Edits

nevae3h __1

BB. __1

old school

great tracks

Good Times

le jardin de le monde

80s Weekender Funk Soul.

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

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

Edits & Mash-Ups

Arrow 47

#EssexJam Old School R&B & Party Classic Mix 17th Aug

Slick Rick  - Hey Young World

Rework of Laura Lee classic. Upped this a while back but reworked it slightly. Enjoy :)

Crumbs (Fingerman Disco Beatdown)FREE DOWNLOAD

Nothing Can Keep Me From U [LNTG Interpretation]

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)

Wrote this song with Jon Bull and Glen Goldsmith  - did the vocals on a sunny day... 20 years ago.

Walking

Black Label #36

The Way Back

Solomun - The Way Back (Out now on Compost Records!)

Somebody's Story

Solomun - Somebody's Story (Out now on Compost Records!)

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)

Different Morals (edit)

Captain Rapp ‘Bad Times (I Can’t Stand It)’ (greg wilson edit)

120 bpm

Previously limited vinyl only 2009.

With all the talk of recession during late 2008 through 2009, Captain Rapp’s ‘Bad Times’ kept running through my head, prompting the idea to put together this edit, which would be pressed  to limited vinyl as part of the Ruff Edits series, appearing as ‘Ruff Rapp’ on Ruff Edits #3. Now, with the news reporters back to warning us of a rocky road ahead, with all the social problems this might entail, it provides a topical opportunity to share it here.

Taking its lyrical cue from 1982’s seminal recording, ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Bad Times (I Can’t Stand It)’ was a socially conscious rap that explored the issues of the day, topped off with the raw pleas of singer Kimberley Ball. Just as important though was the killer Electro-Funk groove that set the more discerning of dancefloors alight. A proper underground tune that was huge for me during the latter part of ’83 , topping my floorfillers list not long before I called time on my DJ career:
http://www.electrofunkroots.co.uk/lists/no1_floorfillers.html

This was very much a track you’d only hear if you were tuned into what was going on in the black clubs over here. Like the majority of tracks I played, I’d picked it up on import from Spin Inn, the essential shop in the North for Soul, Funk, Disco, Electro-Funk and Jazz (the elements that made up a specialist night circa ‘83). As I've said before, if you didn't buy your records at an import stockist like Spin Inn, you couldn't seriously aspire to be a black music specialist, and Spin Inn was right up there, along with an elite of shops, like Groove and City Sounds in London, shaping the course of UK club culture via the constant stream of dance music, great, good and not so good, they brought into this country.

Whereas New York was the centre of the dance universe at this time, its hybrid groove and technological experimentation pushing the music ever forward, ‘Bad Times’ was a West Coast, not East Coast  track, released on a small label out of Los Angeles called Saturn, with unknowns, Jimmy Jam and Terry Lewis (along with Rich Cason), credited as arranging and performing (Jam & Lewis would, of course, become the most successful dance / R&B producers of the mid-late 80’s). Captain Rapp himself was Larry Earl Glenn, whose 1981 ‘Gigalo Rapp’ (by Disco Daddy & Captain Rapp) has its place in history as the first West Coast Rap 12”. 

‘Bad Times’ would be issued in the UK on the Becket label, but failed to make any real impact beyond the black scene. As such, it’s always retained its underground credentials, and a place in the hearts of black music enthusiasts with a fond ear for the early 80’s. 

Greg Wilson – October 2011

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

Captain Rapp 'Bad Times (I Can't Stand It)' (greg wilson edit)

Funkmasters - Its over (PeteBish final fix)

Starpoint - Object of My Desire (DJ Adam Hats Re-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)

Jazzy Dee - Get On Up

La Funk Mob - Motor Bass Get Phunked Up (Richie Hawtin Electrofunk Remix)

E40 - Bitch Rmx Feat 50 Cent & Too Short

A New Mix enjoy Hip Hop, Old School, Rhythm And Blues

DJ RALPH E.L.A.... Hip Hop, Old School, Rhythm And Blues

Fingerman - Kiss The Skylife (Low Quality Preview) OUT NOW ON MIDNIGHT RIOT VOL. 3

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)

Kem is a true soul/R&B artist that had great mixes done for him.This track is the prime of the prime of Soulful House.Darryl James adds simplicity to the original elevating to higher temperatures as the song goes.  I DO NOT OWN THE COPYWRIGHT OF THIS SONG. YOU CAN BUY IT USING THE LINK.

Kem - Love Calls - Darryl James Mix

U're The One 4 Me (a Discobody loud shout)

New York based duo D-Train released their first single "You're The One For Me", mixed by François Kevorkian, in late 1981 on Prelude Records. It was an instant success, hitting #1 for three weeks on the U.S. Hot Disco/Dance chart in Jan 1982 and #13 on the U.S. Soul chart. It also entered the UK Pop top-30. Larry Levan hammered it and made it a determinant Paradise Garage anthem. 
Among those who sampled it over the years are N.W.A. for their 1988 “Something 2 Dance 2”, Heavy D & the Boyz for their 1991 “Swinging With Da Hevster”, Pete Rock for his 2001 “Take The D-Train” and Prodigy for their 2004 hit “Girls”. 

It’s one of my 10 all-time fave dance tracks. The beat is sizzling hot, the bassline rules, the synths are dominant, the lyrics are so inspiring and James "D. Train" Williams’s voice is fascinatingly rich, this track is perfection through and through. 
On this mix you get lots of different sounds, extra percussion/bass/bells, longer funky intro, more breaks & reformed bridges and spiritual outro. Enjoy the loud shout!

This version’s lyrics:

“Get up
Get up on the funky D-Train
Funky D-Train

Bustin' up on a cloud, shout out loud 
You're the one for me 
With your love by my side 
The world will be mine 
You're the one for me

With this true love I found 
Picks my feet up off the ground to fly away 
With this true love my dear 
Takes away my every fear, don't go away 

You just don't know what you did to me 
But I'm not the same 
Since you gave me 
Love that's sheltered from the rain 

You just don't know how you make me feel 
Your sweet lovin', girl, is so unreal 
I've got love, love desire 
From your lovin' my soul's on fire 

Bustin' up on a cloud, shout out loud 
You're the one for me 
With your love by my side 
The world will be mine 
You're the one for me

You're the one for me, yeah 
Ooohhh, the one for me
I got to stand on up for your love
I got to stand up
For your love
Yeaaahooo!

I'm ridin' on a cloud 
Got to shout it out loud, you're my all 
Baby, hold on tight 
For the rest of my life, don't let me fall 

You just don't know what you did to me 
But I'm not the same 
Since you gave me 
Love that's sheltered from the rain 
You just don't know, no, how you make me feel 
Your sweet lovin', girl, is so unreal 
I've got love, love desire 
From your lovin' my soul's on fire

Bustin' up on a cloud, shout out loud 
You're the one for me 
With your love by my side 
The world will be mine 
You're the one for me 

With the love I have inside of me 
We can turn this world around 
We can live through all eternity 
And we'll never touch the ground 
We'll take a chance to ride upon a star 
To a place that's far away 
The light of love will shine on us 
Forever and a day 

You're the one for me, yeah 
Ooohhh, the one for me

Get up on the funky D-Train

With the love I have inside of me 
We can turn this world around 
We can live through all eternity 
And we'll never touch the ground 
We'll take a chance to ride upon a star 
To a place that's far away 
The light of love will shine on us 
Forever and a day”

U're The One 4 Me (a Discobody loud shout)

OLD SCHOOL R&B MIX

1.  Everlasting Pictures - Booker T
2.  Better Love - Deep Sensation
3.   Runnin Around - Kerri Chandler
4.   Love will make things better - Todd Edwards
5.   I Refuse - Filthy Rich
6.   Movin on - Roach Motel
7.   The Praise - Todd Edwards
8.   Saved My Life - Todd Edwards
9.   I Want it i need it - Garvin Bros
10. Dont shut me out - Boogie Balo
11. Love is what we need - RIP Down South mix
12. Freedom - Black Magic
13. Took my Love - MK
14. Bouncing Sax - George Morel
15. Strictly Rhythm Test - ??
16. Luvin - Virtual soul
17. In my soul - Grant Nelson
18. Allnighter - Grant Nelson
19. Heaven i can feel it - Soulfuric Dub
20. Blues for you (vocal) - Logic

Jack Swift Old School House and Garage mix (94-96) November 2010

Many thanks to BSP for this. Got them all singing along on NYE ;-)

http://soundcloud.com/beaten-space-probe

Music (Beaten Space Probe Vs Fingerman Edit)

Sounds at Ramada Hotel Hemel Hempstead/St Albans

Reward on Moozar : http://reward-my-music.com/9229 Remix touched by Muzikman Edition in honour of our great Lady T. We will miss you!

Add to cart

Teena Marie-I'm A Sucker For Your Love (Muzikman Edition) PROMO ONLY

Isolée - Taktell

hold on if your love is strong ♞&#13;
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Art by <a href="https://facebook.com/pages/Jamie-Mitchell-Illustration/205463922844453" rel="nofollow" target="_blank">Jamie Mitchell</a>

FREE DOWNLOAD

Love Strong

Catch 2Nite (Fingerman's Boogie Beatdown) OUT NOW on Discodat

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.