Electronica - Alt

old school

RAP/Hip Hop

Nu Balearic

Electro

new houae disco

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

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

Edits & Mash-Ups

Old School Electro / Hip-Hop 1981 to 1988 Music

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)

11 - Eddie D - Cold Cash Money

Dance With The Devil - Immortal Technique (Music Video) - Dir. Daniel Zhao

Immortal technique - dance with the devil

The mysterious COEO boys. Second outing for Toy Tonics after an intermezzo for Sccucci Manucci. 
The dudes have quite a buzz. Making a sound that because of its warmness and soulful vibe people have been putting them into the "Max Graef/Glenn Astro" - corner. But COEO have much more to say. It sounds fresh, smart and is a type of house we'd all would like to hear more in the future.

COEO - Native Riddim

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)

GRACE JONES

Hurricane

[PIAS] America, September 6
 
Grace Jones' Hurricane, first US release in 22 years 
with 2nd bonus disc dub version of entire album

http://wp.me/pQRvF-4xR

Grace Jones-Williams Blood (Aeroplane Remix) Radio Edit

@toddterje
First Heard on Todd Terje's BBC Essential Mix, Saturday 17th July 2013
https://soundcloud.com/toddterje/todd-terje-essential-mix-2013

Download

Neşe Karaböcek - Yali Yali (Todd Terje Edit)

Immortal Technique -- Point of No Return

Over the last few years, Gomma's little sister Toy Tonics has become one of our favourite labels here at THUMP. Specialising in the kind of low-slung deep house we're total suckers for, every new 12" has us rushing to the shops with our wallets ready, willing and able to splash out.

Their next release, courtesy of up and coming duo COEO, is a fabulous five track platter of afterparty ready house that we simply can't get enough of. Given that, we're incredibly excited to be bringing you lead track "Back in the Days". Soak it up right now.  

COEO - Back In The Days

Eddie-D feat. Galaxxy - Cold_Cash Money -DJ Denis  Moreno- Bonga Mix

Man Parrish - Hip Hop, Be Bop (Don't Stop)

Fresh is the Word

Fresh Is the Word

Munich duo @coeo joins the https://soundcloud.com/razor-n-tape family with a pack of reworks destined for dance floor greatness! Heretofore known for deep house goodness on Let's Play House and Toy Tonics, the boys flex their edit muscles on these 4 tracks which range from the soulfully sublime 'Like It Is,' to the disco house fury of 'Long Night Ahead,' to the best damn Fela edit we've ever heard.

COEO
https://www.facebook.com/COEO-144561512327172/
https://www.youtube.com/channel/UCVLFoBrnA0asu8clTzJCeAw

Razor'n'Tape
https://soundcloud.com/razor-n-tape
https://www.facebook.com/RazorNTape
https://twitter.com/RazorNTape

PREMIERE : COEO - Like It Is [Razor-n-Tape Reserve]

Our love for the COEO boys work continues with their latest Mydonna EP on Toy Tonics. We've got the premiere on the alternate cut of the Disco and House tinged lead track and its a big and bouncey dancefloor weapon if ever there was one. The classic guitar sample gets all chopped up on top of a stomping beat that will guarantee a room full of  pumping air fists.

@coeo // @toytonics

Mydonna

SB PREMIERE : COEO - Mydonna (Alternate Cut)

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)

Hi people! Enjoy this rework from one of the best inspiring female disco diva ever!! Pull Up To The Bumper by Grace Jones.. Peace

Free Download

Grace Jones - Pull Up To The Bumper (Discomofo Rework)

E-Flat Boogie

Trouble Funk Express (Instrumental)

Man Parrish & The Beat Boys ‘Hip Hop Be Bop Rock’ (greg wilson mash-up)

115 bpm

Never previously shared.

With my appearance alongside Afrika Bambaataa at London’s Garage, for Fred Perry’s Sub-Culture event, coming up on April 20th, I thought it would be a good time to share something on the Electro tip. I’ve blogged about the Sub-Culture night here:
http://www.gregwilson.co.uk/2012/04/sub-sonic-force/

There's also an interview here in The Independent:
http://blogs.independent.co.uk/2012/04/05/greg-wilson-creating-visuals-with-snippets-of-bygone-eras/ 

One of the hottest new imports of November 1982 was, without any question of a doubt, ‘Hip Hop Be Bop (Don’t Stop)’ by Man Parrish, which, along with tracks like ‘Planet Rock’ by Bambaataa & The Soul Sonic Force, ‘E.T Boogie’ by the Extra T’s, ‘The Smurf’ by Tyrone Brunson, ‘Magic’s Wand’ by Whodini and ‘Dirty Talk’ by Klein & MBO’ defined the early Electro sound.

It quickly blew up big time on the specialist scene, resulting in a UK release in March ’83. It would just miss the top 40 of the chart here, peaking at #41 - a pretty impressive position for what was essentially an underground club track with minimal radio support.

As it crossed over to the more adventurous mainstream DJ’s, the black music specialists had already well moved on, with new imports to play, as was the way given the upfront nature of the scene. However, as the original was climbing the UK chart, a new US version by The Beat Boys, using exactly the same backing track, whilst adding a rap over the top, was giving it a renewed lease of life in the underground clubs. This was called ‘Be Bop Rock’.

I put together a version that incorporated the Man Parrish original and The Beat Boys, which I first played back in 2005 at parties including Manchester’s Electric Chair and Whistlebump in London. I recently dug it out again and it features in my recent mix from the Queen Of Hoxton in London:
http://soundcloud.com/gregwilson/queen-of-hoxton-london-23-03 

Greg Wilson – April 2012

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

Man Parrish & The Beat Boys 'Hip Hop Be Bop Rock' (greg wilson mash-up)

Beams

I Go Hard, I Go Home

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)

Tanzanaia Final Wav

Buy link

Tanzania (Blondish Remix )

Instrumental bounce of add this song from some band practice in 2008

Add This Dub T01

Download Free all MP3 songs: http://viperrecords.com/index.php/artists/immortal-technique

Immortal Technique- Sign Of The Times (Mp3 Free Download)

Long time brewing but its finally here two straight up Acid bangers and a deep tripped out excursion just to yin my yang 


Bas Mooy - "Wicked release mate! Love it!"

Komabase - "cool e.p"

David Meiser - "perfect depth for the 303. brilliant sound"


System 7 preview - Out now on Hand Made Acid

[Verse 1]
They told me I would never make it, I would never achieve it
Reality is nurishment, but people don't believe it
I guess its hard to stomach the truth like a bulimick
its a dirty game and nobody is willing to clean it
But this is for the paralygics, people dreamin' of runnin'
ladies married to men who dont please 'em, dreamin' of comin'
urbanly murderous like David Berkowitz when I'm gunnin'
Some cowards on the internet didn't think I would sell
scared to talk shit in person, cuz they stuck in a shell
and couldn't understand the pain of being stuck in a cell
Hell is not a place you go, if you not a christian
it's the failure of your lifes greatest ambition
It's a bad decision to blindly follow any religion
I don't see the difference in between the raw and the wrong
Soldiers emptyin' the clips at little kids and they moms
I'm just like a desperate motherfucker strapped to a bomb
Humanity is gone, smoked up in a gravity bong
by a democrat republican Cheech and Chong
Immortal Technique, you never heard me preachin' a song
I'm not controversial, I'm just speakin' the facts
Put your hands in the air like you got the heat to your back
and shake your body like a baby born addicted to crack
And since life is a gamble like the crabstables at Vegas
I freestyle my destiny, it's not written in pages

[Verse 2]
I hate it when they tell us how far we came to be
as if our peoples history started with slavery
Painfully I discovered the shit they kept us secret
this is the exodus like the black jews out of Egypt
I keep it reality based wit the music I make
brought the truth to your face with the style I run wit
like the navy missile that shot down flight eighthundred
I'm like the africans who came here before Colombus
and from the 15hundreds until after the model
I watch Latin America get raped in the sorrow
You see the spanjards never left Espace the Cologne
and if you don't believe me, you can click on Uni Mission
I never seen so much racism in all of my life
every program and newscast, all of them white
It's like a part tide with 10 percent ruling the rest
that type of stress 'll make me put the fucking tool to your chest
Step in my way nigga, I wouldn't wanna be ya
I burn slow like (a) pissing drunk with gonnorrhea
I'll do a freak show in North Korea, burning the flag
while Jay Edgar Hoover politicians dress up in drag
Try to confuse you, makin' it hard to follow this:
capitalism en democracy are not synonymous
You swallow propaganda like a birth control pill
sellin' your soul to the eye on the back of the dollar bill
But that will never be me, cuz I am leavin' the past
like an abused wife with the kids, leavin' your ass
Like a drug addict clean and sober, leavin' the stash
unbreakable Technique leavin' the plane crash
I'm out with the black box and I refuse to return
I spit reality, instead of what you usually learn
and I refuse to be concerned with condecending advice
cuz I am the only motherfucker that could change my life

[Ending]
Some people think I won't make it
but I know that I will
Escape the emptiness
cuz that shit is slow and it kills
the flow and the skill
I made y'all believe that it last
You can make the future
but it starts with LEAVING THE PAST

Immortal Technique - Leaving the Past

Grace Jones - Ja Guys (Dub Version Of My Jamaican Guy)

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.