Nightflight

This is meant to be paired with a copious amount of Seagram's gin.  Please stop what you're doing, and oblige. 

Dr. Seagram's Boogie

Space Disco

Disco

nev 4

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

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

Edits & Mash-Ups

From the release "911" by Jamie Jones on Crosstown Rebels.
Released on September 11, 2008
https://itunes.apple.com/album/911-single/id410631323
http://www.junodownload.com/products/911/1366522-02/
http://www.discogs.com/Jamie-Jones-911/release/1419993
http://www.beatport.com/track/911-original-mix/674095

911 (Original Mix)

Music by Truffle Shuffle. 
Mastered by Jörg Burger. 
Artwork by Marc Lansley / Crazy Tape 
This is LOW000.

Find Low Hanging Fruit on the web:
www.kompakt.fm/labels/low_hanging_fruit
www.facebook.com/lowhangingfruitrecords
www.lowhangingfruitrecords.bandcamp.com

Truffle Shuffle - On My Way

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)

The Sunburst Band - Journey To The Sun (Dennis Ferrer Remix) - Z Records (2008)

http://www.zrecords.ltd.uk/product-detail/Singles/49/Z+Records/The+Sunburst+Band/Face+The+Fire+EP/download/303

The Sunburst Band - Face The Fire feat. The Rebirth (Joey Negro Revival Mix)

Quite a few fellas got inspired and put their hands on this one after VA's beloved edit a couple of years ago. Oh well, the first cut is the deepest and VA's one was really motivating for us too, we  both decided to give it an uptempo rub and make dancefloors smile again! - have a healthy and happy 2015, with great music and Lotta Luv <3

bandcamp

Lotta Luv - Vinyl Addicted & Jean Claude Gavri Rework

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)

Imagination & Missy Elliot ‘Gotta Keep Workin’ it’ (greg wilson mash-up)

100 bpm

Previously limited vinyl only 2006 & 2008.

In March 2004 I appeared at the Time Machine night in Nottingham, which was held at The Social. I was still very much finding my feet, having only started up again a few months beforehand, and this was one of my first handful of bookings following my comeback. It was a night run by Soul Mekanik (Kelvin Andrews and Danny Spencer), who, together with Daniel Donnachie, were the resident DJ’s.

 Daniel put me up that night, and we sat up into the early hours listening to records, a few of which he was kind enough to record to CD for me. One of these was the instrumental of a PM Dawn track called ‘Gotta Be…Movin’ On Up’, which was built around the unmistakeable killer groove of ‘Just An Illusion’ by Imagination.

 I can’t recall if it was a few weeks, or a few months later, but I remember driving to collect my son from Primary School listening to the CD that Daniel had done for me – I can see exactly where I was, approaching the traffic lights, about to turn right onto Queens Drive in Liverpool, where the school was, when in my minds ear I could hear Missy Elliot’s ‘Work It’ rap fitting hand in glove on top of that groove.

 When I got back home I tried it out and, just as I’d envisaged, it was a perfect marriage, so I began to glue it all together. I utilized Jay-Z Feat Mary J. Blige ‘Can’t Knock The Hustle’ during the intro and the break, whilst slipping in Missy Elliot’s rap section from Tweet’s ‘Oops (Oh My)’ between the parts I’d used from ‘Work It’. A sprinkle of Sinnamon, and some suitably sensual sighs and moans further peppered up proceedings, whilst Marvin Gaye’s ‘Sexual Healing’ puts in a brief cameo via the line ‘oh baby now let’s get down tonight’ and a few ‘ooohs’.

 The resulting mash-up became something of a signature track for me, especially big with the girls, and was twice pressed on ‘DJ only’ 12” - in 2006, then again in 2008. I still get asked for it now, and played it most recently over in Croatia at the Garden Festival.

 I originally listed the artist name as Dawn Elliot & Co, and it was later pressed on limited vinyl as Young Dog Alien (this is how it appears in the tracklisting of my Radio 1 Essential Mix from 2009), however, here I’ve settled on its most recognisable elements, Imagination & Missy Elliot.

 I later put together a further version that features the vocal of ‘Just An Illusion’ before Missy’s rap kicks in. It was available here for a period last year – I’ll re-upload at some point.

 Greg Wilson - July 2011

Imagination & Missy Elliot 'Gotta Keep Workin' It' (greg wilson mash-up)

YSE Saint Laur'Ant - Night Walking

Follow d:vision on Soundcloud: @dvisionrecords

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We are very proud to welcome David Morales to d:vision Radio.
In this week’s #025 episode the legendary New York DJ’s on the decks with a very special Guest Mix featuring cuts from the likes of Joey Negro & Sunburst Band, Lenny Fontana and Cevin Fisher plus his brilliant rework of ‘Once Again’ by The ReLOUD & Hang Massive.
Enjoy!

Tracklist:
David Morales & Janice Robinson - There Must Be Love 
Joey Negro & The Sunburst Band - Garden Of Love
100% Feat. Jennifer John - Just Can’t Wait Til Saturday
Disko Headz - Don’t Take Your Love Away
Lenny Fontana Feat. D Train - Raise Your Hands
The ReLOUD & Hang Massive - Once Again
Red Zone Project - God Made Me Funky
Cevin Fisher - Let’s Go House
David Morales Feat. Kym Mazelle – Lovin’ 
 
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The ReLOUD & Hang Massive - Once Again (David Morales Def Rework)
[OUT NOW]
 
Download
Beatport: http://btprt.dj/1IyOMoD              
 
----------
Follow David Morales online
Web: http://www.djdavidmorales.com/                    
Facebook: https://www.facebook.com/djdavidmorales
Twitter: http://twitter.com/DJDavidMorales
Soundcloud: https://soundcloud.com/davidmorales                 
Beatport: https://pro.beatport.com/artist/david-morales/1960               
 
----------
Follow d:vision online
Facebook: http://on.fb.me/1jRu8dS
Twitter: bit.ly/1CbV9PU
YouTube: bit.ly/1w3T7AT

d-vision Radio #025 - David Morales Guest Mix

But The Beat (Hot Toddy Dub Mix)/ Oh Yeah

Crew Love Cutz (Part 1)

Crew Download

Davis - Good Times (Davis & Zopelar Edit)

Thank you for all your continued support!

Like the track? Click the [↻ Repost] button!

Facebook : www.facebook.com/houseofgreco
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Free Download

Bizarre Inc - I'm Gonna Get You (Greco Refix) [Free Download]

SWS008 - Kermit Leveridge & The Super Weird Society 'This Is The Last Time You'll See Me Here' the eighth release on the new Super Weird Substance label - release date November 06th 2015. 

Vinyl & Digital available here: http://bit.ly/SWS-008
Compilation CD available here: http://bit.ly/SWS-CD001

Having taken on Greg Wilson’s vision of 'I Wanna Be Your Dog' with aplomb, Kermit Leveridge decided to bring his own track into play for the follow-up release. Growing up in a Caribbean household, ska was a staple for Kermit, and Derrick Morgan’s easy skanking 'Seven Letters' was a record that particularly resonated.

Originally a soul track written and recorded by Ben E. King, 'Seven Letters' follows a series of love notes sent to his girl over a week, but with a response lacking, he ends up losing faith in the relationship and decides to go back home. The theme of ‘going back home’ had a particular significance in Kermit’s household growing up, with his parents often talking about ‘going back home’ to Jamaica.

Taking him back to childhood; mentally, emotionally and spiritually, 'Seven Letters' is one of those songs that’s been a constant in Kermit’s life, always looming in the back of his mind and re-emerging at times of relevance. Kermit had played with the idea of making a version of the track with Blind Arcade but it was put on ice as EVM128 was too busy with his studies to work on anything at the time.

On the back of some brilliant work he’d done with Greg Wilson, Kermit discussed the idea with Peza and was astounded when he received a robust demo of the backing track the very next day. Although Peza had taken the track in a slightly different direction than Kermit had previously intended, the new version had it’s own distinctive vibe and Kermit quickly set about finding the right lyrics to fit.

In this contemporary interpretation, Kermit’s decided enough is enough and he’s heading back home; his bags are packed, his boots laced up and he’s going down that long dusty road - this is the last time you’ll see him round here.

Having lent their vocal prowess to the first seven Super Weird Substance releases, the sublime singing capacity of The Reynolds and Tracey Carmen was a must on the eighth. Counterbalancing the staunch swagger of Peza’s dubwise programming, the trio’s mellow yet flavoursome backing vocals tie everything together.

EVM128 contributed with some ruff up sounds, helping with the track’s raw edge, most effective in Greg & Peza’s alternative ‘version’. Gareth ‘Misterlong’ Bailey adds to the melancholy via his mournful trombone, inspired by Rico from The Specials, who sadly died recently aged 80.

Check out our Super Weird sounds at: https://superweirdsubstance.bandcamp.com
Stay up to date with the latest at: http://www.superweirdsubstance.com

Kermit Leveridge & The Super Weird Society 'This Is The Last Time' - Greg Wilson & Peza Club Mix

Available now - http://www.zrecords.ltd.uk/new-releases

Here Comes The Sunburst Band (Fouk Remix)
U Make Me So Hot (Daniel Crawford Remix)
Here Comes The Sunburst Band (Original Mix)

Dutch duo Daniel Leseman & Hans Peeman have only been producing as Fouk since 2014 with their debut release for Outplay Records immediately catching the attention of Boiler Room. An acclaimed remix of Lay-Far for Sweden's Local Talk Records and their Kill Frenzy EP for Detroit Swindle's Heist imprint plus more remixes for the likes of Kraak & Smaak and Razor-n-Tape cemented the duo as ones to watch for the future. Now they deliver a remix for Z Records taking the title track from The Sunburst Band's classic 1998 debut album and giving the bassline driven funk cut an energetic jazzy 4/4 makeover.
 
Daniel Crawford is keyboard player to many a big name including Raphael Saadiq, Mary J Blige and Angie Stone as well as producing and remixing himself. The LA based musician released his debut jazz album titled "Red Pill" in 2012, also producing mix tapes in tribute to J Dilla, Michael Jackson and Fela Kuti catching the ear of the likes of Gilles Peterson. For ZR Daniel reworks another track from the first Sunburst Band debut album, their cover of Barbara Lynn's classic "U Make Me So Hot" giving it a more percussive, bass heavy rework that highlights his imitable keyboard skills.
 

DJ Reactions:

Tensnake - great stuff, all killer
Hot Toddy - Loving Fouk's stuff at the moment and this remix doesn't disappoint
Opolopo - Loving that Fouk stomp! Daniel Crawford remix is sweet and slinky!
Bill Brewster - Really like the Crawford mix
Mark Farina - nice!
David Harness - I am digging the Nu Disco Mixes
Shur-i-kan - the Fouk remix is the one for me here!
Glenn Underground - Banger's And Real Music
Sean McCabe - Very nice!
Giom - It's all about FOUK! Thanks
Robert Owens - Nice tracks
Reel People - All good stuff here
Ron Carroll - Good Groove
CJ Mackintosh - Nice Remixes but original still doing it for me :)
Julius Papp - FOUK takes it UUUUPP a notch or three!!!!!



Here Come The Remixes

The Sunburst Band - Fouk + Daniel Crawford Remixes

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)

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▶ @Hegemon
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Two Bars

Seywood - Two Bars ft. Vanessa Elisha

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)

If you like this track support the artist and buy it: http://www.junodownload.com/products/living-ecstasy/1821151-02/

Sister S - Living Ecstasy (Norinton Remix)

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)

I Love Ya [LNTG Muscle Mix]

Lil Louis classic - beefed up a bit , trimmed and remastered.

Sax appeal or what...kills it EVERYTIME

DJ Bookings: paul@theunityagency.co.uk



Y U Fall - Pablo Contraband edit

Brand New Monster Disco 12".
Available here:
http://www.juno.co.uk/products/480308-01.htm
http://www.deejay.de/m_House/play/__118009
http://www.jetsetrecords.net/JEAN-CLAUDE-GAVRI-THE-GET-DOWN/p/723004538202

The Get Down = Low Q preview = Limited Edition Clear Vinyl 12"



AND002 – limited vinyl on A&R Edits

Released: Monday 27th May, 2013

Side AA: Music Up (Reworked by Derek Kaye)

Selected by GW

Derek Kaye married his schoolboy passions of music and electronics in 1973 when he constructed his first disco sound system, aged just 13. Prior to this, with DJ equipment something of a rarity in those days, he created a custom setup that bypassed the need for a mixer by rewiring his turntables in such a way that he could flip the sound from one deck to another, and installed a switch that would dip the music so a microphone from a portable cassette player could be used to announce the song on rotation. His work soon grew in sophistication and a new console was built, with his schoolmate, Greg Wilson, buying Derek’s old rig, thus beginning his own well-documented DJ career.

Over the past 40 years, Derek has continued to DJ in and around the North West, both in residencies and guest spots, and his passion for music and electronics are still just as strong. His enviable studio has gone through the transitions of working with notator (the forerunner to logic) on the studio essential Atari 1040 ste with a collection of keyboards and Akai samplers, to just about “working out of the box” as is the case with a lot of studios now.

Today, a lifetime of experience is being teased out of the connoisseur by lifelong friend and A&R curator Greg Wilson, beginning with the double header of 'Nobody' and 'Music Up': both reworks have caused dance floor rapture for Greg over recent months and, as festival season fast approaches, they are now being shared amongst the wider DJ community for the very first time (Derek and Greg have also recently joined forces to remix Bryan Ferry’s ‘Don’t Stop The Dance’).

'Music Up' is an overhaul of the 1979 Vanguard 12” by the Players Association, Kaye's version injecting further verve into the original with a new bassline, percussion, strings and arrangement. Personally requested by NYC stalwart Danny Krivit when Greg Wilson dropped it during his recent gig at The Date in London, 'Music Up' is a surefire festival favourite, for house and disco heads alike, that’s set to fly this summer.

Rufus & Chaka Khan - Ain't Nobody - Derek Kaye Rework

AND001 – limited vinyl on A&R Edits

Released: Monday 27th May, 2013

Side A: Buffalo Dance (Reworked by Henry Greenwood)

Selected by GW

Buffalo Stance (Henry's Rework) (preview)

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.