Good old TK records , had this on American Import since release . This is a fantastic edit .

Had this since UK release on TK Records , fantastic . R.I.P Henry Stone , August 2014 .

A whole chunk of funk, thanyou for the download Greg :-D

How long have i been searching for this? Muchos Gracias

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

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

Edits & Mash-Ups

Phyllis St James - Under Your Spell - Miss Disco Edit

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)

Barbara Roy - If You Want Me (Lego Edit)

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)

Psychemagik ‘Mink & Shoes’ (greg wilson edit)

*now available to download via Bandcamp: https://psychemagik.bandcamp.com/track/mink-shoes-ft-navid-izadi-greg-wilson-edit-psychemagik

115 bpm

Never previously shared.

I’m really into the latest Psychemagik single, ‘Milk & Shoes’, which features vocalist Navid Izadi over a solid mid-tempo acid groove – a section of the track originally surfacing on an ‘anti-hipster’ Smirnoff Vodka advert last year. It’s an impressive production and would certainly get my vote as one of the best dance tracks of 2015.

I put together my own edit to play out, as is my wont, which Dan & Tom from Psychemagik were happy for me to share on SoundCloud. It’s just a combination of vocal and dub versions really, plus some additional ambience via a scattering of samples I’ve introduced – that’s pretty much it, a less is more approach.

More at the blog: www.gregwilson.co.uk

The original versions are available via iTunes:
https://itunes.apple.com/gb/album/mink-shoes-ep/id1033546667 

Greg Wilson – November 2015

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

Psychemagik 'Mink & Shoes' (greg wilson edit)

Sugardaddy & DJ Bone ‘Whatever Happened To The Soul?’ (greg wilson mash-up)

118 bpm

Never previously shared.

You can also read about this track at my blog with accompanying images:
https://blog.gregwilson.co.uk/2011/10/whatever-happened-to-the-soul/#more-3209

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

Sugardaddy & DJ Bone 'Whatever Happened To The Soul?' (greg wilson mash-up)

Crystal Grass ‘Crystal World’ (greg wilson edit)

122 bpm

Previously limited vinyl only 2010.

I’ve just blogged about the ‘Time Capsule’ series I did for Samurai FM during 06/07 – where I re-visited the records I was playing exactly 30 years earlier, month by month. This was born of ‘First Impressions’ a selection of 25 singles I played when I first started out as a club DJ back in December 1975. Full lowdown here:
http://www.gregwilson.co.uk/2011/11/time-capsule/  

‘First Impressions’ includes the enigmatic French Disco Funk nugget, ‘Crystal World’ by Crystal Grass, a track that really blew my mind when I first heard it, and continues to be a big personal favourite from that mid-70’s period. There were many great records around at the time, but this had a different edge about it – right from the get go, with that addictive driving bassline, there was something pretty trippy taking place within these Gallic grooves. 

I suppose it was always primed for an edit from me, just to extend it out a bit. This ended up being pressed on vinyl back to back with an edit of another essential early European club cut, ‘Jungle Fever’ by Chakachas (from 1972). The coupling appeared on GW Ruff Edits #4 as ‘French Crystal’ / ‘Belgian Jungle’.

It’s European origin certainly comes into it, but the unusual, somewhat uncanny atmosphere of ‘Crystal World’ is what will always set it apart as a unique recording (the closest to this vibe during the same era, to my ears, was Strutt’s ‘Time Moves On’, from ‘76, with its distinctively eerie undertones – a track that I’ve also subsequently edited, this time for Cosmic Boogie). When I played at the Soul Casino during the Vintage Festival on London’s Southbank last summer, both the Crystal Grass and Strutt edits featured, alongside other selections from the 7 year period ’69-‘76 . You can check it out here:
http://soundcloud.com/gregwilson/soul-casino-vintage-southbank/ 

Greg Wilson – November 2011

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

Crystal Grass 'Crystal World' (greg wilson edit)

The Circle City Band 'Magic' (greg wilson edit)

111 bpm

Never previously shared

Just over a year ago I was being driven back to my hotel, having played in Los Angeles for the Heading Home crew. DJ Rick Wren was behind the wheel and he had a CD on, which he'd compiled, featuring some early 80's grooves. A track came on that was instanly familiar, but I couldn't quite place it, I waited for the vocal to come in and, when it did, I instantly knew it was 'Magic', but the group name eluded me, so I asked Rick, 'who is this?', to which he replied 'The Circle City Band'. Of course, how could I have forgotten - it was like bumping into an old friend who hadn't crossed your mind for years, but now they were with you again the good times you once shared came flooding back.

I hadn't heard 'Magic' since I bought an import copy when it was out back in 1983, not long before I stopped deejaying if my memory serves me right. I don't think it was ever released in the UK, so it was pretty obscure in the wider scheme of things, a track you'd only hear on the black scene - I remember it being a big tune in Manchester for Chad Jackson, who took over my Wednesday nights at Legend when I stopped.  It would have been one of the records I had stolen in '85, and it had completely slipped under my radar ever since - for a full quarter of a century! So it was a real buzz for it to re-appear to me as if by magic (excuse the pun), and, recognising this, when we got to the hotel Rick ejected the CD and kindly gave it to me. 

After I got back to the UK I dug out the CD Rick had given me and put this edit together. Nothing fancy, just an extended intro and a mix out, with a touch more tinkering inbetween. The first time I played it out was at East Village in London the week before Christmas, on a memorable night when people braved blizzard conditions to pack the club out - 'Magic' is the 2nd track in:
http://soundcloud.com/gregwilson/east-village-london-18-12-10-greg-wilson-live-mix

It's the fact that a year has almost passed and I'm returning to East Village for that same Saturday before Christmas slot, this time on the 17th, that made me think about sharing this edit here now. 

Greg Wilson - December 2011

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

The Circle City Band 'Magic' (greg wilson edit)

Modern Sound Corporation ‘Safari’ (greg wilson edit)

130 bpm

Previously limited vinyl only 2008

This edit (peppered with additional spins and samples) first appeared on Ruff Edits #2 as ‘Scandinavian Safari’ - the original, ‘Safari’ by Modern Sound Corporation, being a track I used to play at my hometown club, New Brighton’s Golden Guinea, back in 1979. For my edit, I placed the emphasis on the superior instrumental ‘Pt 2′ version, which found favour in UK Jazz-Funk circles at the time, its unique combination of African and Caribbean flavours setting it apart as a dubbed-up percussion driven Disco hybrid. 

Arriving on import via TK’s Sunshine Sound label, prior to its UK release on Epic, it was assumed that this was hot out of Miami – but there was a strange but true twist to the tale, as it turned out to be of Swedish origin, having first surfaced in this unlikely location the previous year. It was, however, remixed by Florida’s finest, Harry Wayne Casey & Richard Finch, from KC & The Sunshine Band.

In 2000, the Idjut Boys excavated it for their ‘Saturday Night Live’ compilation on Nuphonic, and it subsequently became a much sought after eBay item.

Thinking about it now, the Ruff Edits series has, to date, been equally split between US and European tracks (by accident rather than design), with the European inclusions each from a different country – Belgium, France, Italy, Sweden and the UK. 

The Belgian and French inclusions are already uploaded here:
http://soundcloud.com/gregwilson/chakachas-jungle-fever-greg 
http://soundcloud.com/gregwilson/crystal-grass-crystal-world 

*just noticed that when you listen directly from the laptop you can hardly hear the bass at all - so bear this in mind, the bass being a key element of the track.

Greg Wilson – December 2011

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

Modern Sound Corporation 'Safari' (greg wilson 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)

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)

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)

ATLANTIC STARR: "STRAIGHT TO THE POINT" [J*ski Extended]

Double Trouble & Amp Fiddler ‘Amp Trouble’ (greg wilson mash-up)

92 bpm

Previously limited vinyl only 2006.

Issued on the Young Dog Alien 12” from 2006, which included ‘Gotta Keep Working It’, one of my best-known mash-ups (http://soundcloud.com/gregwilson/imagination-missy-elliot-gotta) , ‘Amp Trouble’ combined Double Trouble’s ‘Stoop Rap’, from the seminal 1983 Hip Hop movie, ‘Wild Style’, with ‘Intro’ the opening track from Amp Fiddler’s 2004 album, ‘Waltz Of A Ghetto Fly’. Both of these tracks were extremely short, just over a minute a piece in length, but I originally put them together purely as an interlude section for the ‘Do Not Attempt To Adjust Your Radio’ mix I did for the Six Million Steps website in early 2004, not long after my DJ return, so, by nature, it’s the shortest mash-up I’ve ever had pressed up. You can stream / download the 6MS mix here: http://soundcloud.com/gregwilson/do-not-attempt-to-adjust-your 

Despite it not being something I’d play out, due to its length, I really liked the vibe of it and, when I was looking for something to put on the flip of the Young Dog Alien 12”, I felt that, in addition to an Electro cut-up I’d done, which I called ‘Electric Eel’, it’d be a nice little bonus track to include.

Whilst I was preparing a Video Blog post this week, about the amphitheatre climax from ‘The Wild Style’, which includes a performance from Double Trouble, ‘Amp Trouble’ obviously came to mind and I thought I’d tie-in by making it available here.

The relevant part of the post reads: “I have a particular soft spot for Double Trouble, who you see earlier in the film practicing acappella, sat on steps outside a Bronx tenement block. Their rap at this point is super-chilled and laid back (http://youtu.be/nLDJZAgWrJA), but at the amphitheatre, using the same lyrics, they really rip it up, resplendent in white gangster suits and hats. However, this was as good as it got for LiL Rodney C and KK Rock Well, and as Hip Hop went global they were left behind. I always regard them as Rap’s ones that got away”. The full blog post is here:
http://www.gregwilson.co.uk/2012/11/video-blog-wild-style-at-the-amphitheatre/

Greg Wilson – November 2012

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

Double Trouble & Amp Fiddler 'Amp Trouble' (greg wilson mash-up)

Marina Van-Rooy ‘Sly One’ (greg wilson edit)

128 bpm

Previously exclusive mp3 only via Mixmag 2013.

Back in 1989-91 I was working extensively out of Amazon Studios in Kirby, Liverpool, producing and mixing the Ruthless Rap Assassins, as well as Mind Body & Soul and Sensuround. Also using the studios during this period were Liverpool dance collective 8 Productions, consisting of Ian Martin Wright, Steve Cummerson, Pete Davies and, of course, Peter Coyle, formely of the Lotus Eaters, who’d scored a UK hit in 1983 with ‘The First Picture Of You’. We became friendly as a result, and would often play each other our works in progress – it was certainly something of a mutual appreciation society.

‘Sly One’ was their jewel in the crown – recorded with singer Marina Van-Rooy, it quickly became a cult classic and was snapped up by Haçienda DJ Mike Pickering, who was then head of A&R at Deconstruction, for a full release on the label, although the chart success we all presumed would follow failed to materialise.

8 would also issue tracks by artists including The Donny And Marie Handbag Revolution and Connie Lush, but their greatest triumph was the club night G-Love, which was the early 90’s forerunner to Cream, promoted in conjunction with the local record store 3 Beat and legendary Liverpool DJ John Kelly.

The edit is true to the original, with no additional elements. It’s something I’ve played out a number of times since I put it together last year, and was most recently featured in the mix from London’s Loft Studios:  http://soundcloud.com/gregwilson/the-date-loft-studios-london 

Greg Wilson – May 2013

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

Marina Van-Rooy 'Sly One' (greg wilson edit)

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.

Modern Sound Corporation 'Safari' (greg wilson edit)

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