ny 2012

Funkatronic

Converted By Soundiiz.com, Deezer To Soundcloud

Good Rock

Pretending to work on a Friday tunes

Harry's new set

Bucket loads of party classics from across the last few decades

Classic party re-edits

disco-edits

Edits

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)

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)

Me and Paul Noble did this mix shortly after the original came out. It was originally released - very briefly - on Disco Sucks about 6 years ago. Greg Wilson started playing it some time after it had been released and we started getting requests for it. Now's the chance to fill your boots. 

TWEET - Boogie 2Nite (Fat Camp Mix)

Astral Projection Podcast [May 2011] [vol 1] [mp3 320 Kbps] [free Download].

track list:
1.Chaos 2.The Nexus 3.One 4.The Prophecy 5.Infinite Justice 6.Heaven’s Gate 7.Liquid Sun 8.We Have The Technology.

Official Astral Projection "sound-cloud" page ✔
http://soundcloud.com/astral-projection

Astral Projection "face-book" page :
http://www.facebook.com/astralprojectionofficial

Official Web: www.astral-projection.com

Email: avi@astral-projection.com

וַיְהִי-עֶרֶב וַיְהִי-בֹקֶר

Boom !

Astral Projection


Astral Projection Podcast [May 2011] [vol 1] [mp3 320 Kbps] [free Download].

"Bring that beer over here, cause I need it to steer"

Todd Terje & Strangefruit Babylon Istanbul 2009

VINYL: http://bit.ly/1qmvStN 

Follow:
soundcloud.com/djaptone
soundcloud.com/dj-paul-foley

CREW DOWNLOAD 

Michael the Lion - Funk Train feat. Amy Douglas [Preview]

An edit I did of The track Kuar. I took out the english speaking parts and kept it very ethnic and tribal. Works much better in my opinion.

Emmanuel Jal - Kuar - Henrik Schwarz Remix- JB Edit

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)

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)

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)

http://www.beatport.com/track/alphaville-todd-terje-remix/3156419

http://www.junodownload.com/products/olympia-remixes/1861161-02/?trackid=8

Alphaville - (Todd Terje Remix)

Stevie Wonder - Superstition (Todd Terje 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)

MAJOR LAZER - ORIGINAL DON (FLOSSTRADAMUS REMIX)
RUN THE TRAP!

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Major Lazer - Original Don (Flosstradamus Remix)

Originally featured on the 1976 Kudo release Capricorn Princess, 'All The Way Down' is low-down slice of mid seventies bluesy funk which first came under the LW scalpel four years ago and has since seen a very limited release on Kojak Giant Sounds (which now exchanges hands for silly money on Discogs).

I recently revisited the edit and remastered it using a bunch of great analog outboard I've since acquired through careless gear lust! This will only be available in download format for a short space of time so grab it whilst you can. Enjoy!  x

If you're in the Nottingham area this Easter Sunday I'm DJing alongside Faze Action for the rather wonderful Soul Buggin' collective, rest assured this will be in the set list. :) - http://tinyurl.com/c5853px


Esther Phillips - All The Way Down (Leftside Wobble Edit) - Remastered WAV

Gyptian - Hold Yuh (Major Lazer Remix)

Chewy rubs it up again .....   
the ORIGINAL Diva of Disco .....

Sylvester - Do You Wanna Funk (Chewy Rub)

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)

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)

HOT CHIP - How Do You Do (Todd Terje remix)

This is a song about the French Resistance in World War II. The song was written in 1943 in London by Anna Marly and Emmanuel d'Astier de la Vigerie. It has been adapted (with English lyrics by Hy Zaret) and covered by diverse artists, including Leonard Cohen, Joan Baez, Buffy Sainte-Marie, 16 Horsepower, Red Union, Po' Girl, Branimir Štulić, Electrelane and The Swell Season. It is often confused with the Chant des Partisans, which became the unofficial anthem of the French Resistance.

The partisan

@JesseBoykinsIII | @WeAreKingMusic
jesseboykinsiii.com
www.weareking.com/

There is never a time , I don't want you 
but baby I need you right now
It could be the heat, or this 'Fever'
I need you to cool me down
drowning in thoughts of her passion
her kiss could cure my weak
gliding towards her apex I know she'll put me sound as sleep

I'm Super Super Restless
& I can't take it, & when I close my eyes
I see her Naked
I can't battle with what I've built up
I can't slumber without her love

There is never a night 
where you don't greet me 
but I need you before my dreams 
your graceful lust, how it treats me 
as if I were a KING
settle my thoughts with your out cum 
I'll hold you to feel the beat 
close your eyes while you touch me 
this pulse will help you sound asleep

you + me = sleep
and baby thats what I need 3x
baby I want to dream of us
as we make love 

I'm Super Super Restless
& I can't take it, & when I close my eyes
I see her Naked
I can't battle with what I've built up
I can't slumber without her love

@JesseBoykins3rd | @WeAreKingMusic
http://jesseboykinsiii.com
http://www.weareking.com/

Refix by Jesse Boykins III 
Guitar by Steve Wyreman
Additional Bass by Dennis Turner

Artwork : Dininha Kouyate
Photo by @DrWooart

Restless Dreamer [King re.fix]

Here is my 1 hour mix recorded for the Diplo & Friends show on BBC Radio 1 and 1Xtra, broadcast on Sept 22nd 2012.
This isn't a straight-up club mix. I threw in some curve-balls from the brain crates...

TRACKLISTING:

Fake Blood "Yes / No"
RVBRA "Crude Oil"
Oiling Boiling "Cyclops Dance" (edit)
Roy Orbison "Zigzag" (edit)
Fake Blood "End Of Days"
Aerotronic "Scatterbrain"
John Murtaugh "Slinky" (edit)
PL€A$UR€ "Platypus"
Dabeull "Flic Flak"
Just Regular Guys "Charge"
Fake Blood "Let It Go"
Tom Merriman & Jim Long "Dance The Slurp" (edit)
Vakkuum "Sonar"
Martin Circus "Disco Circus" (edit)
Kikrokos "Life Is A Jungle" (edit)
Robag Wruhme "Donnerkuppel"
Elvis Presley "Let Yourself Go" (edit)
N'to "Stupid" (Traumer Long Way Mix)
Hey Today "83"
Francois de Roubaix "La Scoumoune" (edit)
People Get Real "San Dimas"
Borussia "Beast Arousing"
The Cure "10:15 Saturday Night - RS Organ Home Demo With Vox" (edit)
Simian Mobile Disco "Cerulean"
Kolsch "Silberpfeil"
Lou Courtney "Hey Joyce" (edit)

-------

Fake Blood - Mix for the Diplo & Friends Radio 1 show

Probably the first EP... more tracks to come!

The Binary Cumbia Orchestra - Gigante

"It's better to burn out
Than to fade away!

Download via Facebook

Stefan Biniak - The  Johnny Rotten Bootleg

Buy Link : http://www.beatport.com/track/pistolero-astrix-remix/3887937

Follow:
YouTube: www.youtube.com/user/ASTRIXtv
Facebook: www.facebook.com/Astrix.Official
Twitter: twitter.com/astrixofficial
Soundcloud: @astrix-official
Instagram: www.instagram.com/astrixofficial/
Mixcloud: www.mixcloud.com/AstrixOfficial/
Beatport: pro.beatport.com/artist/astrix/7873

Juno Reactor - Pistolero (Astrix Remix)

Marvin Gaye  -  Inner City Blues (Sk Edit)

Heidi Vogel debuts her solo album ‘Turn up the Quiet’ following on from her many successes with the critically acclaimed Cinematic Orchestra (Ninja Tune). A deeply moving collection of classic 60s/70s Brazilian songs, interpreted and presented in a unique, intimate fashion and with a timeless sound. 

Heidi has a voice that comes from the deepest places of the heart.  Her honest interpretation of songs, and powerful stage presence make her an utterly beguiling performer and this is the blend that emerges from her debut solo album ‘Turn up the Quiet’ where she elegantly interprets songs of great composers such as Antonio Carlos Jobim, Vinicius de Moraes and Joe Henderson.

Recorded and mixed by Demus at Fish Factory & Mancrush Studios, this album showcases the singer’s undeniable connection and resounding passion for Brazilian music. Her capacity to unfurl long-lined melodies unveils her intimate yet direct presence that goes beyond genre or style. Heidi is accompanied throughout the album by the very talented guitarist Josue Ferreira as well as guests musicians including vocalist Cleveland Watkiss, pianist Austin Peralta and Ivo Neame. The album is enhanced further by remixes from The Cinematic Orchestra, IG Culture and Emanative.

Initially making her professional debut touring with Cirque du Soleil, she became a frequent face in the London and LA jazz & soul scene where she became involved with The Cinematic Orchestra as their lead singer. This platform established her extraordinarily rich and complex vocal timbre and built her reputation outside of her home city of London, UK. By 2007, Vogel had toured all over the USA, Australia, South Africa, Canada and Europe and ended the year with a sold out concert at The Royal Albert Hall and a stunning performance live on the Jimmy Kimmel TV show. She then went on to perform the main stage at The Big Chill Festival UK in 2010, and the following year graced the stage as support for Erykah Badu at Dubai’s Chill Out Festival amongst numerous other appearances at North Sea Jazz Festival, Coachella, Gilles Peterson Worldwide and Blue Note Jazz Festival. With every performance, Heidi has been steadily exceeding her rich vocal abilities whilst gaining influential critics’ approval as a soloist. 

Her signature musicality and technique which entrances the listener is captured perfectly in this full-length offering “Turn up the quiet” which Far Out is delighted to present to a new audience


12 - Turn Up The Quiet (The Cinematic Orchestra Remix)

This is a requested edit in return for a box of chocolates :P Yum! Originally from my previous mixtape.

https://linktr.ee/thisislebron

Leroy Hutson - So In Love With You (LeBRON Edit)

If anything binds the many musical faces of Nate Raubenheimer, it’s that fact that each of his productions move. His latest work of Protoculture art, the mighty ‘Laguna’, is no exception. Featured on Armin van Buuren’s A State of Trance 2013, this jewel sets a high standard for 2013.

There’s only few styles that South-African producer Protoculture hasn’t touched yet. And there’s even less that he can’t handle.

Throughout the course of his career, that spans over 10 years already, he’s ever intrigued the listener with outstanding soundscapes, original melodies and solid, deep bass. ‘Laguna’ is another one of those. A real gem, that embraces you right there on the dance floor.

It provides that magical moment, when nothing but the music matters. Hands in the air, eyes closed and ‘Laguna’ to guide you.


Connect with Protoculture

Website: http://protoculture.fm
Twitter: https://twitter.com/_protoculture
Facebook: https://facebook.com/protocultureofficial
Tour Dates: http://bit.ly/protoculturetourdates
YouTube: http://youtube.com/protoculture
iTunes: http://bit.ly/protocultureitunes
Beatport: http://bit.ly/protoculturebeatport
SoundCloud: https://soundcloud.com/protoculture
Radio Show: http://bit.ly/protoculturenaturalselection


Protoculture - Laguna (Original Mix)

BEATPORT: http://btprt.dj/1KtJAaj
ITUNES: http://bit.ly/1KtJDD1

CREW DOWNLOAD

Navid Izadi - Feelin' Purple (Soul Clap Remix)

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.