If I could not love you more…..Social deserves this ❤️❤️❤️😎😎😎🕺🕺🕺

One of my favourite house mixes, ever, and that's it...bliss GW

Monster mix work it I remember no matter where I went to any club everybody had fun until dawn

save me

Here you have the full mix, no voicovers


Tracklist:

1-Pet Shop Boys - Left To My Own Devices (Frankie Knuckles Orchetsrated Devices & Royal Piano remixes) (EMI)
2-Hercules & Love Affair - My House (Tensnake remix) (Moshi Moshi)
3-Deuce & Satin - Hyper (Music Village Records)
4-Doug Lazy - Let It Roll (Atlantic)
5-KC Flightt - Let's Get Jazzy (Dope Dub Mix)  (TMT records)
6-MFSB Vs Grand Master Flash - The Message (S-Man Relative Funk Re-Edit) (CDR)
7-Ashford & Simpson - Don't Cost You Nothing (Leftside Wobble Re-Edit) (CDR)
8-Drop Out Orchestra - Polish Our Act (Drop Out Records)
9-TPO - Hiroshi's Dub (Milos Garage Dub's Dub) (File Records)
10-Professor Funk & The House Brothers - Work Your Body Rap (Underground)
11-First Choice - Let No man Put Asunder (Walter Gibbons Remix-edit) (Salsoul)
12-Ajello Ft Hard Ton - Chocolate Black Leather (Original) (DWADK)
13-Tyson - Die On The Dancefloor (Extended) (Backyard)
14-Purple Flash - We Can Make It (Vocal) (JDC records)
15-Electronic - Getting Away With It (Factory)
16-Inner City - Watcha Gonna Do With My Lovin' (Knuckles/Morales DEF mix)
17-Lovebird Lovethang (Jamie Bull Mash-up Re-edit) (CDR)
18-Robert Owens-Hearts And Soul (Compost)
19-Sinnamon - I Need You Now (Moplen Re-Edit) (CDR)
20-Dimitri From Paris & DJ Rocca Present Erodiscotique - Reason For Living (Ft Fred Ventura) (Gomma)
21-Human League - Never Let Me Go (Aeroplane Remix-edit) (Wall Of Sound)
22-Sare Havlicek Ft Hannah Mancini – Dreams In Light (Ray Mang Attakshak Mix) (Nang Records)
23-Tribute - We Love Dreams (Rocco Raimundo Edit GW Re-Touch) (Tribute)
24-CHIC - I Want Your Love (Dimitri From Paris Remix) (Atlantic)
25-Norma Jean Wright - Saturday (Dimitri From Paris Remix) (Atlantic)

Dimitri From Paris Essential Mix for BBC Radio One, March 19 2011

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Buy it here: www.discogs.com/marketplace?master_id=251708&ev=mb

About the CD:
A little more info on Touchsoul Edits & Mixes Music Page. He's got almost 8000 followers on Soundcloud and his edits have been picked up by the likes of BICEP, 6th Borough Project, One20 and I'm sure many house and re-edit fans have at least one of his pieces. Here's what Adrian had to say about his favourite CD...

"The reason I selected this for the series was, for myself, it being personal time piece, the quality of the tracks and the mix being consistently good. Building through some great soulful house vocals and dubs into some deep cuts that haven't dated since it's release in 2002. Having quite a few of these on vinyl picked up around the time, including Mindflight's "Release", Derrick White's "Soul 2 Let Go" and Kerri Chandler's "Atmospheric Beats" the mix by silky deep house man Miguel Migs was never far from the earlobes at the time. And being released on the ever consistently good Naked Music label, its great from start to finish. A true reflection of the kinds of tracks I played out in sets when I started out DJing. Enjoy!!" Cheers Aidi!

Buy on Discogs

065 - Miguel Migs 'Nude Tempo One' recommended by TouchSoul (2002)

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)

Horse Meat Disco Volume IV, out June 16th on Strut. http://www.horsemeatdisco-thealbum.com/ 

From the album's liner note:
<b>Elliot Rosoff (producer)</b>: “I am primarily a concert violinist and have played on records by people as diverse as Philip Glass, Deodato and LL Cool J. In the early ‘80s, I had a studio, Opal Studios and our engineer Andy Langston did a lot of R&B and disco production - our projects included a disco version of Jesse Green’s "Nice And Slow." On "Ain’t No Way," the singer was a girl called Brenda Watts – she had released a few records beforehand like "Who Needs A Love Like That" but seemed to disappear from music after Opal. I remember that we received great feedback and a lot of club play across New York.” <b>Phil Barr (writer)</b>: “During the ‘70s, Elliot was one of the few people in New York that had a 24-track studio. ‘Ain’t No Way’ had originally been written as a hard rock track - Elliot liked it and we started working on an R&B version of it which he put out on his label, Silver Cloud.”

More from Horse Meat Disco:
<a href="http://www.horsemeatdisco-thealbum.com/">Home Page</a>
<a href="https://www.facebook.com/pages/Horse-Meat-Disco/128638804936">Facebook</a>
<a href="http://www.twitter.com/horsemeatdisco">Twitter</a>

More from Strut:
<a href="http://www.strut-records.com">Home Page</a>
<a href="https://www.facebook.com/pages/Strut-Records/20359830443">Facebook</a>
<a href="http://www.youtube.com/user/strutrecords">YouTube</a>
<a href="https://twitter.com/strutrecords">Twitter</a>

Opal - Ain't No Way [from Horse Meat Disco IV]

This was the first ever mix I did for Cafe Mambo, after my debut season in '06. It's a true Balearic mix in every sense of the word. With tracks from Talking Heads, Pink Floyd, Tears for Fears, Orbital, leftfield, William Orbit, Masssive Attack, Fleetwood Mac.. Enjoy X


Alex Wolfenden Classic Balearic mix - Cafe MAMBO 07'

The king of reworks Saturday afternoon set at The Riddle Wilderness Festival.

Greg Wilson - The Riddle - 02.08.2024

Recording from Freddie's @ Pikes in Ibiza 07.10.24.

PIKES IBIZA 07.10.24 (greg wilson live mix)

Live recording of Greg Wilson's set from Sonic Tonic @ The Golden Lion
Track list... 
1.Ashford & Simpson stay free (raw-artes rework)
2.Earth, Wind & Fire saturday nite (derek kaye rework)
3.Sylvia Striplin (raw-artes edit)
4.Double Exposure everyman (late nite tuff guy rework)
5.The Blackbyrds walking in rhythm (peza rework)
6.Advance take me to the top (michael gray remix)
7.Zer-o real time (gw/cw introspective dub)
8.Led Zeppelin whole lotta love (luxxury rework)
9.Psychemagik mink and shoes (gw edit)
10.Players Association the get down mellow sound (mikeandtess rework0
11.Booker Newbury III love town (dr packer rework)
12.Jean Carn was that all it was (sanfrandisco edit)
13.Stephanie Mills put your body in it (mikeandtess edit)
14.Barbara Mason another man (dr packer rework)
15.Shocking Blue love buzz (ché wax rework)
16.Crazy P one true light
17.Young Dog Alien electric eel
19.Klien & Gerald voodoo talk (cw mash-up)
19.Kiko Navarro twilight
20.Lifelike the chase
21.Cerrone supernature (dr packer rework)
22.Jamiroquai space cowboy (dr packer rework)
23.Hercules & Love Affair blind (frankie knuckles remix)
24.Mighty Clouds Of Joy mighty cloud of joy (gw/cw rework)

Sonic Tonic 26.10.24 Greg Wilson @ The Golden Lion Todmorden

Greg Wilson | The Haçienda Returns 2023

Freshly uploaded to SoundCloud, the recording from my recent appearance at Pikes, Ibiza on May 19th, when I was one of the secret DJs, along with Graeme Park, for their Monday night session at Freddie’s.

PIKES IBIZA 19.05.25 (greg wilson live mix)

Recorded at Stonebridge/Glastonbury on June 29th 2025.

GLASTONBURY STONEBRIDGE 29.06.25 (greg wilson live mix)

No One Escapes

im sorry.

@shiloh-dynasty
original: https://vine.co/v/OvPJ6THwWmO

album artwork by namalas

theres still us EP

I'm sorry (feat. shiloh)

This is the recording of our Friday sunrise set from Robot Heart 2015 which marks the second anniversary since our very first set together as Bedouin.  Its a pleasure to share as a small token of appreciation for all the magic we all experience on the Playa each year.

www.soundcloud.com/bedouin-official
www.facebook.com/BedouinOfficial

Photo: Christian Lamb

Bedouin - Robot Heart - Burning Man 2015

On the next Snap..."Unforgiven." There is a line, draw it in the sand, shake on it, mark it in blood, but if you cross it... there is no going back.

Listen to the entire Snap Judgment episode "Unforgiven"

SeeSaw (Club Version)

Jamie xx + Four Tet + Romy - Seesaw (club version)

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.

ESSENTIAL MIX (by greg wilson for bbc radio 1 2009)

gregwilson

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