there’s some fire on the way.

For all past mixes click here ==> soundcloud.com/thefunkassassin/sets/the-andy-haworth-mix-sessions

Instagram: www.instagram.com/the_funk_assassin/
Spotify: open.spotify.com/user/g2fac3ls3k8e1ucxe4fqe7g89
Facebook: www.facebook.com/TheFunkAssassin/

Back2Electric 07 - Carl Craig, Caribou, David Holmes, Sabres Of Paradise, Metro Area

My Balearic breakfast set recorded live at @weouthere festival in the Love Dancin' tent that was curated by @colleencosmomurphy 
Perfect for the 'morning after the night before' or if you feel like a relaxing soundtrack for whatever reason........ Hope you enjoy:)

DJ Emma Balearic Breakfast Live in Love Dancin' at We Out Here

ESSENTIAL MIX - JAN 2009
Uploaded on 17.01.10 and exclusive to SoundCloud. Available for the first time without voiceovers and jingles,12 months on from original Radio 1broadcast on 17.01.09.


EMAILSHOT A FEW DAYS AHEAD OF MIX BEING AIRED:
2009 kicks in for me this weekend with my first gig of the year for Udio (1st birthday) at The Gramaphone Club in Shoreditch, London on Friday night, which coincides with the airing of my only just completed in the nick of time Essential Mix on Radio 1, made up of 43 tracks in just under 2 hours.

Given that the 5th anniversary of my DJ comeback has only just passed, I decided to take the opportunity to make the mix totally representative of this period, with all the selections being amongst the biggest tracks I’ve played since I made my second debut at Music Is Better in Manchester.

Five years represents a significant package of time, a fixed point from where I can reflect on what’s been a continually snowballing sequence of events, set in motion when Danny Webb asked me to appear in Manchester on that December night back in 2003.

There were less than 100 people there that night, but they were the right people, and I was taken aback by the response to my return, both on the night itself and during subsequent days, when people who were there began to post on the forums. I’d never expected all the feedback be so totally positive!

I’d figured that I’d play that night, using the combination of laptop and reel-to-reel for the first time, then go away and think about what worked and what didn’t before I made my next move. I would never have believed that things could come together so immediately, it was as if I’d hit a completely unexpected hole in one, especially when two of the people who were there, Ralph Lawson, DJ from Back To Basics in Leeds, and one of my fellow DJ’s that night, Richard Hardcastle (Solid State) from Society in Sheffield, both asked me to play at their nights no sooner had I finished my spot.

One thing kept leading to another and, in Sheffield, I was approached by Tony Daly to play at the now legendary Tyneside Cinema party in Newcastle, a bespoke event where he took on the substantial risk of presenting me in a city I’d never DJ’d in previously (unless you count the 1983 TV appearance on The Tube, which was filmed in the Tyne Tees studio). Then, of course, there was London, where Steve Kotey and Bill Brewster booked me for their parties, bringing me to the capital within the first few months of my return for Ouch and Low Life.

The bookings kept coming, and I found myself driving up and down the country on an increasingly regular basis. Later in 2004 I was approached by Sav Remzi, from Tirk / Nuphonic, with the idea of putting together an edits album, which would be issued the following year as ‘Credit To The Edit’. This would help bring my name to the attention of people outside the UK. There was soon a need to step things up further, now that I was receiving enquiries from Europe, and so began a fruitful relationship with my agent, Matt Johnson (Matty J), who’s done a wonderful job of representing me during recent years.

The last few months have been, to say the least, manic for me, with 25 flights, including 6 long haul, taking me to gigs in the US, Japan, Australia, Brazil and Europe. From a personal perspective I still find it remarkable the way everything has developed, pretty much organically, since I made the decision that I was going to be a DJ once again – had I concocted some sort of comeback masterplan, it could never have worked out anything like as well as it has. It’s definitely been a case of ‘from small acorns’.

It still never ceases to amaze me that people from another continent are interested in my DJ past. Back in the early 80’s, before I went into retirement for 20 years, the furthest I travelled (with the exception of the appearances I made in the South of England as part of The Hacienda Review in late ’83) was to places like Birmingham and Nottingham, when I played at All-Dayers, so to find myself in clubs on the other side of the world is pretty nuts!

Anyhow, I’d like to wish everyone all the best for 09. Big thanks to all the promoters who booked me and everyone who danced to the tunes I played during ’08 in Adelaide, Barcelona, Belfast, Berlin, Birmingham, Blackburn, Brighton, Bristol, Dublin, Dundee, Edinburgh, Fukuoka, Glasgow, Hamburg, Leeds, Lisbon, Liverpool, London, Los Angeles, Manchester, Melbourne, Milan, New York, Newcastle, Nottingham, Paris, Porto Alegre, San Francisco, Sao Paulo, Sheffield, Sydney, Tokyo and Warsaw. Also the festivals and special events that I appeared at - Bestival (Isle Of Wight), Big Chill (England), Camp Bestival (England), Garden Festival (Croatia), Ibiza, Lovebox (England), Notting Hill Carnival (England), Rockness Festival (Scotland), Sonar (Spain) and the Southport Weekender (England).

Hope to see you soon.

Greg


FORUM POST DURING FOLLOWING DAYS:                                                        
Thanks for all the positive words. The feedback has been pretty phenomenal, far exceeding what I’d hoped for, especially on the BBC page, where I’d expected that some people would criticize the amount of older music included - the Radio 1 audience is used to current stuff ('in new music we trust'), so I’d anticipated a more mixed reaction. What’s particularly pleasing is that they were all made without the people seeing what each other wrote (they all came online at once, having been checked first by whoever moderates the BBC pages, I presume for swearing etc following the Ross / Brand controversy).

You always hope something you've done will be well received, but the response to this has blown me away.

Greg


ANSWER TO POST RE MIXING PROCESS:                                                      
It was quite a laborious process. Before I could start the actual mixing part I had to edit every track to a coherent length of around two and a half minutes average, inclusive of in and out points. I had a pool of about 90 tracks that fitted the criteria I'd set (a representative selection of the biggest tunes I've been playing during the past 5 years). It wasn't as straightforward as just editing the 43 tracks I ended up featuring - in order to have the necessary options once I started to piece the mix together I needed to have all the tracks at my disposal, just as I would have if I was out deejaying in a club, so the only thing to do was edit all 90 to the required length, even though I knew that only half would make the cut .

Once that was finally done they were all taken across into my laptop, enabling me to vari-speed them via PCDJ whilst I recorded across to my home computer into Cool Edit Pro, where I put the mix together track by track, before adding overdubs (fx, samples, textures) in a similar way to what I do live using the Revox (reel to reel).

I could quite easily have spent another day, tweaking bits here and there and adding more overdubs (the older I get the more finicky I become), but I had a deadline to work to, so, as it moved ever nearer, it became a race against time, with me doing as much as I could before the cut off point arrived.

Greg
                       

Greg Wilson - 2009


ESSENTIAL MIX (by greg wilson for bbc radio 1 2009)

Live recording of Dicky Trisco @ Midnight City.
Boogie down with this Disco Deviant.

Dicky Trisco FB:
https://www.facebook.com/Dicky-Trisco-26973495947/?fref=ts

Dicky Trisco SC:
https://soundcloud.com/dicky-trisco

www.midnightcity.nl

Midnight City Recordings

DICKY TRISCO @ MIDNIGHT CITY (10/12/2016)

NO SELL OUT - ELECTRO RETROSPECTIVE
LEGEND / WIGAN PIER MAY 1982 – DEC 1983
MIXED BY GREG WILSON FOR A GUY CALLED GERALD - SAMURAI FM 2005

This is the most involved mix I’ve ever put together, even more so than my Essential Mix in 2009, for which ‘No Sell Out’ very much provided the prototype. I intended it as a definitive document to the period May 82 – Dec 83, when Legend and Wigan Pier were at their most influential, the new Electro-Funk sound turning the black scene on its head as the old gradually gave way to the new.

As I wrote at the time:
“The tracks on this mix represent this now distant time of both musical and cultural change. I’ve selected the records that were regarded as controversial at the time within black music circles, the ones that the traditionalists were up in arms about. I’d originally chosen 50 of the biggest tracks played at Legend and the Pier, but this was upped to 60, all of which needed to be edited down to an average of a minute and a half in length, which was no small task in itself! Realising that there were still other tracks I wanted to include, I decided to keep it to the main 60, but drop in snippets of additional records from the period, not only Electro, but also other big floorfillers from my nights. I never played purely Electro, but mixed it in alongside Soul, Funk and Disco (or as people refer to it nowadays, Boogie), and this is reflected by the numerous ‘references’ sprinkled throughout the mix.

It’s good to be able to place some of these tracks back into their original context. Tracks like ‘The Message’, ‘Rockit’ and ‘Buffalo Gals’ would become big hits in the UK, but they were completely unknown when first played at Legend and the Pier. A perfect example would be ‘White Lines’, which was an underground favourite for many months before the penny finally dropped with the mainstream audience and they came to appreciate it as the wonderful record it is, resulting in a chart stay of over a year! Nowadays, ‘White Lines’ can be played pretty much anywhere to a great response. It’s a sure-fire floorfiller, regarded as a dance standard, but it wasn’t always that way - without the initial specialist support it could quite easily have ended up as just a minor hit.

The title of the mix, ‘No Sell Out’, comes from the opening track. It seemed an appropriate name, given the fact these records were very much regarded by the purists as the selling out of black music, rather than its salvation (something which pretty much everyone can now, with hindsight, clearly see). Listening back to these tracks you can trace the evolution of Hip Hop, Techno and House. This was the point in time when black music fully embraced the available technology and took dance to new dimensions. Hearing these records for the very first time, we knew that the future was upon us and that dance music had entered a whole new phase of its development.”

The ‘No Sell Out – Electro Retrospective’ page at Electrofunkroots gives the full lowdown and complete tracklisting. It includes an introduction by Gerald Simpson (aka A Guy Called Gerald), for whose Samurai FM podcast this mix was originally put together.

http://www.electrofunkroots.co.uk/mixes/no_sell_out.html 

Greg Wilson – February 2012

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

NO SELL OUT ELECTRO RETROSPECTIVE (by greg wilson for a guy called gerald - samurai fm 2005)

GREG WILSON presents The Chic Organization – 1977-79 Selection Reworked
 
Greg writes about the mix and all things Chic at his blog:
http://blog.gregwilson.co.uk/2018/06/the-chic-organization-1977-79-selection-reworked/
 
Chic had a sound of all their own, the crack rhythm section of Nile Rodgers (guitar), Bernard Edwards (bass) and drummer Tony Thompson providing the highly infectious grooves that characterised their records. They would be massively influential as a consequence, their anthemic tracks still loved all these years later, with a new younger generation embracing their good time vibe in the same way their parents might have.
 
The mix consists of 12 edits / reworks of 9 Rogers & Edwards produced tracks, all of which happened to be originally recorded during 1977-79, the years which saw Disco peak and decline, with Chic at the helm during those halcyon days, their own recordings providing 4 US top 10 singles, including a pair of #1s, whilst Sister Sledge, whose success they mentored, weighed in via the hit-laden ‘We Are Family’ LP. They even found time for a French excursion via Sheila & B Devotion’s ‘Spacer’.

SISTER SLEDGE ‘THINKING OF YOU’
1.‘Things You Do For Me’ - Killer Funk Disco Allstars Edit
2.Sister S ’Living Ecstasy’ – Norington Remix
CHIC ‘CHIC CHEER’
3.Leroc Sportif Edit
SISTER SLEDGE ‘HE’S THE GREATEST DANCER’
4.’Greatest Dancer’ – Daz Digs Disco Re-Edit
5.’One Nite In A Disco’ – Late Nite Tuff Guy Rework / Greg Wilson Edit
CHIC ‘I WANT YOUR LOVE’
6.Todd Terje Edit (incorporates Moodyman ‘I Can’t Kick This Feeling When It Hits)
CHIC ‘STRIKE UP THE BAND’
7.’Feel The Rhythm’ – Deep & Disco Edit
CHIC ‘LE FREAK’
8.Chewy Rubs ‘Future Freak’
SISTER SLEDGE ‘LOST IN MUSIC’
9.DSD Balearic Mix
CHIC ‘DANCE, DANCE, DANCE (YOWSAH, YOWSAH, YOWSAH)’
10.Greg Wilson Rework
11.In Flagranti ‘A Brag Mount’
SHEILA & B. DEVOTION ‘SPACER’
12.Greg Wilson Edit
 
Addition overdubs / editing by Greg Wilson
Recorded June 2018
 
Greg Wilson is set to support Chic in Manchester, Wed 27th June at Castlefied Bowl, alongside a live performance from Crazy P.
 
http://gregwilson.co.uk

GOURANGA MIXTAPE: Greg Wilson - The Chic Organization - 1977-79 Selection Reworked

Live recording from my session at Pikes, Ibiza on Sunday 8th July 2018

Joe Morris at Pikes on Sundays Ibiza 8.7.18

Taken from blog post ‘Festival Anthems’:
http://www.gregwilson.co.uk/2012/06/festival-anthems/

Back in March, in the lead up to the Rainbow Disco Club festival in Tokyo (an event that would frustratingly be rained off), I was asked to make a list of my 10 favourite festival tracks. I came up with a dozen, all edits which have served me well during recent years and certainly merit anthemic status. Around the same time I was approached, via the Garden Festival’s PR dept. to supply an exclusive mix for the oki-ni series. As an example, I was linked to Derrick Carter’s contribution, where he referenced the mixes he used to hear on Chicago dance station WBMX in the early 80’s, focusing on Disco & Classics. 

Whilst thinking about a suitable theme for my mix, I had the brainwave of working with the list of festival favourites I’d recently compiled– I thought that putting these 12 tracks together into a single mix would not only provide a solution, but gives me the opportunity to document some of the music that’s served me so well in the festival environment, which I’d never otherwise play all together. So, from there, it was just a case of finding a way to jigsaw them into a coherent whole, which didn’t prove to be difficult, the mix coming together in no time.

It wasn’t until I’d submitted it that I found time to have a look at the oki-ni website and check out some of the mixes already on there, a pretty substantial 75 of them. It was only then that I realised that my approach was somewhat  out of sync with the ethos of the series, which was outlined as follows; ‘the series aims to venture off the dancefloor, allowing the artists involved the freedom to produce unique and personal mixes that speak directly to them. The results are always eclectic, compelling, and unique’. 

Being that this was supposed to be more a personal choice of tunes you wouldn’t play out, rather than the clearly themed mix I’d mistakenly believed it was, I pointed out this anomaly, but was assured that all was fine. Had I not been off to the US that weekend, then onto Japan, I’d have probably insisted on doing something else, which fitted their criteria, but they maintained that they were more than happy with what I’d done, so it became mix #76 in the oki-ni series (and exclusive to their website for the past few months):
http://www.oki-ni.com/scat/mixes 

Half of the tracks are my own edits, half other people’s (big up Psychemagik, Dimitri From Paris, Joey Negro, Bermuda Triangle, Leftside Wobble and Michael Cook). The mix features some iconic names, The Beatles, The Beach Boys, Talking Heads, The Clash, Marvin Gaye & Tammi Terrell, Prince and Fleetwood Mac included. As they say, great music never dies, especially when there’s an edit that helps introduce it to a whole new younger audience, whilst rejuvenating the spirit of an older one in the process. Hopefully this collection of climatic tunes will help bring on the festival spirit – here’s to sun and mud to come!

I’ll be appearing at the following festivals / special events:

23rd June – The Summer Soiree / Blackpool
http://theblackpoolball.com/#/ball-info/4548984235
 
6th / 7th July – The Garden Festival / Croatia 
http://thegardenfestival.eu/ 

15th July – Vintage / Northamptonshire
http://www.vintagefestival.co.uk/about/vintage-festival
 
28th July - Camp Bestival / Dorset 
http://www.campbestival.net/#/home

4th August – Eastern Electrics / London
http://www.efestivals.co.uk/festivals/easternelectrics/2012/

5th August – Standon Calling / Hertfordshire
http://www.standon-calling.com/ 

2nd September – Preston Guild / Preston
http://www.prestonguild2012.com/?OBH=413&ID=583 

8th September – Bestival / Isle Of Wight
http://2012.bestival.net/

Greg Wilson - June 2012

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

GREG WILSON FESTIVAL ANTHEMS (for oki-ni 2012)

GREG WILSON presents Yellomix 83-85

Greg writes about the mix and all things Yello at his blog: https://blog.gregwilson.co.uk/2019/12/16423/


The Yellomix runs for just over an hour, covering the period ’83-’85 - their most innovative in my opinion. It gives me the opportunity to re-visit one of my favourite artists of the early-mid-‘80s. I was a huge fan of the Swiss group back then, they were really pushing the boundaries of electronic music and I was absolutely blown away by their production sound. It’s truly epic stuff, almost Wagnerian in its assault – relentless, surprising and sonically shocking, bombarding our senses with its strangeness and brooding melancholy. Regardless of whether beat driven or ambient, their tracks built a tension unique to their sound, once you know who they are, that sound could only be Yello.

YELLOMIX 83-85
1.Ciel Ouvert
2.Great Mission
3.You Gotta Say Yes To Another Excess (Album Version)
4.You Gotta Say Yes To Another Excess (UK Promo 12”)
5.Live At The Roxy NY Dec 1983
6.I Love You (12”)
7.Vicious Games (12”)
8.Stalakdrama
9.No More Words 
10.Pumping Velvet (12”)
11.Lost Again (GW Edit)
12.Sometimes (Dr Hirsch)
13.Angel No

Mixed / edited by Greg Wilson
Recorded 2019

Greg Wilson appears at Gouranga’s Birthday Party on December 20th at Mick’s Garage in London.

www.gregwilson.co.uk

GOURANGA MIXTAPE: Greg Wilson - Yellomix 83-85

On this epic 5 Hour Dj Mix, Imma let DJ Spun speak on his vibe with this one. This is our Memorial Day Weekend party mix - use it well! (and re-post to your own account): 

"I not so slowly transitioned from being a punk rock musician-guitarist-singer to new wave-disco-punk-DJ & Club Kid in 1987 Enchanted by the diverse mix of people and sounds that made clubbing in SF in that era such a unique experience. Selling my guitar and Fender Super Reverb amp to buy turntables about 15 years before a certain NYC band wrote a song about it. 

With all of today’s political divisiveness, the global pandemic, isolation, and pending economic collapse. It has me reflecting on those pre-rave days at the end of the Cold War era, the time of Reganomics and other political BS, really has me flashing back to clubbing in San Francisco and the Bay Area at that influential time in my life. A time when the clubs were a real sanctuary and DJ’ing was not such a big business. The places I went to dance were so diverse with innovative DJ’s that usually played all night, playing music that didn’t cater to one crowd or genre but rather creating a home for so many outcasts, with such different tastes and perspectives. 
Psychedelic, Punk Rock, Mod, New Wave, Industrial, Disco, Hip Hop, Funk, Gothic, Soul, Rock, Proto House, and Alternative all blending in to one. 

This DJ mix isn’t meant as any kind of definitive breakdown of the time (that would take weeks), just a glimpse into what you might of heard on one night at the club...

80’s Fantasy Club Night...
Featuring tracks by:
Kraftwerk, Frankie Goes to Hollywood, Talk Talk, Skinny Puppy, Xymox, Blancmange, Ofra Haza, Ministry, Soft Cell, Nina Hagen, Depeche Mode, C.C.C.P. Run DMC, Kurtis Blow, Tina Turner, Stevie Wonder, Prince, Eurythmics, Cabaret Voltaire, Gaz Nevada, Kajagoogoo, Section 25, Pet Shop Boys, New Order, and more.
Name that tune... If you can. :)

Dedicated to all the DJ’s, dancers and club kids of the 80’s!"

Ep. 138 - DJ Spun - 80's Fantasy Club Night (5 Hour Mix)

Luke Solomon build his foundations in the early 90s starting off behind a record counter at Stop on By in Barnet. Moving on to the legendary Freetown Records and then on to Narcotic Records for Roger Sanchez he worked in PR and promotions. During this time, he gained a residency at London’s ground breaking pirate radio station Girls FM where he met his dearly departed friend Kenny Hawkes. Together they set up the London mid-weeker Space where they invited people like Chez Damier and Derrick Carter. Meanwhile Luke had become close to Derrick Carter and together they set up the Classic Music Company which is currently enjoying a huge renaissance. Amongst all of this Luke began his studio career forming the house music duo “Freaks.” Fast forward over 25 years where Luke Solomon has been guiding the good ship Classic through a seminal year and working closely as A&R with Simon Dunmore at both Glitterbox and Defected. Over the last few years he has been cementing his position as a Producer, working with Horse Meat Disco on their forthcoming album on Glitterbox, and with Honey Dijon on her second artist album forthcoming on Classic in 2020 and writing with the legendary Kathy Sledge on brand new material. Luke has also kept his London residency status holding court at the sadly closed Savage Disco @ Metropolis and moving now to a permanent residency at XOYO in London. He also continues to work on solo music, currently enjoying success with his studio band “Powerdance.”

Lumberjacks Tapes 002: Luke Solomon

MUSIC FOR SWIMMING POOLS SHOW 067 DICKY TRISCO GUEST MIX 31 MAY 2013

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

Here to help you find the tunes that matter in your life

Believe the Hype 

Bless Up

Bookings: matt@thepool-london.com 
Promos: promo@gregwilson.co.uk 
DJ Dates: https://blog.gregwilson.co.uk/upcoming-dj-dates/
Greg began DJing in 1975 and is regarded as one of the most important figures on the UK dance scene. He enjoyed hugely popular residencies in the early eighties at Wigan Pier and Manchester’s majorly influential Legend, having originally started out in his hometown, New Brighton. A pioneer of mixing in the UK, he became the first ‘dance music’ specialist hired for a regular weekly session at Manchester’s now legendary Haçienda club in 1983. Greg was instrumental in breaking the new electronic, post-disco records coming out of New York, a sound he has dubbed ‘Electro-Funk’.

In 2003 he set up electrofunkroots, a website documenting this crucial era in the evolution of dance culture. After a two decade hiatus from the booth, he returned to DJing and soon welcomed bookings throughout Europe and, subsequently, worldwide.

Greg was the first DJ to mix live on British TV, putting together the first UK radio mixes of their type for Piccadilly 261 in Manchester and showing a certain Norman Cook (later Fatboy Slim) how to scratch.

Nominated by DJ Magazine for outstanding contribution, and also named amongst their top twenty remixers of all-time, Greg’s remix credits include Grace Jones, The XX, Groove Armada, Bryan Ferry, Confidence Man, Gilberto Gil and Simian Mobile Disco, whilst he’s edited tracks by A Guy Called Gerald, Talking Heads, O.M.D., Electronic, Imagination and Missy Elliot.

In January 2009 Greg’s reputation was further enhanced when his Essential Mix on BBC Radio 1 received almost universal acclaim and was selected as one of 10 classics that spanned the show’s near 17 year history.

Greg’s Blog, ‘Being A DJ’, was launched in June 2010 for observations on various aspects of club culture now an online touchstone for an ever-increasing amount of dance enthusiasts and aficionados.

In August 2010 he co-curated areas at the inaugural Vintage Festival at Goodwood, which was named ‘Best New Festival’ at the UK Festival Awards.

He has produced a series of documentary podcasts, Time Capsule, Random Influences and Early 80’s Floorfillers, as well as the long-running blog series, Living To Music.

Greg has given talks on music and DJ culture at a number events at venues The Tate Gallery in Liverpool and London's Southbank and Institute Of Contemporary Arts, whilst in 2013 he was invited onto a panel alongside legendary figures Nile Rodgers and Giorgio Moroder @ ADE in Amsterdam. 

In 2014 he unveiled the multi-media label Super Weird Substance, focusing on recording and live events. In 2015, the label released 8 vinyl singles, brought together in the 2 CD comp, 'Greg Wilson Presents Super Weird Substance'. September 2015 saw a memorable Festival No.6 Happening in Portmeirion and Greg rounded off the year with the Liverpool-based celebration of the 40th anniversary of his first club date in 1975 as well as being presented with DJ Magazine's Industry Icon award.

Greg launched his Credit To The Edit club collective at 2016's Festival No.6 and since then has taken it to Liverpool, Berlin, Brixton, Bethnal Green and finally back to Portmeirion for Festival No.6 2017.

2017 saw his label host the epic 14 Hour Super Weird Happening at Liverpool's Florrie, following a mixtape collaboration with Alan Moore, who also appeared at the Happening, whilst it also saw the digital release of The Super Weird Society's 'Gone With The Vibe', released the following year on the first Substance Select 12" vinyl alongside 'The Ghosts Of Watling Street', 'The Best Is Yet To Come' and 'Summer Came My Way'. 2018 also saw the release of Vol.3 in Greg's long-running Credit To The Edit compilation series.

After a handful of further releases, the label was put into hibernation with the onset of covid. Diversifying, ‘Greg Wilson’s Discotheque Archives’ was issued during 2020 lockdown as a limited run paperback, with more books, both Wilson’s own projects and by other authors, now planned.

GOURANGA MIXTAPE: Greg Wilson - Yellomix 83-85

Gouranga

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