Greg Wilson oval

2nd recording from Glastonbury 2013 - from Block 9 Genosys on 28.06.13.

Read the accompanying blog post, 'Glastonbury - The Greatest Show On Earth' here:
http://www.gregwilson.co.uk/2013/07/glastonbury-the-greatest-show-on-earth/ 

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

GLASTONBURY BLOCK 9 GENOSYS 28.06.13 (greg wilson live mix)

Recorded at the Electric Chair Riot at Manchester's Legends (not to be confused with Legend, my early 80's venue) 27.12.09.

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

ELECTRIC CHAIR END OF YEAR RIOT MANCHESTER 27.12.09 (greg wilson live mix)

Night Music Mix - Nightime sounds 

Recorded using the Isonoe 420 Rotary Mixer Technics 1210s and Pioneer CDJ2000

Night Music Vol.3

SB@Instagram

Superbreak Radio Show Episode 052

Official Podcast page  / http://balance.hr/podcast.html /
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Live rec. from Savannah Ibiza 2014-06-22
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With the courtesy of Mr.@gregwilson we share this Live DJ recording 

/ https://gregwilson.co.uk / https://savannahibiza.com /
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BFMP #244 | Greg Wilson @ Savannah Ibiza 2014-06-22

Live recording of In the Spirit w/ Joe Holmes on www.myhouseyourhouse.net. This was a very special episode for me because it is a tribute to one of my all time favorite deep house music outfits, DiY. They are celebrating their 25th anniversary this weekend in Nottingham, UK. So I thought I would play a bunch of DiY stuff. Some old and some not quite as old. Also some brand new music off of Pete Woosh's new label, "Spirit Wrestler". As well as some stuff I feel is in the same vein, musically, geographically, artistically, spiritually and what have you. All vinyl. The newer records should be available on www.juno.co.uk. Good luck finding the older ones. Enjoi. :]

1. Atjazz - In & Out - DiY Discs
2. Rainbow Garden - Scrumpin - DiY Discs
3. Atjazz - Slide it In - Charles Webster rmx - DiY Discs
4. Rhythm Plate - Miles Between Us - DiY Discs
5. DiY - Feelin U - Cue Kids rmx - DiY Discs
6. Rhythm Plate - From the Vaults - DiY Discs
7. Nail - (I Din't Wanna) Hurt U - Classic Music Company
8. Jericho Park - Acid Love - Spirit Wrestlers
9. Nail - Slap My Ass - Classic Music Company
10. Da Sunlounge - Never Good For Me - Myna Music
11. DiY - Hothead - Pierre's Wildptich mix - Warp Records
12. Jericho Park- Some Time Ago - Spirit Wrestlers
13. Alexkid - Come With Me - Brett Johnson's Flavor of the Moment rmx - F Communications
14. Brett Johnson - Furtherer - Visionquest 
15. Themis - Crast - 89:Ghost
16. Da Sunlounge - Give it to Me - Myna Music
17. Inland Knights - Rack Me Up - Drop Music
18. Rhythm Plate - Recoil - DiY Discs
19. Pj Priciple - Holy Mountain Part 2: The Summit - Spirit Wrestlers
20. Gibby Music - Apollo Grooves - In 2 Deep mix - Strctly 4 Groovers
21. Joe Active - She Found it Easy(Dub) - DiY Discs
22. Toka Project - Don't Cry - Viva Recordings
23. DIgs & Woosh - The Message - D's Nuance vs. Nuisance mix - DiY Discs
24. DiY - Hothead - D&W Insignificance mix - Warp Records
25. Digs & Woosh - The Message - 20:20 Barndance Mix - DiY Discs
26. Da Sunlounge - Much More - Myna Music
27. DiY - Fellin Jazz - DiY Discs
28. Atjazz - Everything - DiY Discs

MHYH: In The Spirit w/ Jolmes.. Tribute To 25 Years Of DiY Edish..

Here's the track listing-

The Eagles - "Hitchhikers Guide To The Galaxy Theme" (BBC)
Beenie Man - "Who Am I" (Greensleeves)
Danny Reo - "Room Wize" (Columbia)
Ninja Man/Flourgen - "Zip It Up" (Sure Delight)
Freestylers - "B-Boy Stance" (Freskanova)
Budbrothers - "Do You Wanna" (white Label)
Funkizm - "Boogie Butt Sounds" (Reel Vybe)
Eric B And Rakim - "Juice" (Soul/MCA)
Bowser - "I Need More Time" (Freskanova)
Whodini - "Magic's Wand" (Jive)
Cut And Paste - "Let's Go Disco" (white Label)
Artist Unknown - "Funky 4 U" (white Label)
Wobble U - "Petal" (Indolent)
Bowser - "Operation Hardheat" (Freskanova)
Damage Control - "Da Pumped Up Phunk" (Afro Wax)
Double G - Untitled (white Label)
Pick 'N' Mix - "Twisted Ska" (white Label)
Artist Unknown - "El Magnifico" (white Label)
Soul Hooligan - "Sweet Pea" (Freskanova)
Will Shaker - "Made Up Of This And That" (Sophisticuts)
Star And Garter - "Blimey" (Easy DB)
Freestylers - "Drop Tha Boom" (Scratch City)
Freestylers - "Don't Stop The Rock" (Music Specialists)
Freestylers - "Don't Stop" (Scratch City)
Information Society - "Running" (Tommy Boy)
Bowser - "Let Ya Body Funk" (Freskanova)
DJ Funk Roc - "My Beat Box" (white Label)
Isunamioe - "Number 43 With" (Fuel)
Freestylers - "Spaced Invader" (Freskanova)
Freestylers - "Check Da Skillz" (Freskanova)
The Fall - "Masquerade" (white Label)
DJ Poout - "Let The Bass Mix" (white Label)
Dance Conspiracy - "Dub War" (Metamorphosis)
Ginuwine - "Holler" Strike Remix (Epic)
John Williams - "Throne Room From Star Wars" (20th Century)
Public Enemy - "Bring The Noise" (Def Jam)
Chemical Brothers - "Leave Home" (Virgin)
Blapps - "Don't Hold Back" (Tribal Bass)
Godiego - "Birth Of The Odyssey" (BBC)

Freestylers Essential Mix

HAPPY NEW YEAR 2015 - - - SALSOUL & LOLEATTA & PULSE -
HOT NEW REWORK
DANCE, LIKE, & SHARE -
MUCH LOVE <3

Get Track

The Salsoul Orchestra Ft. Loleatta Holloway - Seconds (A Young Pulse Rework)

Recorded at The Nest, Dalston, London 13.02.15.

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

THE NEST LONDON 13.02.15 (greg wilson live mix)

This Sunday (New Years Day 2011) the Living To Music selection is the self-titled debut album by The Stone Roses. This reminded me of the one and only time I’ve played the LP’s opening track, ‘I Wanna Be Adored’ in a club. I wrote:

“In Dec 07 I was the final DJ, bar the residents, to play at Manchester’s now fabled Electric Chair – one of the city’s most important club nights in recent memory. I wanted to finish off with a track that truly summoned up the spirit of Manchester, and settled on ‘I Wanna Be Adored’ – an ethereal anthem from an era that placed the city at the forefront of popular culture. Whilst ‘Fools Gold’ is obviously the Roses track most geared to the dancefloor (and the one I'd later feature in my Essential Mix), ‘I Wanna Be Adored’ evoked the unity evident in that E’d up epoch, subsequently echoing through to the Electric Chair and still dearly cherished by those who experienced it first hand, whilst becoming a source of continued fascination for those who didn’t.”

Full blog post here: http://www.gregwilson.co.uk/2011/12/living-to-music-the-stone-roses-the-stone-roses/ 

I talk about the Electric Chair, and its legacy, in greater detail in the blog post ‘Manchester Vibes In The Area’: http://www.gregwilson.co.uk/2011/10/manchester-vibes-in-the-area/ 

The aforementioned Electric Chair event, the ‘Last Supper’ as they called it, featured a whole host of previous guests, all playing for half an hour each. As I mentioned, I was the final guest to appear and, given the significance of the occasion, I wanted my selections to be symbolic of the city’s club heritage, linking back to the underground days of the early 80’s, when I was at Legend (and, just prior to my retirement as a DJ, The Haçienda). The 5 tracks I decided on consisted of a trio of classic home-grown tunes from the height of the Madchester era, along with a couple more tracks, one from New York and one from Italy, which had originally been associated with Legend, but would later gain a secondary association as massive oldies played at The Haçienda later in the decade.

Having had to rush across town from a previously arranged booking (as fate would have it, a Haçienda revival night at Sankey’s Soap), in time to make my 4.30am slot, it wasn’t possible for me to set up all my equipment at the Chair, so this was one of the rare occasions when I’ve played from CD. Aware of this ahead of the gig, and knowing that the time frame only enabled me to play a handful of tracks, in preparation I did some editing and overdubbing on the tunes I’d selected, the first of which, 808 State’s ‘Pacific State’, would prove to be particularly inspirational for me a little over 12 months later, as this was where I first used the Jesse Jackson ‘Wattstax’ invocation, which would play such a pivotal role in my Essential Mix , where it features in both the opening track, DFP’s edit of ‘Down To Love Town’ and the concluding one, which is, of course, my ‘Electric Chair Edit’ of ‘Pacific State’.

I uploaded it earlier this year, so you can get the full lowdown / download here
http://soundcloud.com/gregwilson/808-state-pacific-state-greg 
Here’s the link to the Essential Mix:
http://soundcloud.com/gregwilson/essential-mix-greg-wilson-mix-for-bbc-radio-1 

The ‘Last Supper’ selection continues with Hashim’s ‘Al-Naafiysh (The Soul)’, now an acknowledged Electro classic, but originally a tune that had first blown-up big time on my Wednesday nights at Legend, when I started playing it as an import on a brand new NYC label, Cutting Records, which, as the decade unfolded would bridge Electro and House, not least with the cult anthem, ‘Let’s Get Brutal’ / ‘This Brutal House’ by Nitro Deluxe, a clear hybrid of these styles.  I’d later include ‘Al-Naafiysh’ as one of 12 era defining choices on ‘Classic Electro Mastercuts’, which I compiled in 1994:
http://www.electrofunkroots.co.uk/misc/classic_electro.html 

Hearing ‘Al-Naafiysh’ played at The Haçienda’ at the height of the Rave period always brought a smile to my face, as I was the first DJ to play it there, back in 1983 when the clubs regular indie / student type customers, who were pretty hostile to the ‘dance shit’ I was known for, and which was packing the floor at Legend and Wigan Pier, where I worked with a predominantly black audience. The Haçienda was slow off the mark, but when it finally got there a few years down the line, it really got there with a vengeance, so to see this track ecstatically embraced as a classic 5/6 years on was, for me, a respectful nod back to what had gone before. Only problem being that the Acid House / Rave explosion was generally being reported as something new, with way too many writers totally unaware that what was happening at The Haçienda linked directly back to the Electro era, and before. The influence of the underground black scene was, as a consequence, pretty much whitewashed out of the story, whilst the romance of the Ibiza myth was increasingly cited as the inspiration behind what was happening in the rainy city, and neighbouring House music hotbeds, like Sheffield, Nottingham, Birmingham and Leeds, previously Jazz-Funk / Electro-Funk strongholds.

The third track here is a perfect illustration of this. Klein & MBO’s ‘Dirty Talk’ would appear as the opening track on the 1997 compilation ‘Viva Haçienda – 15 Years Of The Haçienda’. Described as a ‘certified Haçienda classic’, the sleevenotes would state “released pre-house, this Italian electro-disco curio only really made sense after the Chicago invasion”. This obviously wound me up something rotten, for, in reality, whilst it might have become a Haçienda classic a few years down the line, it had originally been one the biggest tunes of ‘82 bar none at Legend, featuring in my ‘Best Of ‘82’ mix on Piccadilly Radio. Rather than not really making sense pre-House, this was a track that made perfect sense to the black crowd long before Chicago began to make its impact in the mid-80’s. The reason it took off at The Haçienda in the first place was due to its popularity on the black scene in Manchester.

When The Haçienda ‘s original resident, Hewan Clarke, played it there one night, New Order, who co-owned the club, asked him if they could borrow it as a reference for a track that they were working on in the studio at the time, which turned out to be one of the defining releases of the 80’s – ‘Blue Monday’.

I’ll always be grateful to Harry Taylor at Spin Inn for putting me on to ‘Dirty Talk’ – I wrote about it in my 12x12 Wax Poetics selection: http://www.electrofunkroots.co.uk/lists/12x12.html 

The version I include here is the one I used to play at Legend and Wigan Pier, the instrumental ‘USA Connection’. The following summer Flexx Records in Belgium approached me to put together an official edit of the track, which they’d licensed. This was issued on 12” in Sept ’08, and this would subsequently appear as one of the selections on my ‘Credit To The Edit Vol 2’ compilation in 2009.

The penultimate inclusion is the Paul Oakenfold mix of ‘WFL’ by the Happy Mondays (in the Essential Mix I went for the Vince Clarke version). Again, from my Wax Poetics 12x12 piece, here’s what I wrote about it:

“Following the introduction of the drug ecstasy to the city (the legend has it that Mondays dancer, Bez, was the catalyst), an ever increasing number of white kids turned on to the dance grooves previously associated with the black scene. The underground was about to go mainstream, and Manchester (or ‘Madchester’ as it would be temporarily re-named) was right at the cusp of things.

The Happy Mondays had anticipated this with the release of their 1988 single “Wrote For Luck”, an addictive downtempo groover and the key track in their memorable live sets of the period, which echoed back to the Punk-Funk ethos of an earlier time. They chose my old club, Legend, to record the video, which had a theme of a children’s party, with a multi-racial audience, which seemed to sum up the cultural melting pot that had been stirring in the city for a number of years.

“WFL” was “Wrote For Luck” remixed…and how! Not one, but two brilliant remixes back to back courtesy of Vince Clarke (then Erasure, formerly Depeche Mode and Yazoo) and Paul Oakenfold (assisted by Terry Farley) working alongside programmer / engineer Steve Osborne. The Oakenfold / Osbourne combination would go on to produce the bands most commercially successful releases.

I’ll never forget the first time I saw the video to “WFL” (which used the Vince Clarke mix). Once again it was shot in Legend, but this time the children had been replaced by a club full of what were now termed ‘ravers’. A brilliant visual representation of those early ‘E’ days, perfectly capturing the time and the vibe, this video obviously made a deep impression on me. Seeing the same dancefloor that had been packed with black kids on my nights earlier in the decade, now full of white kids, was hugely symbolic of the way youth culture in this country was changing.”
http://www.electrofunkroots.co.uk/lists/12x12.html

Then, finally, it’s ‘I Wanna Be Adored’, which, on the night, very much had the desired effect, generating a tingling of emotion throughout the audience, especially, as I mentioned, the old school contingent who, hands aloft on the dancefloor, felt the intensity of those first time around feelings come flooding back for a few precious minutes. 

Highlighting the lineage between past and present, my hope was that this short mix would provide was a fitting personal homage to not only the Electric Chair, but to The Haçienda before it, and Legend before that.

Greg Wilson – December 2011


ELECTRIC CHAIR LAST SUPPER 29.12.07 (greg wilson live selection)

Craig Smith - Beach Bar Early Evening Session - Suncebeat 8 (July 2017)

Two hours from my poolside set at Pikes Hotel in Ibiza, on a lazy Sunday night in September 2018. Thanks to Mark, Andy and Ruf for having me. This one is for Sellia.

Live at Pikes On Sundays. Pikes Hotel, Ibiza | 16.09.18.

Some great stuff I'm playing this month at Discotizer, my weekly club every friday at Marula Café Madrid.

Discotizer February 2019 Mix by Javi Frias

Welcome to this very special Word Is Love show paying tribute to the late Andrew Weatherall and his remixes that he did for Factory Records on what would have been Tony Wilson's 70th birthday 20.02.20.

Featuring Andrew Weatherall remixed tracks by New Order, Primal Scream, Happy Monday's, The Grid, The Doves, James, K-Klass, The Future Sound Of London and The Orb plus a whole host of ace remixes.

A young Weatherall, just like many of us, was seduced by the sleazy and funky sounds coming out of Factory Records and the Hacienda during it's hey day. The mix showcases Andrew's Factory Records remixes and his remixed tracks popular at the Hacienda, plus a few very special Weatherall remixes thrown in and thrown down for good measure.

All tracks are selected and mixed by @thefunkassassin with an enormous amount of Love & deepest Respect.

Happy 70th Birthday Tony Wilson I sincerely hope Weatherall is playing a set like this to you up in the Heaven's.

And to Mr Weatherall, I'm going to miss you you talented bugger! 

Peace and God Bless you both. 

For all past shows click here ==> https://soundcloud.com/thefunkassassin/sets/the-word-is-love-soul-funk

Thank you for listening.

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

Andrew Weatherall Factory Records Hacienda Remixes Tony Wilson 70th Birthday Word Is Love Show 35

Very sad to hear Pete (Woosh) passed away recently. I dug a few old classics out that I heard various DiY crew play at clubs and in fields, so much fun playing these and reminiscing. Bounce at Dance factory was the first night I went to in Nottingham when I got to uni, you could hear the tiles on the roof vibrating as you wound round the backstreets to find it. All the DiY guys played the best music, the vibe was a real take over, people dancing everywhere and on every thing, so much smoke you can hardly see. Free parties that went for days in nuts locations. Hazy times but always a lot of fun. 

Love and respect to Pete's family, close friends and of course all of DiY, Rick, Simon, Jack, Emma, Harry and the rest of the crew, RIP Pete x

DiY - RIP Pete Woosh

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.

ELECTRIC CHAIR END OF YEAR RIOT MANCHESTER 27.12.09 (greg wilson live mix)

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