Downloadable live Greg Wilson DJ mixes - in chronological order, the most recently uploaded first.

Live DJ Mixes

This is the first live mix I’ve uploaded since restrictions lifted, two hours recorded last month by the side of the River Thames on London’s South Bank between Waterloo and Westminster bridges, next to the London Eye.

BETWEEN THE BRIDGES LONDON SOUTH BANK 21.08.21 (greg wilson live mix)

Joey Negro live at Horse Meat Disco Dec 8th 2013 - Free Download

On the Thursday night of Glastonbury 2022 Greg Wilson brought the funk to Funkingham Palace!

GREG WILSON - Live From The Rabbit Hole's Funkingham Palace - Glastonbury 2022

From my final festival appearance of 2022, a summer highlight from the Roller Rink at We Out Here providing a fitting conclusion to a full-on summer schedule.

ROLLER RINK @ WE OUT HERE FESTIVAL ABBOTS RIPTON 27.08.22 (greg wilson live mix)

The full two-hour recording of my closing slot in the Mini Moo tent on August 26th 2023 at Moovin Festival in Stockport, culminating at midnight.

MOOVIN FESTIVAL STOCKPORT 26.08.23 (greg wilson live mix)

Recorded on my debut at Freddie’s in Pikes, Ibiza 26.09.23.

PIKES IBIZA 26.09.23 (greg wilson live mix)

Recorded at Downtown Disco at Wire in Leeds on 18.11.23.

DOWNTOWN DISCO @ WIRE LEEDS 18.11.23 (greg wilson live mix)

Recorded on 10.02.24 in London’s fabled Ministry Of Sound.

MINISTRY OF SOUND LONDON 10.02.24 (greg wilson live mix)

Recorded on 12.04.24 at Koko in Camden, London.

KOKO CAMDEN 12.04.24 (greg wilson live mix)

Full recording from the Freeze promoted party at The Garage in Liverpool on 05.12.15 to mark the 40th anniversary of my first club appearance on December 6th 1975. For further info: http://www.gregwilson.co.uk/2015/12/40th-anniversary-weekend-recorded/

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

5 HOUR 40TH ANNIVERSARY @ THE GARAGE LIVERPOOL 05.12.15 (greg wilson live mix)

Recording from the Credit To The Edit event at the House Of Rum at Portmeirion's Festival No.6 09.09.17

FESTIVAL NO.6 CREDIT TO THE EDIT @ HOUSE OF RUM PORTMEIRION 09.09.17 (greg wilson live mix)

Recording of my appearance at the 21st Anniversary of the Green Gorilla Lounge parties in San Francisco, held at Monarch 17.11.17.

GREEN GORILLA ANNIVERSARY @ MONARCH SAN FRANCISCO 17.11.17 (greg wilson live mix)

Live Greg Wilson recording from Melting Pot @ Queens Park Bandstand 08.07.18.

Three hour mix available to stream/download, recorded earlier this month at the Melting Pot takeover of Glasgow’s Queens Park Bandstand amidst the UK's summer heatwave, which was fortuitous given this was an outdoor occasion, my slot on a Sunday evening between 7pm and 10pm.

It was still very warm but slightly overcast when I started, but the sun, I’m told, broke through with the Confidence Man mix I’d just done with my son, Ché, which I debuted – its lyrics perfectly coincidental, people later messaging me to ask what the ‘sunshine’ track was. This is the one – just made for this weather:
https://soundcloud.com/confidenceman/confidence-man-out-the-window-greg-wilson-che-wilson-mix

Kicking off with ‘Reality’, the Late Nite Tuff Guy rework of Soul II Soul’s ‘Back To Life’, I played 31 tracks in all, 32 with a ‘one more tune’ inclusion, which I went back to hastily put on a couple of minutes after what I thought was my final track had finished (I edited the gap out in the recording to spare you the wait). The Glasgow crowd got their way, but how could you refuse them, it had been such a joyous 3 hours, not to mention the previous 2 hours with Andrew & Simon from Melting Pot hitting the right vibe, as ever, with the tunes they played.

It’s pretty much as good as it gets when it comes to Melting Pot, they really know how to set up a DJ and make sure that’s what’s going out of the speakers sounds as good as they can possibly make it – it was no surprise when they were brought in a number of years ago to assist in setting up Davis Mancuso’s London Loft parties, working with the most meticulous of sonic perfectionists. The spirit of The Loft still continues via Lucky Cloud, with Colleen 'Cosmo' Murphy, a frequent Melting Pot guest, playing a big part.

Their approach to hi-end sound rightly sets the bar high, and whilst you’re DJing you know that they’ve got a close ear on everything, not just when you start, but right up until the final note of the very last tune you play – they really pride themselves on their sound system, and it shows, Loud & Clear Hi-Fi helping give them that special edge.

Having run their parties for 17 years, DJs throughout the world cite it as a favourite stop-off. The Melting Pot crowd know their music, there’s a whole history now to what’s been cultivated in Glasgow during this time. As they say themselves, they provide the setting for a DJ to play whatever they feel.

It’s the type of environment where it’s easy to introduce new stuff you’ve been working on (providing it grooves, of course). Along with a trio of tracks I’ve been busy on with Ché, there are also a couple of ‘70s singles I’ve reworked with Henry Greenwood, Marshall Hain’s ‘Dancing In the City’ and El Coco’s ‘Mondo Disco’.

The Confidence Man track suggested me finishing with Primal Scream’s ‘Movin’ On Up’ (or at least I thought that would be the case), referencing, of course, the band’s origins in the city. However, the one before this, the Flight Facilities rework of Paul Simon’s ‘You Can Call Me Al’ was played completely without knowledge that the great singer/songwriter was appearing in Glasgow just a few days later as part of his farewell tour.

I won’t name the last track – a spur of the moment choice, but one that felt so right as it played out for those last few minutes before we all made our way back into the night, my drive home to Liverpool with Primal Glyn accompanied by that fluffy feeling of satiation, having shared a memorable musical evening with a wonderfully receptive crowd.

MELTING POT @ QUEENS PARK BANDSTAND GLASGOW 08.07.18 (greg wilson live mix)

Festival No.6 has been a yearly highlight of recent times, its location unique. Tucked away on the North Wales coast in a magical village and famous as the location for the classic ’60s TV show ‘The Prisoner’, Portmeirion is truly a place plucked out of the imagination – an Italian fantasy creation of architect Clough Williams-Ellis, who designed and built it over a 50-year period.

Unfortunately the September weather often fails to rise to the occasion, which was apparently the case on Saturday. I played on the Sunday, my 3rd appearance at Village Limits in its enchanted woodland environment, complete with floating dancefloor (you don’t see one of those every day) beneath a huge mirrorball. 

As we set out on the drive it was in hope, rather than expectation, that the rain would hold off, and I’m pleased to report that the gods were with us, people able to dance to their heart's content without getting soaked wet through in the process. It turned out to be a fitting Village Limits finale, not just for this year, but until the festival returns – next year they’ve decided to take a sabbatical to re-strategize for the future, with many people left wondering if this could be the last one, at least in its current guise.

If so, it’ll certainly be missed by my friends and family – we always arrive pretty mob handed, lots of people heading in from Merseyside and Manchester, linking up with others from far and wide. I have to say that the production and artist liaison was outstanding this year, everyone invested in what they’re doing and setting the right environment for those performing. Special thanks to Amy and Jenna, such lovely people to be looking after you.

The full recording is now up on SoundCloud, available to stream/download. It was a gig that was sandwiched between an afternoon talk in the Dome Gallery and closing the VIP area between 11-1, which was big fun!

I really hope Festival No.6 will be back after a year’s hiatus, there's nothing quite like it. If not there’ll be many happy memories of gigs in a variety of special spaces. Its surreal quality is something that sets it apart, and all the creative set-building in the world can only provide a façade of what here is real and permanent. 

But even with all that, it comes down to the crowds you play for, and those at No.6 make the most of the surroundings, regardless of the weather, partying through a weekend like no other. Thanks to all of you who’ve partied away to the tunes I’ve played there during the past 6 years on this spectacular festival site.

FESTIVAL NO.6 VILLAGE LIMITS PORTMEIRION 09.09.18 (greg wilson live mix)

Recording from a special Essential Mix 10th Anniversary appearance at XOYO in London on 26.01.19. More at the blog:
http://blog.gregwilson.co.uk/2019/01/essential-mix-10th-anniversary/

ESSENTIAL MIX 10TH ANNIVERSARY @ XOYO LONDON 26.01.19 (greg wilson live mix)

Recording from socially distanced event at Escape To Freight Island @ Depot Mayfield in Manchester 08.08.20.

A socially distanced gig is strange, but it’s all we have for now. With people required to be sat at tables and dancing a no no, a different approach was required, where I could be a bit more free-flowing in what I played without a dancefloor to take into consideration. I started off at Freight Island with a Beach Boys favourite from ’68, ‘Do It Again’, harking back to their surf style of the earlier ‘60s, having scaled the heights and sailed the psychedelic seas in the intervening years, ‘Do It Again’, with those wicked drums, carried a weight of nostalgia and a hint of melancholy – an after the summer song if you will, about a time that can never return. This seemed an appropriate starter for the situation we find ourselves in – dancing in a club or a field already a memory.

This booking, my first since I got back from Australia in March, fell just a few weeks on from the death of Denise Johnson. This was a big shock – she was literally just about to release her first solo album ‘Where Does It Go’, and nobody could have imagined that this would be issued posthumously. Denise came to the clubs I was playing at in the early-‘80s and I remember her first band Fifth Of Heaven from the latter years of the decade. She guested with likes of New Order, Electronic, Ian Brown and A Certain Ratio, but will forever be remembered for her contribution to Primal Scream's ‘Screamadelica’ in ’91.

It has to be said that the Manchester Evening News and a number of publications including The Guardian, The Independent and the NME were shambolic in reporting her death, running a picture that wasn’t Denise. I know that Dave Haslam, the former-Hacienda resident who DJ’d before me that day was one of the first to point out this insensitive blunder on social media, which evoked long-standing black stereotypes and must have been horrible for her family and friends.

I, of course, wanted to play something in memory of Denise, as I had with Andrew Weatherall following his death earlier this year. That two of the key contributors to ‘Screamadelica’ had passed within a matter of months is still difficult to take in, the chaos of the times we’re experiencing amplifying the unreality of things.

Rather than a Primal Scream track I picked out a lesser-known personal favourite Denise recorded for Creation Records with Hypnotone, 1990’s ‘Dream Beam’. The Primal Scream hook-up came about when Hypnotone performed at Danny Rampling’s legendary acid-house party Shoom in London, with Denise impressing. Hypnotone faded into the memory as she scaled the heights with the ‘Screamadelica’ LP and subsequent recordings with Primal Scream. The Jesse Jackson speech over the top of Hypnotone was unplanned, but randomly reeled up on my tape at that point for me to appropriately add its Weatherall reference.

The mix then heads off in its own direction, which turned out to carry a recurring jazz-funk theme via big back in the day tracks from George Benson, The Crusaders, Sea Level, Rodney Franklin and MFSB. These are tracks Denise would have instantly recognised from when she first started going out to the clubs. The late-'70s Jazz-Funk scene in the city, with Colin Curtis and John Grant at Rafters and regular all-dayers at The Ritz, a far too rarely mentioned, a part of Manchester’s musical lifeblood.

My next gig was supposed to be a socially distanced Halloween fancy dress at Camp and Furnace for the Liverpool Disco Festivall, but the new COVID-19 restrictions placed on Merseyside put paid to that. The good news is that it’s now been re-arranged for the final weekend of November, which falls around on the Festival’s 4th anniversary, so all is not lost and there’s something to look forward to after restrictions are lifted. Tickets/details here: skiddle.com/e/13892893

ESCAPE TO FREIGHT ISLAND @ DEPOT MAYFIELD MANCHESTER 08.08.20 (greg wilson live mix)

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.

FESTIVAL NO.6 VILLAGE LIMITS PORTMEIRION 09.09.18 (greg wilson live mix)

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