Funkatronic

Groovalicious!!

Bradford K

Liesa goes bananas

classic cuts remixed regrooved and reintroduced set

lowdown..." JAELOC RECORDS 2010..

Unreleased or vinyl only Greg Wilson edits and mash-ups.

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

Edits & Mash-Ups

I’m going to get some more edits/reworks uploaded in the coming months, starting off with one I did in conjunction with Henry Greenwood, a rework that was getting a major response until the pandemic went and spoilt the party. 

Recorded by Brooklyn’s Linda Clifford for Curtis Mayfield's Curtom label and mixed by Jim Burgess, ‘Runaway Love’ was somewhat overshadowed by her Disco take on ‘If My Friends Could See Me Now’, from the ‘60s Broadway musical/film, ‘Sweet Charity’. Although ‘Runaway Love’ and ‘Gypsy Lady’ were also listed when the album of the same name topped the US Disco chart, ‘If My Friends Could See Me Now’ was very much the lead track. ‘Runaway Love’ however was the choice cut in the R&B realm where, having been issued as a single, it reached #3.

As big as it was in the Stateside clubs I can’t ever remember ever hearing a DJ in this country playing ‘If My Friends Could See Me Now’ – it was all about ‘Runaway Love’ here, which, from the moment the LP came in on import in ’78 the specialist DJs seized upon. It could have been a UK hit, but was only issued on the flip side of ‘If My Friends Could See Me Now’. Besides, it was all about the full-length 12” version, the truncated 7” compromising its wonderful flow and build. The single stalled at #50 – the fact it got as high as that was all to do with the B Side.

To my ears it’s a track that should be as familiar as Rufus & Chaka Khan’s ‘Ain’t Nobody’, but ‘Runaway Love’ is a hidden classic far too rarely heard. This prompted me to team up with Henry Greenwood to put together a DJ friendly rework that retained the song in all its glory, whilst providing a mix in and out and adding contemporary weight to its already infectious groove. I couldn’t have wished for a better outcome, the audience response the proof in the pudding.

The third in a trio of late-‘70s reworks I’ve collaborated on with Henry, following on from Marshall Hain ‘Dancing In The City’ & El Coco ‘Mondo Disco’, which were pressed back to back on limited vinyl as part of the A&R Edits series.

Linda Clifford 'Runaway Love' (greg wilson & henry greenwood rework)

download - http://www.sendspace.com/file/ua6wpn

Magic carpet ride (tonic's ghetto rub)

Mighty Clouds Of Joy 'Mighty Cloud Of Joy' (greg wilson & ché wilson rework)

124 bpm

DJ only vinyl 2024.

The Mighty Clouds Of Joy were an LA-based gospel group who’d been releasing records since the early-‘60s, initially as The Mighty, Mighty Clouds Of Joy’. In 1974 they made a departure from their more traditional style when the group went into Sigma Sound Studios in Philadelphia, the epicentre when it came to the soulful dance music that would soon explode as disco, recording their album, ‘It’s Time’, with producer/songwriter, Dave Crawford. Members of the Philadelphia International group, MFSB, already renowned for backing artists like Harold Melvin & The Bluenotes, The O’Jays and The Three Degrees, were brought aboard for the sessions, including the legendary Baker-Harris-Young rhythm section, who, apart from MFSB, fuelled The Trammps, with Earl Young celebrated for innovating the disco style of rock drumming.

I came across the group via their second single from ‘It’s Time’, ‘Mighty Cloud Of Joy’, released in late-‘74. I figure I must have picked my UK 7” out of a bargain bin when I was 14, maybe 15. There’s nowhere I would have previously heard this – it was before I started DJing, and it’s not something likely to be played on radio. I reckon I bought it on spec – I knew the label, ABC, via singles by Eddie Holman, Four Tops and Rufus, so it was a trusted source, and I would have been fascinated that the artist and title were (almost) the same.

It picked up specialist plays from some soul and funk DJs here, including Colin Curtis at the Blackpool Mecca and Les Spaine at The Timepiece in Liverpool, but largely went under the radar. It remained a personal favourite from the period, which I’d have thought would have done well in the States, but it appears to have been largely slept on there too, the track receiving DJ support, but not igniting as you’d imagine it would have. The following year, again recorded at Sigma Sound, the next Mighty Clouds album, ‘Kickin’’, included ‘Mighty High’, which would blow up big time with US DJs and top the disco chart (it wasn’t a track I can ever recall hearing in a UK club). It surprised me to learn that ‘Mighty High’ had been so big, while ‘Mighty Cloud Of Joy’ is conspicuous by its absence from both the US R&B and Disco charts – the latter sounding far more like a disco classic to my ears.

Having remixed Gabriels ‘Love And Hate In A Different Time’ with Ché, inspired by the mid-‘70s Earl Young disco groove, it brought to mind the gospel-infused ‘Mighty Cloud Of Joy’, and this rework resulted. Having played it out while we fine-tuned, despite its relative obscurity, people responded to it like they’ve known it all their lives, it’s ‘movin’ on up’ refrain infectious, which makes it all the more surprising that it wasn’t huge on release.

Pressed on limited vinyl as part of the GW Edits series, and featuring ‘The Turnaround’, an update of Vicki Sue Robinson’s ’76 disco anthem, ‘Turn The Beat Around’.

Mighty Clouds Of Joy 'Mighty Cloud Of Joy' (greg wilson & ché wilson rework)

M83's new album Junk is out now: http://m83.it/buyjunkSo 

M83 on tour now. Dates & tickets: http://m83.it/tourSo

More here: http://ilovem83.com
See M83 live: http://ilovem83.com/live

Like M83 here: https://www.facebook.com/m83music
Follow M83 here: https://twitter.com/m83news



Midnight City

Edit The Edit ‘Two Sides Of Sympathy’ (greg wilson edit of pta mash-ups)

112 bpm

Previously limited vinyl only in 2007 & 2009.

Of all the tracks I’ve played since my DJ return at the end of ’03, this has been undoubtedly the most requested. It was very much a signature track for a number of years, and still makes an appearance from time to time nowadays.

It all stems from when I picked up a 12” from Piccadilly Records in Manchester during the summer of 2005. It was by The P.T.A (Paul Martin and Tyrrell) on Throw Away Records, and included two mash-ups, both of which used the vocal from Amerie’s ‘1 Thing’, which had been a big R&B hit earlier that year. On one side of the 12” it had been mashed with Massive Attack’s ‘Unfinished Sympathy’ (this was titled ‘Unfinished Thing’), whilst on the other, ‘Sympathy For The Devil’ by the Rolling Stones (‘One For The Devil’). Not only had each of these combinations melded brilliantly, but both had ‘Sympathy’ in the title. This impressed me no end – some genius juxtaposition going on there.

Listening closer it was clear that there’d been some tampering, but it wasn’t until much later that I realised that, apart from the Amerie acappella, everything had been re-created by Canadian producer / DJ Tyrrell, including Keith Richard’s iconic guitar solo, which sounded better than ever - I’d presumed that the version of ‘Sympathy For The Devil’ he’d used had come from some Andrew Loog Oldham type instrumental (as was the case when The Verve famously sampled Oldham’s orchestral arrangement of the Stones’ ‘The Last Time’, on their 90’s classic ‘Bitter Sweet Symphony’), so this only added to my awe at what Tyrrell and Paul had somehow managed to magic up.

Brilliance on vinyl is all good and well, but I’d bought the track with the dancefloor in mind, so it was now a case of how it walked the walk. Straight away I had a problem – which side to play? They were both really strong and I couldn’t make my mind up at first, but then I went between the horns of this dilemma and decided to mix one straight into the other, as though it was a single continuous track. I originally did this live (they appear together this way on a recording from Birmingham’s much lamented Jigsaw night, where I played in August ’05), but then I decided to put together an edit so I could take the combined length down by about three minutes and tighten the idea up. I called this version ‘Two Sides Of Sympathy’ – I utilized the percussion from ‘One For The Devil’ for the intro, before moving into the main body of ‘Unfinished Thing’, which then mixes back into ‘One for The Devil’ during the breakdown, reaching its climax with the guitar solo. To round things off I gave it a customary peppering of samples and spins.

The edit went Big with a capital B for me, and everywhere I went people were asking for it – it was one of those tracks you couldn’t stop playing because you knew that people would be disappointed not to hear it. When I came to put together my Essential Mix for Radio 1 in January ‘09, ‘Two Sides Of Sympathy’ was probably the first track on my list (the mix focusing on the tunes that had served me best since my comeback five years previous).

A limited 12” on the Edit The Edit inprint was made available in 2007 – as the name suggests, this was for my edits of other peoples edits (or mash-ups, as in this case). The original P.T.A release was fully credited on the label – I’d made contact with Tyrrell via email and he’d given his blessing for the 12” to be pressed. We got to meet for the first time when I was in London appearing at Plastic People in April ’07, where he’d hear me play ‘Two Sides’ over that killer system.

In 2009 it would re-appear on vinyl, this time as the second release in the Reactivate series (following on from ‘I Was A Teenage DJ’ / ‘Gotta Keep Workin’ It’), a new wave of DJ demand resulting from its Essential Mix inclusion.

Given that I can’t list the artists as Amerie, Massive Attack & the Rolling Stones (because two thirds of that trio are Tyrrell in disguise), I’ll stick to Edit The Edit ‘Two Sides Of Sympathy', which is how it’s been listed most often, Essential Mix included.

When I asked Tyrrell if he was happy for me to upload it here he told me to ‘go ahead, spread the love’. So here it is, maintaining the bi-yearly sequence – 2005 original P.T.A 12”, 2007 Edit The Edit 12”, 2009 Reactivate 12”, and now 2011 SoundCloud download.

Greg Wilson – August 2011


Edit The Edit 'Two Sides Of Sympathy' (greg wilson edit of pta mash-ups)

This is a remix I did back in 2007 of The Zombies classic "Time Of The Season"

Time Of The Season (DJ COBRA BOOTLEG)

Elektrons ‘Get Up’ (greg wilson special mix)

110 bpm

Previously one-sided DJ vinyl / promo only CD 2007.

Also shared for a limited period via SoundCloud in 2009/10.

In March 2007 I received an email from Justin Crawford (aka Justin Unabomber), who, along with DJ partner Luke Cowdrey (aka Luke Unabomber), was busy putting the finishing touches to their Elektons album ‘Red Light, Don’t Stop’, which would be issued later that year via Wall Of Sound / PIAS. Justin told me about an idea he had for me to put together a DJ only ‘party mash up’ of ‘Get Up’, the first single from the album.

I was more than happy to take it on - as you’re no doubt aware, I have massive respect for the Unabombers and their seminal Electric Chair parties at the Music Box in Manchester, which can be counted amongst the most influential British club nights of the last twenty years. The monthly events finally came to an end in January 2008, having originally kicked off in 1995, and I was fortunate enough to make a number of memorable Chair appearances at the Music Box, and other related gatherings both in Manchester and London, following my debut there in February 2005.

I got all the parts sent over and set about rebuilding the track, retaining some sections of vocal and speeding it up from around 100bpm to 110bpm, which sat better for my purposes. With carte blanche to sample whatever I liked, given that this wouldn’t be made commercially available, I had what might be called a field day. Listen closely (or not so closely) and you’ll hear a whole host of sources, including Marvin Gaye, Ladies Choice, Led Zepplin, James Brown, Missy Elliot, Chic, Public Enemy, Symarip, Michael Jackson, Brass Construction, Madness, The Doors and Ednah Holt; even Shrek got in on the act. I’d also switch from the original backing during the mid-section of the mix, dropping into the groove of the great mid-70’s Funk favourite, ‘Hollywood Swinging’ by Kool & The Gang, a change which generally provokes a noticeable surge of energy from the dancefloor.

It was a really buzzy thing to work on. I can certainly hear the playfulness in there as I trade the samples off against each other, vibing on the groove and creating tension. I suppose I approached it as a mini-epic, if that makes sense, with a few familiar faces popping up along the way to join the fun.

Greg Wilson – September 2011

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

Elektrons 'Get Up' (greg wilson special mix)

Fujiya &amp; Miyagi &amp; Madonna ‘Fujiya &amp; Madge’ (greg wilson mash-up)

137 bpm

Never previously shared

In 2007 I made my Big Chill debut on the fondly remembered Fat Tuesday stage, which was then a mainstay of the festival. At the time, it was probably the most people I’d played to since my DJ return, the crowd stretching right back in a large field. It was a top gig, and would be the first in a four year run of bookings at the festival, broken only this year when I didn’t appear.

I’d put together a couple of exclusives for the occasion, including this, a mash-up of Fujiya &amp; Miyagi’s ‘Ankle Injuries’, bookended with Madonna’s acappella from ‘Ray Of Light’, which I called ‘Fujiya &amp; Madge’.

Fujiya &amp; Miyagi are a Brighton based band who had been signed by Sav Remzi for his Tirk label. It was Tirk who released my Credit To The Edit compilations in 2005 and 2009, so I was obviously aware of Fujiya &amp; Miyagi via my dealings there, and had picked up a copy of their album ‘Transparent Things’,  issued a few months on from Credit To The Edit Vol 1. The infectiously quirky lead track, which had also been pressed on 10” vinyl, was ‘Ankle Injuries’, and I loved the lyric – with its seemingly random road references it weaved word imagery, and I suppose that the final line, ‘like pixelated scraps of jazz mags in your head lights’, made a tentative connection in my mind to ‘Ray Of Light’. So, having Madonna’s  acappella to hand, I thought I’d see how the two would work together, extending the intro to incorporate the opening verse of ‘Ray Of Light’, which I reprised after the main body of ‘Ankle Injuries’, this time using the second verse, before concluding with the closing ‘quicker than a ray of light’ vocal lines.

Greg Wilson – September 2011

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

Fujiya & Miyagi & Madonna 'Fujiya & Madge' (greg wilson mash-up)

Boz Scaggs ‘Lowdown’ (greg wilson edit)

115 bpm

Previously limited vinyl only 2008.

This is a straightforward, no added elements extension of ‘Lowdown’ that I knocked together back in 2004, and which would later be shared on limited vinyl in 2008 as ‘Blue Eyed Boz’, issued on the same 12” as ‘Adriano Italiano’ to launch the GW Ruff Edits series. It’s popped up in a few of my live mixes down the years, and features in the East Village London mix on here from last December.

'Lowdown' was released in the UK 35 years ago, in September 1976. Between January 2006 and September 2007 I compiled a series called Time Capsule for Samurai FM, where, month by month, I revisited the tracks I used to play in the clubs exactly 30 years earlier. It was a real labour of love, for not only did I have to research and often re-source the music included (I had a load of records stolen in 1985, so there were big holes in my collection), I also wrote an accompanying piece every month looking at the records featured, and how my fledgling DJ career was shaping up. 'Lowdown' was a single I used to play at the time in my New Brighton residencies, the Chelsea Reach and the Penny Farthing. Time Capsule covered the period I was at the Chelsea and the Penny, leading up to when I took over at the Golden Guinea, where I’d spend 3 memorable years before embarking on my Wigan / Manchester adventure in the early 80’s. 

I’d hoped to take Time Capsule all the way through 1977, but the workload became too much and I found myself unable to meet the monthly deadlines, so I reluctantly had to stop at Sept 77, with the intention of getting back to it in the future if I ever have sufficient time on my hands. Even if this turns out to be all I ever manage to do, Time Capsule, as I left it 4 years ago, still stands as a snapshot archive from a key moment in dance culture, as the Disco era gained full momentum and the 12” gradually began to take over from the 7” in the affections of British DJ’s.

All the programmes, plus ‘First Impressions’, which inspired the series, can be accessed here:
https://www.mixcloud.com/gregwilson/playlists/greg-wilson-time-capsule/

Here’s what I wrote about ‘Lowdown’ for the Sept 76 Time Capsule:
“Regarded as one of the classic Blue-Eyed Soul singles, 'Lowdown' by Boz Scaggs, despite its popularity on the UK club scene, peaked at a somewhat disappointing position of number 28 on the British chart. By contrast, the single had reached number 3 stateside, with the album it was taken from, 'Silk Degrees', becoming an American classic, which sold more than 5 million copies and spent over 2 years on the chart! Picking up a Grammy for Best Rhythm & Blues song, 'Lowdown' was recorded with a team of session musicians, who would later form the nucleus of the hit band Toto. In the early 60's, Scaggs, who was Ohio born, had left his Texas home to briefly join London's burgeoning R&B scene, returning to record his debut solo album, 'Boz' in 1965. He'd later appear on the first 2 Steve Miller Band LP's, 'Children Of The Future' (1968) and 'Sailor' (1969), before continuing his solo career with a series of albums for Atlantic Records. However, it wasn't until he signed to Columbia that the commercial acclaim, which had previously eluded him, finally came thanks to 'Silk Degrees'.”

Greg Wilson – September 2011

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

Boz Scaggs 'Lowdown' (greg wilson edit)

D.C. LaRue ‘Cathedrals’ (greg wilson edit)

119 bpm

Previously limited vinyl only 2007.

Pressed in 2007 as ‘DC La Groove’, just a few months after I'd put it together, this instantly became a big tune for me and was later included on my Essential Mix in 2009 (http://soundcloud.com/gregwilson/essential-mix-greg-wilson-mix-for-bbc-radio-1) and was most recently featured at the camptastic NYC Downlow in Glastonbury last June (http://soundcloud.com/gregwilson/glastonbury-nyc-downlow-17-06/).   

I’d always been captivated by the lyrics of ‘Cathedrals’ (I’ve copied below what I wrote about the original version for my Time Capsule series), and used to play it when it first came out in ’76, but I wanted a version that placed the emphasis on the superb rhythm section. I’d initially planned to retain some of the vocal, but eventually decided an instrumental would work best for my purposes. I set about removing the vocal sections and, having thrown in some samples for good measure, I knew I had an edit that would do the business. 

Here’s what I wrote in November 2006 for the Nov ‘76 edition of Time Capsule:
“D.C. LaRue's 'Cathedrals' is an acknowledged classic of the Disco era. Released on Pyramid in the US, like many dance records of the time it broke via the gay scene in New York and would climb to number 6 on the Billboard Disco chart. Connecticut born LaRue (real name David Charles L'Heureux) had started out in the music business as a graphic designer, the capacity in which he first met the people at Pyramid. 'Cathedrals', underpinned by a wonderful groove, is a unique sounding record, the lyrics of which I always found somewhat haunting, especially the core question 'where are they now?' and the line that gives the track its title 'they could fill cathedrals' - there was certainly something about 'Cathedrals' that was slightly disquieting. Years later, following the devastation of the gay community in New York as a result of the AIDS virus, 'Cathedrals', listened to in hindsight, seemed to take on something of a prophetic tone - it was almost as though the words could have been written post, rather than pre-AIDS. In an interview in Blues & Soul following the tracks UK release (it had topped the B&S singles chart - a rare occurrence for a white artist, particularly one releasing his first UK single), LaRue explained the meaning of the lyrics: "It's a story about urban sexuality in America. It deals with the actual consciousness of promiscuity that exists in discos around America today - you know, the situation where a guy picks up a girl or another guy at a disco and they go home and make love even before they know each other's name". He continued: "It's such an empty, fruitless way of living to my mind and that's basically what Cathedrals deals with - the emptiness and waste of humanity that this situation creates'. These final words would prove forebodingly true in a way he could never have imagined when he said them.”

Full text and Nov ’76 programme here:
http://samurai.fm/timecapsule/greg-wilsons-time-capsule-november-1976

Greg Wilson – October 2011

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

D.C. LaRue 'Cathedrals' (greg wilson edit)

Here's a rework of a track by a particularly famous band that Peza and I did back in 2014. This is the first time its been uploaded.

Four Lads Who Shook 'The Word' (greg wilson & peza rework)

Live mix recorded at the Roundhouse, University Of New South Wales, Sydney 04.03.12.

Blog post covering what was an eventful tour of Australia & New Zealand, and its wider context, now online – ‘Slowing Down Time’: http://www.gregwilson.co.uk/2012/03/slowing-down-time/

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

ROUNDHOUSE SYDNEY 04.03.12 (greg wilson live mix)

Henry Greenwood and I have put together a couple of reworks, which I’ve been playing throughout the summer, both ‘70s tracks, one Disco, one Balearic in flavour. The first I’ve uploaded is the former.

The Los Angeles based songwriting and production team Laurin Rinder & W. Michael Lewis forged a distinctive Disco sound during the mid-late 70’s, drawing from their background as Rock and Soul session musicians, whilst playing all the instruments themselves, El Coco and Le Pamplemousse being their initial projects. They’d later record a series of albums under their own names, Rinder & Lewis, including the grandiose Disco concept album, ‘Seven Deadly Sins’. The smooth grooving and somewhat esoteric ‘Mondo Disco’ is one of their early tracks released under the El Coco moniker in 1976.

Available to pre-order on 12" here: https://www.juno.co.uk/products/gw-henry-disco-mondo/739367-01/

Pre-Order

El Coco 'Mondo Disco' (greg wilson & henry greenwood rework)

Here’s the second of the reworks I’ve recently put together with Henry Greenwood. This time it’s a brooding Balearic treasure from the late-‘70s, recorded by a group who experienced a fleeting moment of fame with this pop/rock treat and its addictive downtempo dance beat. It’s these qualities we’ve tried to enhance, making the track more contemporary for DJs to play out now, whilst retaining the distinctive essence of the original.

Before we set about the rework, I played it last year as my final track when I appeared at Glitterbox in Hi! Ibiza (I’m back this year for the closing party on Sept 28th). It was after hearing how well this worked as my Glitterbox finale (mix here: https://soundcloud.com/glitterboxibiza/greg-wilson-glitterbox-hi-ibiza-150917) that I approached Henry, who has a wonderful feel for downtempo grooves, to work on an update with me. Anyhow, I think it’s definitely mission accomplished, feedback since I’ve been playing it extremely positive.

Released on EMI’s progressive label, Harvest, in 1978, Marshall Hain’s ‘Dancing In The City’ was a huge UK hit, reaching #3 on the singles chart, as well as scoring big in Europe, Australia and South Africa, and just missing out on the US top 40. 

The duo behind the track, keyboardist Julian Marshall and vocalist/bassist Kit Hain had met as pupils at Dartington Hall School in Totnes, Devon, just a few years beforehand, but their success would be short-lived. A follow-up, ‘Coming Home’, was less memorable, just about scraping into the top 40 before, as with the band itself, completely vanishing from the pop realm, indifference to their album, ‘Free Ride’, the final nail in the coffin.

Marshall would become a member of The Flying Lizards, whose oddball post-punk/avant-garde cover of the R&B classic, ‘Money (That’s What I Want)’, released on Virgin, went top 5 in 1979, before forming Eye To Eye, who released 2 albums for Warner Bros. in the early-‘80s. Hain pursued a solo career, recording the albums ‘Spirits Walking Out’ for Deram (1981) and ‘School For Spies’ for Mercury (1983), before subsequently moving to the US and turning her attention to songwriting.

Available to pre-order on 12" here: https://www.juno.co.uk/products/gw-henry-disco-mondo/739367-01/

Marshall Hain 'Dancing In The City' (greg wilson & henry greenwood rework)

Neon Hitch's brand new single "Gold" ft. Tyga and co-written by Bruno Mars! "Gold" is available on iTunes now!

iTunes: https://itunes.apple.com/us/album/gold-feat.-tyga-single/id550054561

Gold (feat. Tyga)

Sonny Landreth Promo

Available now from - http://www.zrecords.ltd.uk/new-releases

For many people the standout cut from last years Sunburst Band album was the Chic-esque title track.
 
Now Frankie and Eric have pumped it up and given us a peak time, sing along floor filler.
 
DJ Reactions:
 
Karizma – Dope rub
Danny Rampling - Excellent silky house Frankie Knuckles continues delivering quality remixes productions 
Johnny Fiasco - Esta muey chingon!
Danny Krivit – Fantastic
Robert Owens – Great mix
Ron Carroll – Excellent
Scott Wozniak - Absolutely loving the dub on this. Pure class
Shur-i-kan - Classic sounding track - like proper house
Pookie - Another great work by Frankie and Eric
Gareth Sommerville - Fautless club music
Carl Hanaghan (Hed Kandi) - Amazing. In Love. 
Casio Social Club  - Knuckles & Kupper? YES!
Andy Daniel - I need to be listening to this in the sun on the beach
John Jones (Hed Kandi) – Love this, a lot
Graeme Park - Its beautiful, it's wonderful and so are you
CJ Mackintosh - Quality...Love it
Gregor Salto – Sweet
Sam Divine (Defected) - Good feelin’ music! Amazing vocal!
Copyright - Classic vibe, love it
Freemasons – Really nice
Craig Stewart - Light touch paper and stand well back, breathtaking phew
Groove Assassin - Classy stuff from the Directors
Lewis Dene - At last real music in an otherwise sea of mediocrity 
 

Z Shop

The Sunburst Band - The Secret Life of Us (Frankie Knuckles & Eric Kupper's Director's Cut Mix)

GREG WILSON PRESENTS SCHOOLED IN THE CLASSICS 
PRESS RELEASE

2013 sees Greg Wilson taking his first steps back into record production, starting off with Schooled In The Classics, a series of groove based dance tunes put together to play out at his gigs, the initial tracks being first road tested in Chicago and New York last year to a great response. Greg now plans to issue 8 Schooled In The Classics tracks this year, both digitally and via 4 limited edition 180g vinyl releases. The first 2 tracks in the series, ’12-Turn-13’ and ‘Blue Angel’, will be issued on Feb 26th.

Drawing inspiration from his past to record new material, Greg’s intention is not to attempt to re-create what went before, but to try to channel the more freeflowing spirit of those times. The project name, Schooled In The Classics, is a tip of the hat to the New York luminaries of the early 80’s like Tee Scott, Shep Pettibone, Larry Levan, François Kevorkian and John ‘Jellybean’ Benitez, whose experimental, dub influenced approach to dance music gifted us with so many superbly innovative club mixes, inspiring everything that followed, as dance culture emerged from the underground to explode into the mainstream glare during the late 80’s Acid House / Rave era.

During Greg's two decade DJ hiatus, his primary occupation was that of producer, and it’s an area of work to which he has always intended to return. 2013 is a fitting year for this, being that it's 30 years on from Greg's original venture into production, in 1983, when he went into the studio for the first time, recording some of the demos for what would evolve into the Street Sounds ‘UK Electro’ album, on which he co-wrote / produced all but one of the tracks. It would reach #60 on the UK chart in 1984, and acquire cult status as a forbearer of what would happen a few years later in the decade, when British dance music really came into its own via a new wave of home-grown artists including Coldcut, M/A/R/R/S, Bomb The Bass and S Express, A Guy Called Gerald and 808 State.

Buy from Juno

Greg Wilson Presents Schooled In The Classics 'Blue Angel'

Here's a mix that's perfect for summer. Great for Beach, BBQ's, Sunsets & Seducing...

Tracklisting:

1. Seduction Intro - Jask
2. Cruisin' - Original Mix - Zimmer
3. Don't Look Any Further - Satin Jackets & Chris Jylkke Haircut Remake - M-People
4. Blue Velvet - Classixx Remix - Lana Del Rey
5. What's Love Got To Do  - Zimmer Rework - Tina Turner
6. Georgy Porgy - Satin Jackets & Chris Jylkke edit-Jerry Bouthier re-edit - Toto
7. No Dilemma - Original Mix - Patryk Molinari
8. Sugar - Moon Boots
9. Love Saves The Day - Mario Basanov's Vocal Remake - Kathy Diamond, Kaine
10. Benediction - Original Mix - Hot Natured & Ali Love
11. Promises - Plastic Plates Remix - The Presets
12. Where You At  - Original - Arco
13. Dreams - Gigamesh Edit - Fleetwood Mac
14. Love Is The Drug - Todd Terje Disco Dub - Roxy Music
15. Always - Joey Negro Classic Mix - The Electric Empire
16. When The Night Knows - Whitney Houston x Chromeo - The Hood Internet

Join me on Facebook:

www.facebook.com/AlexTaylorDJ

Twitter: @DJAlexTaylor

Bookings:

Stephen Craddock

stephen@inthedark.com.au

+61(0)2 9319 7767

Alex Taylor Nu-Disco Seduction

Buy here: <a href="http://www.juno.co.uk/products/437560-01.htm/?ref=4e6116a603e9b" rel="nofollow" target="_blank">http://www.juno.co.uk/products/437560-01.htm</a>
Low quality preview!


[DCS006] A2 - The Legendary 1979 Orchestra - Nothing's Gonna Break (The Feeling) [OUT NOW]

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.