man hearing this song right now,. takes my ole ass back....to PoMonA,Ca.    doing ditch parties  with my half crate... Wow!

The club track in Cartouche Utrecht, often played bij Leo Cotino (good Times).

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

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

Edits & Mash-Ups

Shades Of Love   Keep In Touch (Body To Body)

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)

Sybil - Falling In Love [extended Version 1986]

Dear community, BGirls, BBoys and followers all over the world.
 
I would like to take this opportunity to greet you warmly and have great news for you!
 
I've wanted to release my new album for a long time, but numerous other projects have taken a lot of my time. Now the “new album” project is in the final phase. And what should I say? Because of my hard work, the bubbling wealth of strange sound ideas, and the incredible help and support of my dearest friends and family, the “new album” project has become a three-part project.
 
Album "The Vault" - release date on May 5th, 2024, 22 x songs
 
Album "The Golden" - release date approximately June 5th, 2024, 22 x songs
 
Album "The Funky Wheelbarrow" - release date approximately August 4th, 2024, 10 x songs (pure rare groove, funky breaks and live performance funk)
 
I would especially like to thank my family, the chaotic people on the turntables and my best buddy and DJ friend Daniel aka Sam Spade for your help, support, trust and love.
 
I have taken another leap in development, absorbed constructive criticism and created a musical milestone for you with my heart and love for breaking culture. Even if the German break DJ scene doesn't really stick together, at least it's the individual contributions that keep the community alive. Unfortunately, so many break DJs still adorn themselves with other people's feathers, because "Digging in the Crates", if anything, is unfortunately not everything.
 
The next three albums are musically filled with real rockets, you have to have that much self-confidence, and many songs have already been tested in international battles. The cross-genre variety of sounds and the detailed wealth of ideas in every single song should bring you a lot of fun breaking and listening. Just have fun with it!
 
I wish you all lots of love and, above all, peace!
 
Rock on!

The Vault

Kaufen/Buy/Support

16. The Funky Rockers (The Vault 2024)

I like to think when this first came out that Accountants, Bankers, and Romantics alike rejoiced! A simple DJ /  mixable edit  with a bit of additional synth and kick drum work. Summertime vibe out. Enjoy!

Shalamar - Take That To The Bank (TREWs Save My Love DJ Edit)

Psychemagik ‘Mink & Shoes’ (greg wilson edit)

*now available to download via Bandcamp: https://psychemagik.bandcamp.com/track/mink-shoes-ft-navid-izadi-greg-wilson-edit-psychemagik

115 bpm

Never previously shared.

I’m really into the latest Psychemagik single, ‘Milk & Shoes’, which features vocalist Navid Izadi over a solid mid-tempo acid groove – a section of the track originally surfacing on an ‘anti-hipster’ Smirnoff Vodka advert last year. It’s an impressive production and would certainly get my vote as one of the best dance tracks of 2015.

I put together my own edit to play out, as is my wont, which Dan & Tom from Psychemagik were happy for me to share on SoundCloud. It’s just a combination of vocal and dub versions really, plus some additional ambience via a scattering of samples I’ve introduced – that’s pretty much it, a less is more approach.

More at the blog: www.gregwilson.co.uk

The original versions are available via iTunes:
https://itunes.apple.com/gb/album/mink-shoes-ep/id1033546667 

Greg Wilson – November 2015

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

Psychemagik 'Mink & Shoes' (greg wilson edit)

Unlimited Touch

Grab it on iTunes!

Unlimited Touch - Searching To Find The One (Remix)

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)

Portrait

Padlock (Larry Levan Mix / Bonus Track)

For anyone who had been purchasing my mixes via Legitmix please email me at the following address or Follow me on Facebook. Would love to hear from you and stay connected!
EMAIL: freddyg@digitalvisionsremix.com
FACEBOOK: https://www.facebook.com/DigitalVisionsReEdits/

PLEASE visit my website for more info about me and my projects....plus info regarding my Sunday afternoon LiveStreams: www.digitalvisionsremix.com/

My goal for Digital Visions is to offer respectful remixes and re-edits of classic dance tracks to working DJ's worldwide.

A very funky old skool Roller Skating Jam if there ever was one.
Enhanced, Re-Edited and DJ Friendly....
.....Enjoy!

Edit Info:
Time: 6:02
BPM: 109
Intro: 32/32 Beats
Outro: 32/32 Beats
End: Cold

As always feel free to leave a comment telling me what you think. Criticisms are welcomed....provided it is of the constructive variety.

BTW....Please Click LIKE or COMMENT if you like what you hear.....THANKS!!

As always feel free to leave a comment telling me what you think. Criticisms are welcomed....provided it is of the constructive variety.

BTW....Please Click LIKE or COMMENT if you like what you hear.....THANKS!!

T.S. Monk - Bon Bon Vie [Gimme The Good Life] (Digital Visions Re - Edit)

Maze - Joy and Pain (Maxi Extended Rework Sunshine & Rain Master Chic Mix)

Positive Force - We Got The Funk - ArtMixDj 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)

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)

CJ&Co - We Got Our Own Thing

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.

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

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