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SOUL FOOD – THE BROAD CHURCH OF NORTHERN SOUL
This podcast accompanies a blog piece ‘Northern Renaissance’, which simultaneously went online. Below is an excerpt; you can read the full piece here: 
https://blog.gregwilson.co.uk/2013/11/northern-renaissance/

As I hope this piece will illustrate, Northern Soul back in the 70’s was a much broader church than many might imagine. Whilst the stompers were central to the scene, especially when Wigan Casino was at its peak, not everything ran at breakneck pace as is often suggested, the movement encompassed a whole spectrum of styles and tempos. The scene was notoriously very snobbish about its music, dropping a previously loved record like a hot potato because it had subsequently achieved commercial success, although it was this fervent elitism that played a major part in its success and longevity. It’s also the reason why a track many might consider to be as Northern as they come, like Jackie Wilson’s ‘(Your Love Keeps Lifting Me) Higher And Higher’ (a Detroit artist doing an uptempo dance track with Funk Brothers backing) isn’t Northern Soul according to those at the cutting-edge of the scene, despite the fact it was a big favourite in the Soul clubs following its 1967 release. It’s sin was that it became a UK hit in 1969, just before the Northern scene got into its stride, so, along with a whole heap of Tamla Motown tunes that are Northern in everything bar their success in connecting with the masses, it was banished to the realm of pop. This is why another famous Jackie Wilson track, ‘I Get The Sweetest Feeling’, this time a 1968 recording, which, on the surface, given it’s much mellower vibe, is far less stereotypically Northern than ‘Higher And Higher’, is, in contrast, considered a bone fide Northern classic – the reason being that ‘I Get The Sweetest Feeling’ didn’t become a hit until 1972, having broken out of the Northern scene, then in full swing.

So, with the various aspects considered, I’ve put together an epic 3 hour 20 minute podcast selection of records that I hope will reflect Northern Soul in its wider context, from the nailed on classics to those with more nominal status. What can’t be disputed is that each and every track included has been played, at least somewhere at one point or another, under the Northern Soul banner. There are 70 tracks in all, with just 2 artists with more than 1 inclusion, the aforementioned Jackie Wilson and the great, but tragic songstress Linda Jones (3, if you count Frankie Valli, here both solo and with the Four Seasons). The idea to put this together grew out of a CD compilation I made for myself back in the 00’s to listen to whilst I was driving, which I called ‘Soul Food’, and the intention is for it to act as solid introduction for those wanting to hear what Northern Soul was all about, in all its diverse glory, whilst I’d like to think it will also evoke fond memories for those who were there at the time. The fact I wasn’t a part of the scene has hopefully allowed me to approach this selection in a more objective way than someone embroiled within it, who may not be able to resist the inclination to pack it with tracks nobody else, apart from other ultra-obsessives may know, or who might want to brush a few of the inclusions under the ‘you had to be there at the time’, carpet. Consider this, if you will, a beginners guide, of which I love all of the selections, each in its own way - just wonderful wonderful uplifting music.

Greg Wilson – November 2013

SOUL FOOD - THE BROAD CHURCH OF NORTHERN SOUL (greg wilson selection)

ESSENTIAL MIX - JAN 2009
Uploaded on 17.01.10 and exclusive to SoundCloud. Available for the first time without voiceovers and jingles,12 months on from original Radio 1broadcast on 17.01.09.


EMAILSHOT A FEW DAYS AHEAD OF MIX BEING AIRED:
2009 kicks in for me this weekend with my first gig of the year for Udio (1st birthday) at The Gramaphone Club in Shoreditch, London on Friday night, which coincides with the airing of my only just completed in the nick of time Essential Mix on Radio 1, made up of 43 tracks in just under 2 hours.

Given that the 5th anniversary of my DJ comeback has only just passed, I decided to take the opportunity to make the mix totally representative of this period, with all the selections being amongst the biggest tracks I’ve played since I made my second debut at Music Is Better in Manchester.

Five years represents a significant package of time, a fixed point from where I can reflect on what’s been a continually snowballing sequence of events, set in motion when Danny Webb asked me to appear in Manchester on that December night back in 2003.

There were less than 100 people there that night, but they were the right people, and I was taken aback by the response to my return, both on the night itself and during subsequent days, when people who were there began to post on the forums. I’d never expected all the feedback be so totally positive!

I’d figured that I’d play that night, using the combination of laptop and reel-to-reel for the first time, then go away and think about what worked and what didn’t before I made my next move. I would never have believed that things could come together so immediately, it was as if I’d hit a completely unexpected hole in one, especially when two of the people who were there, Ralph Lawson, DJ from Back To Basics in Leeds, and one of my fellow DJ’s that night, Richard Hardcastle (Solid State) from Society in Sheffield, both asked me to play at their nights no sooner had I finished my spot.

One thing kept leading to another and, in Sheffield, I was approached by Tony Daly to play at the now legendary Tyneside Cinema party in Newcastle, a bespoke event where he took on the substantial risk of presenting me in a city I’d never DJ’d in previously (unless you count the 1983 TV appearance on The Tube, which was filmed in the Tyne Tees studio). Then, of course, there was London, where Steve Kotey and Bill Brewster booked me for their parties, bringing me to the capital within the first few months of my return for Ouch and Low Life.

The bookings kept coming, and I found myself driving up and down the country on an increasingly regular basis. Later in 2004 I was approached by Sav Remzi, from Tirk / Nuphonic, with the idea of putting together an edits album, which would be issued the following year as ‘Credit To The Edit’. This would help bring my name to the attention of people outside the UK. There was soon a need to step things up further, now that I was receiving enquiries from Europe, and so began a fruitful relationship with my agent, Matt Johnson (Matty J), who’s done a wonderful job of representing me during recent years.

The last few months have been, to say the least, manic for me, with 25 flights, including 6 long haul, taking me to gigs in the US, Japan, Australia, Brazil and Europe. From a personal perspective I still find it remarkable the way everything has developed, pretty much organically, since I made the decision that I was going to be a DJ once again – had I concocted some sort of comeback masterplan, it could never have worked out anything like as well as it has. It’s definitely been a case of ‘from small acorns’.

It still never ceases to amaze me that people from another continent are interested in my DJ past. Back in the early 80’s, before I went into retirement for 20 years, the furthest I travelled (with the exception of the appearances I made in the South of England as part of The Hacienda Review in late ’83) was to places like Birmingham and Nottingham, when I played at All-Dayers, so to find myself in clubs on the other side of the world is pretty nuts!

Anyhow, I’d like to wish everyone all the best for 09. Big thanks to all the promoters who booked me and everyone who danced to the tunes I played during ’08 in Adelaide, Barcelona, Belfast, Berlin, Birmingham, Blackburn, Brighton, Bristol, Dublin, Dundee, Edinburgh, Fukuoka, Glasgow, Hamburg, Leeds, Lisbon, Liverpool, London, Los Angeles, Manchester, Melbourne, Milan, New York, Newcastle, Nottingham, Paris, Porto Alegre, San Francisco, Sao Paulo, Sheffield, Sydney, Tokyo and Warsaw. Also the festivals and special events that I appeared at - Bestival (Isle Of Wight), Big Chill (England), Camp Bestival (England), Garden Festival (Croatia), Ibiza, Lovebox (England), Notting Hill Carnival (England), Rockness Festival (Scotland), Sonar (Spain) and the Southport Weekender (England).

Hope to see you soon.

Greg


FORUM POST DURING FOLLOWING DAYS:                                                        
Thanks for all the positive words. The feedback has been pretty phenomenal, far exceeding what I’d hoped for, especially on the BBC page, where I’d expected that some people would criticize the amount of older music included - the Radio 1 audience is used to current stuff ('in new music we trust'), so I’d anticipated a more mixed reaction. What’s particularly pleasing is that they were all made without the people seeing what each other wrote (they all came online at once, having been checked first by whoever moderates the BBC pages, I presume for swearing etc following the Ross / Brand controversy).

You always hope something you've done will be well received, but the response to this has blown me away.

Greg


ANSWER TO POST RE MIXING PROCESS:                                                      
It was quite a laborious process. Before I could start the actual mixing part I had to edit every track to a coherent length of around two and a half minutes average, inclusive of in and out points. I had a pool of about 90 tracks that fitted the criteria I'd set (a representative selection of the biggest tunes I've been playing during the past 5 years). It wasn't as straightforward as just editing the 43 tracks I ended up featuring - in order to have the necessary options once I started to piece the mix together I needed to have all the tracks at my disposal, just as I would have if I was out deejaying in a club, so the only thing to do was edit all 90 to the required length, even though I knew that only half would make the cut .

Once that was finally done they were all taken across into my laptop, enabling me to vari-speed them via PCDJ whilst I recorded across to my home computer into Cool Edit Pro, where I put the mix together track by track, before adding overdubs (fx, samples, textures) in a similar way to what I do live using the Revox (reel to reel).

I could quite easily have spent another day, tweaking bits here and there and adding more overdubs (the older I get the more finicky I become), but I had a deadline to work to, so, as it moved ever nearer, it became a race against time, with me doing as much as I could before the cut off point arrived.

Greg
                       

Greg Wilson - 2009


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

DEEP HOUSE, NU DISCO MIX
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DEEP HOUSE SUMMER MIX 2 - AHMET KILIC

Breakbot - Lazy Sunday Selecta

01 Moodymann "Freaky MF"
02 Mario & Vidis "Black Boogie"
03 Arnaud Le Texier "Rue Oscar Roty"
04 Currambero de Gamero "LaPrena (Yoruba Soul Mix)
05 Makossa & Megablast "Soy Como Soy (Luciano Remix)
06 Cassady Locke "Mafele (Fulton Dub)
07 Jazztronik "Dentro Mi Alma (Yoruba Soul Summer Suite)
08 T. Williams "Chop & Screw"
09 Marcello Napoletano "Electronic Atmosphere"
10 Sparkhouse "Inbetween"
11 Motor City Ensemble "Keep Up"
12 Zephrin Saint "Midnight Mawal" (Jose Marquez Remix)
13 Roger Gerressen "When We Were Young"
compiled and mixed by Osunlade

The Bush

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Yoav - Dopamine - Funkerman mix [Extended]

MUSIC IS BETTER RE-EDITED HIGHLIGHTS 20.12.03
Related blog post here:
http://www.gregwilson.co.uk/2011/09/music-is-better-re-edited-highlights 

When I upgraded my SoundCloud account it was with the intention of adding selected mixes from the period 2003-2009, bringing everything under one roof by placing them alongside the ongoing additions that have been continually made available since I uploaded the first of my SoundCloud mixes, recorded at Café Mambo in Ibiza exactly 2 years ago today (27.09.09). So it’s fitting that Music Is Better Re-Edited Highlights, the mix that marked my return to the DJ world, should kick off this process, with further uploads to be added periodically.

The following piece was written in 2004, some months after the Music Is Better mix had been made available as a limited CD via Manchester's Piccadilly Records.

MUSIC IS BETTER RE-EDITED HIGHLIGHTS:
Last December, twenty years on from when I stopped deejaying professionally, I came out of retirement, so to speak, and made what seemed like, as I described it at the time, a ‘second debut’ (my first being way back in 1975). In the two decades that have passed since I decided to call it a day, I’ve made the odd guest appearance here and there, but had no inclination to seriously start up again.

That all changed during 2003, with the launch of the electrofunkroots.co.uk  website, which I’d set up to document the crucial early 80’s period, when dance music (or black music as it was still referred to) was going through some radical changes that would have a huge bearing on the subsequent course of club culture. It was at this point in time that I was fortunate enough to find myself behind the decks in two of the greatest British clubs of the era, Wigan Pier and Legend in Manchester, where I’d bring a new flavour of music to the table, along with a fresh (from a UK perspective) approach to the way I worked, as one of just a handful of British DJ’s back then who had made the decision to switch the emphasis of their presentation style from microphone to mixing. 

I had no idea that, all these years on, an ever-increasing amount of clubbers were now beginning to look back to exactly this time and rediscover the great underground music, mainly from New York, that preceded House, and which was originally played here in the UK on the specialist black scene. Having decided to become pro-active in drawing people’s attention to this hugely important, but largely overlooked period, it was a pleasant surprise to realise that this process was already underway. Before I knew it, I began to receive enquiries about possible DJ bookings and it soon became obvious that the logical next step for me to take was back into the clubs, so I could actually play these records to an audience who’ve finally come to appreciate their significance in inspiring the music that inspired them.

Had this been all about playing some tunes for old times sake to the people who were there at the time, there’s no way I’d have been into it as anything more than an occasional one-off. However, the fact that there’s a whole new generation who are looking for a return to underground values, as well as an older audience who (having maybe got into dance stuff at a later stage) missed much of this music first time around, prevents it from becoming a purely nostalgic exercise and, instead, presents a whole new dynamic. For this is something relevant to now, which is rooted in the past, yet forward looking.

To further emphasise this link, the equipment I decided to use was a Revox B77 reel-to-reel (past), vinyl (present) and laptop (future). It was also important that I didn’t just stick to the records that I used to play, but included a few more recent releases, from artists with a clear respect for what’s gone before, like Chicken Lips, Metro Area and Diplomat. The laptop would also allow me to feature my own re-edits and the Revox to add live sounds and effects. Having been regarded as progressive in my approach to deejaying back then, I figured it was only right that I should continue to work by the same principles, trying new ideas alongside the old ones in an effort to highlight the ongoing links between then and now.

The night I chose for my ‘comeback’ appearance was called ‘Music Is Better’. It was held at The Attic in Manchester. It obviously had to be Manchester as this, although not my actual home, is certainly my ‘spiritual home’, the place where I found my ultimate DJ highs – so it was important to make that vital connection with the past immediately. ‘Music Is Better’ was the perfect type of night for me, suitably low-key, whilst attracting the kind of people who understand that four-to-the-floor isn’t the be all and end all.

I’d planned to use the night as a tester, so I could identify what worked and what didn’t, before I started accepting the bookings I’d been offered in other parts of the country. I’d anticipated a gradual acclimatization for myself, estimating that once I’d got 3 or 4 appearances under my belt I’d be able to gauge things better. In no way did I expect this first night to go so well for me, without any of the teething problems I’d envisaged. 

The night wasn’t recorded, but it was decided that, to mark the occasion, I’d re-create it track for track for a limited edition CD (edited down from the two and a quarter hours I played to single disc length). 

So this is how ‘Music Is Better – The Re-Edited Highlights’ came to be. The 500 copies that were made have now all gone, the response to the CD echoing the positive reaction on the night. I’ve since taken bookings (and often re-bookings) in Birmingham, Bristol, Dublin, Glasgow, London, Leeds, Limerick, Liverpool, Newcastle, Nottingham, Plymouth, Sheffield and Wrexham, along with further dates in Manchester. 2004 has been a year I’ll never forget and I can’t thank everyone enough for their support, their warmth and their energy. Having been totally detached from the club scene for so many years, it’s all been a bit of a Rip Van Winkle re-awakening for me! 

I never thought I’d say it, but it’s great to be a DJ once again. 

Hope you enjoy this mix,

Greg Wilson
http://www.electrofunkroots.co.uk
 
WRITTEN FOR SIX MILLION STEPS WEBSITE IN 2004

UPLOADED ONTO SOUNDCLOUD 27.09.11


MUSIC IS BETTER RE-EDITED HIGHLIGHTS 20.12.03 (by greg wilson for ltd cd 2004)

DO NOT ATTEMPT TO ADJUST YOUR RADIO - MARCH 2004
Six Million Steps (named after the Rahni Harris & F.L.O track from 1978) are a collective of old soulboys who really know their mustard. Their website www.sixmillionsteps.com is a veritable treasure trove of radio shows and mixes aimed at black music enthusiasts. In early 2004, aware of my return to the DJ realm, they asked me if I’d be up for doing a mix for them, and, being an old soulboy myself, it would have been extremely rude not to oblige my Southern-based brethren.

Given that the site was geared to radio rather than the clubs, I wanted to do something a bit different for them – something that contrasted with, yet complimented the Music Is Better mix, which I’d just put together (see http://soundcloud.com/gregwilson/music-is-better-re-edited). I decided to kick things off with the intro part of a favourite track by Parliament, ‘P Funk (Wants To Get Funked Up)’, which had blown me away when I first got a copy on import 7” in March '76 (one of the first imports I ever bought, released back to back with the equally wonderful, but more club friendly ‘Give Up The Funk (Tear The Roof Off The Sucker)’). I looped the opening lines to set the tone - ‘good evening, do not attempt to adjust your radio, there is nothing wrong, we have taken control as to bring you this special show, we will return it to you as soon as you are grooving…’.

I also had some old jingles that fitted the theme I had in mind, which was a radio show, but without a presenter - instead the tracks would be segued together via edited sections, sound bites and samples. It’s a real cut-up, very raw and experimental, referencing a wide spectrum of black music, mainly from the 70’s and early 80’s, taking in Soul, Funk, Disco, Jazz-Funk, Electro-Funk, Hip Hop and Boogie, but with a few curve ball edits thrown in for good measure. Listening back I can clearly hear that, in some respects, I used it as an ideas pad, a number of which came to fruition later down the line.

It’s not a mix in the traditional sense, where the emphasis is placed on dancefloor flow – here the tracks are forged together in a more abstract manner via the link sections I created, and there’s certainly nothing linear about the programming, the tempo likely to slow down or speed up at any given juncture. Included is an old tape sketch, ‘Get Ready I’m A Comin’’, that I remember editing together in ’86 - the main loop being the drum break of Kool & The Gang’s ‘Jungle Jazz’, which would turn up the following year on the huge chart hit ‘Pump Up The Volume’ by M/A/R/R/S. There are some edits in progress, with the working titles ‘Still Lovin’ It’, ‘Sesame Seed’ and ‘T’s On The Mike’, which would appear a year later on Credit To The Edit Vol 1 - ‘Ooh, I Love It (Love Break)’ by The Salsoul Orchestra, ‘Open Sesame’ by Kool & The Gang and ‘Do It Anyway You Wanna’ by Mike T (‘Sesame Seed’ and ‘T’s On The Mike’ retained these titles for the first of the accompanying Credit To The Edit 12” releases). There was ‘Amp Trouble’ (mashing Amp Fiddler with rappers Double Trouble), which was later included alongside ‘Gotta Keep Workin’ It’ on the Young Dog Alien 12” in 2006. Then there were also a few more ruff’s that never got to see the light of day, at least not as yet – ‘Worldwide’, ‘Just A Touch’ and ‘This Is For You’.

Greg Wilson – October 2011

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

DO NOT ATTEMPT TO ADJUST YOUR RADIO (by greg wilson for six million steps 2004)

NO SELL OUT - ELECTRO RETROSPECTIVE
LEGEND / WIGAN PIER MAY 1982 – DEC 1983
MIXED BY GREG WILSON FOR A GUY CALLED GERALD - SAMURAI FM 2005

This is the most involved mix I’ve ever put together, even more so than my Essential Mix in 2009, for which ‘No Sell Out’ very much provided the prototype. I intended it as a definitive document to the period May 82 – Dec 83, when Legend and Wigan Pier were at their most influential, the new Electro-Funk sound turning the black scene on its head as the old gradually gave way to the new.

As I wrote at the time:
“The tracks on this mix represent this now distant time of both musical and cultural change. I’ve selected the records that were regarded as controversial at the time within black music circles, the ones that the traditionalists were up in arms about. I’d originally chosen 50 of the biggest tracks played at Legend and the Pier, but this was upped to 60, all of which needed to be edited down to an average of a minute and a half in length, which was no small task in itself! Realising that there were still other tracks I wanted to include, I decided to keep it to the main 60, but drop in snippets of additional records from the period, not only Electro, but also other big floorfillers from my nights. I never played purely Electro, but mixed it in alongside Soul, Funk and Disco (or as people refer to it nowadays, Boogie), and this is reflected by the numerous ‘references’ sprinkled throughout the mix.

It’s good to be able to place some of these tracks back into their original context. Tracks like ‘The Message’, ‘Rockit’ and ‘Buffalo Gals’ would become big hits in the UK, but they were completely unknown when first played at Legend and the Pier. A perfect example would be ‘White Lines’, which was an underground favourite for many months before the penny finally dropped with the mainstream audience and they came to appreciate it as the wonderful record it is, resulting in a chart stay of over a year! Nowadays, ‘White Lines’ can be played pretty much anywhere to a great response. It’s a sure-fire floorfiller, regarded as a dance standard, but it wasn’t always that way - without the initial specialist support it could quite easily have ended up as just a minor hit.

The title of the mix, ‘No Sell Out’, comes from the opening track. It seemed an appropriate name, given the fact these records were very much regarded by the purists as the selling out of black music, rather than its salvation (something which pretty much everyone can now, with hindsight, clearly see). Listening back to these tracks you can trace the evolution of Hip Hop, Techno and House. This was the point in time when black music fully embraced the available technology and took dance to new dimensions. Hearing these records for the very first time, we knew that the future was upon us and that dance music had entered a whole new phase of its development.”

The ‘No Sell Out – Electro Retrospective’ page at Electrofunkroots gives the full lowdown and complete tracklisting. It includes an introduction by Gerald Simpson (aka A Guy Called Gerald), for whose Samurai FM podcast this mix was originally put together.

http://www.electrofunkroots.co.uk/mixes/no_sell_out.html 

Greg Wilson – February 2012

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

NO SELL OUT ELECTRO RETROSPECTIVE (by greg wilson for a guy called gerald - samurai fm 2005)

Hello Everyone,

Are you hungry ?

Here is Magic Tape Twenty !

Enjoy !

The Magician


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Magic Tape 20

Hello Everyone,

THE DIE IS CAST !

Here is Magic Tape Twenty-One !


Enjoy your Spring time,

The Magician


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Magic Tape 21

GREG WILSON presents The Chic Organization – 1977-79 Selection Reworked
 
Greg writes about the mix and all things Chic at his blog:
http://blog.gregwilson.co.uk/2018/06/the-chic-organization-1977-79-selection-reworked/
 
Chic had a sound of all their own, the crack rhythm section of Nile Rodgers (guitar), Bernard Edwards (bass) and drummer Tony Thompson providing the highly infectious grooves that characterised their records. They would be massively influential as a consequence, their anthemic tracks still loved all these years later, with a new younger generation embracing their good time vibe in the same way their parents might have.
 
The mix consists of 12 edits / reworks of 9 Rogers & Edwards produced tracks, all of which happened to be originally recorded during 1977-79, the years which saw Disco peak and decline, with Chic at the helm during those halcyon days, their own recordings providing 4 US top 10 singles, including a pair of #1s, whilst Sister Sledge, whose success they mentored, weighed in via the hit-laden ‘We Are Family’ LP. They even found time for a French excursion via Sheila & B Devotion’s ‘Spacer’.

SISTER SLEDGE ‘THINKING OF YOU’
1.‘Things You Do For Me’ - Killer Funk Disco Allstars Edit
2.Sister S ’Living Ecstasy’ – Norington Remix
CHIC ‘CHIC CHEER’
3.Leroc Sportif Edit
SISTER SLEDGE ‘HE’S THE GREATEST DANCER’
4.’Greatest Dancer’ – Daz Digs Disco Re-Edit
5.’One Nite In A Disco’ – Late Nite Tuff Guy Rework / Greg Wilson Edit
CHIC ‘I WANT YOUR LOVE’
6.Todd Terje Edit (incorporates Moodyman ‘I Can’t Kick This Feeling When It Hits)
CHIC ‘STRIKE UP THE BAND’
7.’Feel The Rhythm’ – Deep & Disco Edit
CHIC ‘LE FREAK’
8.Chewy Rubs ‘Future Freak’
SISTER SLEDGE ‘LOST IN MUSIC’
9.DSD Balearic Mix
CHIC ‘DANCE, DANCE, DANCE (YOWSAH, YOWSAH, YOWSAH)’
10.Greg Wilson Rework
11.In Flagranti ‘A Brag Mount’
SHEILA & B. DEVOTION ‘SPACER’
12.Greg Wilson Edit
 
Addition overdubs / editing by Greg Wilson
Recorded June 2018
 
Greg Wilson is set to support Chic in Manchester, Wed 27th June at Castlefied Bowl, alongside a live performance from Crazy P.
 
http://gregwilson.co.uk

GOURANGA MIXTAPE: Greg Wilson - The Chic Organization - 1977-79 Selection Reworked

Live recording from Future Disco Boat Party on River Thames in London during Jubilee weekend 01.06.12.

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

FUTURE DISCO BOAT PARTY LONDON 01.06.12 (greg wilson live mix)

Taken from blog post ‘Festival Anthems’:
http://www.gregwilson.co.uk/2012/06/festival-anthems/

Back in March, in the lead up to the Rainbow Disco Club festival in Tokyo (an event that would frustratingly be rained off), I was asked to make a list of my 10 favourite festival tracks. I came up with a dozen, all edits which have served me well during recent years and certainly merit anthemic status. Around the same time I was approached, via the Garden Festival’s PR dept. to supply an exclusive mix for the oki-ni series. As an example, I was linked to Derrick Carter’s contribution, where he referenced the mixes he used to hear on Chicago dance station WBMX in the early 80’s, focusing on Disco & Classics. 

Whilst thinking about a suitable theme for my mix, I had the brainwave of working with the list of festival favourites I’d recently compiled– I thought that putting these 12 tracks together into a single mix would not only provide a solution, but gives me the opportunity to document some of the music that’s served me so well in the festival environment, which I’d never otherwise play all together. So, from there, it was just a case of finding a way to jigsaw them into a coherent whole, which didn’t prove to be difficult, the mix coming together in no time.

It wasn’t until I’d submitted it that I found time to have a look at the oki-ni website and check out some of the mixes already on there, a pretty substantial 75 of them. It was only then that I realised that my approach was somewhat  out of sync with the ethos of the series, which was outlined as follows; ‘the series aims to venture off the dancefloor, allowing the artists involved the freedom to produce unique and personal mixes that speak directly to them. The results are always eclectic, compelling, and unique’. 

Being that this was supposed to be more a personal choice of tunes you wouldn’t play out, rather than the clearly themed mix I’d mistakenly believed it was, I pointed out this anomaly, but was assured that all was fine. Had I not been off to the US that weekend, then onto Japan, I’d have probably insisted on doing something else, which fitted their criteria, but they maintained that they were more than happy with what I’d done, so it became mix #76 in the oki-ni series (and exclusive to their website for the past few months):
http://www.oki-ni.com/scat/mixes 

Half of the tracks are my own edits, half other people’s (big up Psychemagik, Dimitri From Paris, Joey Negro, Bermuda Triangle, Leftside Wobble and Michael Cook). The mix features some iconic names, The Beatles, The Beach Boys, Talking Heads, The Clash, Marvin Gaye & Tammi Terrell, Prince and Fleetwood Mac included. As they say, great music never dies, especially when there’s an edit that helps introduce it to a whole new younger audience, whilst rejuvenating the spirit of an older one in the process. Hopefully this collection of climatic tunes will help bring on the festival spirit – here’s to sun and mud to come!

I’ll be appearing at the following festivals / special events:

23rd June – The Summer Soiree / Blackpool
http://theblackpoolball.com/#/ball-info/4548984235
 
6th / 7th July – The Garden Festival / Croatia 
http://thegardenfestival.eu/ 

15th July – Vintage / Northamptonshire
http://www.vintagefestival.co.uk/about/vintage-festival
 
28th July - Camp Bestival / Dorset 
http://www.campbestival.net/#/home

4th August – Eastern Electrics / London
http://www.efestivals.co.uk/festivals/easternelectrics/2012/

5th August – Standon Calling / Hertfordshire
http://www.standon-calling.com/ 

2nd September – Preston Guild / Preston
http://www.prestonguild2012.com/?OBH=413&ID=583 

8th September – Bestival / Isle Of Wight
http://2012.bestival.net/

Greg Wilson - June 2012

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

GREG WILSON FESTIVAL ANTHEMS (for oki-ni 2012)

New Single by Slow Magic //

from an upcoming Full Length.

♥

www.facebook.com/slowwmagic

On Yr Side

Live recording from the Main Stage at the Garden Festival in Tisno, Croatia on 06.07.12.

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

GARDEN FESTIVAL MAIN STAGE TISNO CROATIA 06.07.12 (greg wilson live mix)

This is the mix I put together for Resident Advisor 4 years ago – it’s no longer available via their website, so I thought the time was right to share here. It was very well received back then and certainly served to enhance my reputation within the RA community, coming, as it did, 4 months before my BBC Radio 1 Essential Mix brought my name to wider attention. 

I’d decided to buck the trend by highlighting the lower bpm’s of the music I was playing in the clubs, rather than, as was the norm, going for a more typical uptempo vibe. Here’s how I described it at the time in the accompanying interview I did with RA - ‘I'd just done a BBC 6mix, which, with regards to tempo, was geared around the 116-120 region, so I wanted to do something different here, concentrating on the more downbeat side of what I play, which, despite being a rich and fertile segment of dance spectrum, many DJ's dismiss as being too slow. I also took the opportunity to put together some new stuff, with the mix providing the impetus for me to bring a few ideas to fruition—so thanks are due to Resident Advisor for its role as muse.’ The full interview can be found at RA: 
http://www.residentadvisor.net/podcast-episode.aspx?id=119 

I also added in the comments section, in answer to a question asking how I put the mix together – ‘I recorded the tracks into my studio PC using Sound Forge, then overdubbed textures and fx in Cool Edit Pro, in a similar way to how I use the the Revox live, spinning additional sounds over the top of the tracks I'm playing. The mix itself was pretty straightforward, but I spent a fair bit of time in the preparation, editing up some new stuff - 'Body Movin' Freaks', 'One Lifetime' and 'Re-Working The Illusion' (which was based on a previous mash-up I did a few years back) - whilst adding the Donna parts to the Eddie Drennon edit I'd put together a little while back, inserting the Martin Luther King speech in the intro of 'Why Can't We Live Together', and sticking the 'Good Times' vocal at the end of Adrian Blunt's Ting Tings edit to conclude the mix.’ Full comments here:
http://www.residentadvisor.net/forum-read.aspx?id=48550 

Greg Wilson - October 2012

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

RESIDENT ADVISOR MIX (by greg wilson for ra.119 podcast 2008)

Full lowdown on the marathon 8 hour ‘A Night With…’ session, outlining a recording disaster, and how the first 4 hours can now be shared here, having been reassembled post-event:
http://www.gregwilson.co.uk/2012/10/the-reward-for-work-is-more-work/ 

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

A NIGHT WITH...LOFT STUDIOS LONDON 13.10.12 (greg wilson live selection)

Full 3 hour live mix from Melting Pot at The Admiral in Glasgow 03.11.12.

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

MELTING POT @ THE ADMIRAL GLASGOW 03.11.12 (greg wilson live mix)

Detroit classics set recorded live and direct at Mixmag's 'Mixmag Live' event.

Carl Craig - Live @ Mixmag Live - 19-10-2012

To tie-in with my 200th blog post, this was the last mix I ever tape edited, putting it together on my original Revox B77 reel-to-reel, which I’d bought 14 years earlier, back in 1982. See the post with accompanying images at the blog:
http://www.gregwilson.co.uk/2012/11/the-monastic-mix/ 

THE MONASTIC MIX:
‘The Monastic Mix’ was very much a labour of love, gradually assembled in stages, as I bounced between reel-to-reel and DAT in order to add further textures. I did it in collaboration with a young DJ from Liverpool, Matt Shannon, who was into the Trip Hop / D’n’B vibes of the time, which I really liked myself, but didn’t have any of the records (I was, as you might say, on the bones of my arse brassic back then, so I wasn’t in the position to be buying anything other than the bare essentials). We fused Matt’s tunes with mainly older stuff from my own collection for the mix, which appeared on one side of a free cassette that was given away to everyone who attended the launch of 'The Monastery', an experimental monthly club night on Merseyside (plus a couple of Wednesday specials at London's 'Mars Bar' in conjunction with Microdot, the design company ran by Brian Cannon). We made things particularly difficult for ourselves, holding the night on a Sunday, and choosing an off the beaten track venue, Stairways, a Birkenhead Rock club, to which we bussed people through the Mersey Tunnel from Liverpool, as well as attracting others from The Wirral. However, despite all the drawbacks, we somehow managed to keep things afloat for the best part of a year, enjoying some great memories and much musical mayhem along the way.

‘The Monastery’ brought together a collective of DJ’s and musicians who were largely disillusioned with the local dance scene - Derek Kaye, Bernie Connor, DJ Trix, Phil Jones, Desa, Girls On Top, Phil Melia, Kerry Harrison, Ciaron Bell, Matt and myself all played our parts, doing it for the love rather than money, with Martin O’Shea (who, as it would work out, went on to manage the successful girl group, Atomic Kitten) promoting the nights. The basic premise was that we didn't go down the four-on-the-floor path, as this was being played pretty much everywhere else at the time, concentrating instead on groove-based music from the 60's to the 90's.  

Featuring Soul, Funk, Electro-Funk, Hip Hop, Indie-Dance, Trip Hop, Drum & Bass and more, ‘The Monastic Mix’ became cult listening for many of the people who got hold of the cassette, although I’m sure that others found it a bit too eclectic for the time and never gave it a second hearing. I’ve been told that it’s quite a demanding mix to listen to, dark in places and somewhat ‘druggy’ (‘one for the heads’ being a comment made about it back then). 

It’s close to my heart because it reflects my state of mind at the time it was made, which was pretty turbulent. Since my production work had ground to a halt a few years earlier, I was very much in no man’s land, completely detached from the music scene and with no means of expressing myself. I was still totally illiterate as far as computers were concerned and I remember feeling old and out of touch. There were moments when I wanted nothing more to do with the music industry, being punch drunk from the knocks I’d taken during recent years, but, having never had a ‘proper job’ in my life, I was pretty much in a catch 22 situation. I had no money and no prospects, life was passing me by and I was more or less washed out creatively. Suffice to say it was a very bleak period for me.

It was during this time that my friends, seeing how much I was struggling, were urging me to get back into deejaying, telling me that I could make good money by trading on my reputation of old. However, there was a big catch, which was that I’d have to decide what area of dance music to specialise in, which was an alien concept for me, having made my name playing the best of a whole range of styles, rather than just one narrow area. Thankfully (and I can only say this with hindsight) I resisted the temptation to take this option, which would have amounted to selling my DJ soul for a quick cash-in.

The idea behind The Monastery was planted in my mind by my friend, Kermit, who, following on from the Rap Assassins, had hooked-up with former Happy Mondays mainman Shaun Ryder to form the band Black Grape.  Just before they were about to do the final mixes on their debut album, ‘It’s Great When You’re Straight…Yeah’ (which would subsequently top the British charts), Kermit came to see me in Liverpool with a cassette of all their tracks. I was blown away with what they’d come up with, but it also served to highlight my own shortfallings. I commented that he’d done so much while I’d been wasting away at home doing nothing, but he told me that the time I was spending, in relative seclusion, with my music, books and videos, would prove to be time well spent. He likened my existence to being in a monastery – a comment that very much resonated within me and somehow gave me renewed hope for the future.

The following year, when the idea of a putting together a club night was put to me, I suggested it should be called The Monastery, with the music policy and presentation completely unlike anything else that was happening, combining DJ’s with live musicians. When it came to putting the mix together, I wanted to reference as many of my musical influences as I could, even if it only be a tiny snippet. I managed to cram a lot of them in and I can guarantee that, even after numerous plays, you’ll still recognise new elements hidden away in there. There’s a lot of stuff going on in the detail and, listening back to it later down the line, I became aware of a definite autobiographical slant that didn’t seem so obvious then, reflecting the struggle and soul searching that summed up my life at the point it was made. A mix will, obviously, always have something of yourself within it, but this is undoubtedly more personally revealing than anything else I’ve done – there’s some kind of twisted narrative in there, and I can hear me talking to myself via some of the samples I chose (for example, when you hear the words ‘does anyone remember who I am?’, I really meant it, trapped in obscurity as I was). Even the discordant parts, the bits that jar with me now, show me exactly where my head was at.

It was an important personal step for me, and I thank Matt Shannon for what he brought to the table – I didn’t have all the ingredients myself, and he was also pretty handy on the decks, so Matt was, of course, key to this. He no doubt reads it in a different way to me, but I know it has its own special symbolism for him, especially given he never followed the DJ route, and instead carved out a rewarding career working in the computer, rather than in club realm. 

‘The Monastic Mix’ very much informed what I did later, especially the Teenage DJ project, which built on that autobiographical slant I’d stumbled across. It’s echoes can also be heard via my use of samples in a live context - people who know my mixes from more recent times will, no doubt, recognise many of the samples I’ve subsequently used, which are spun from the same tape, but in a different context – from another time and place.

I think it’s a mix that’s most conducive to a chilled-out environment (and state of mind). I might have given the impression that it’s pretty heavy-going, but you’ll find lots of familiar stuff throughout (it makes for a great game of spot the sample) and I’m sure it’ll raise a smile, and perhaps even the spirit, here and there. 

Greg Wilson - November 2012

THE MONASTIC MIX (by greg wilson and matt shannon for the monastery 1996)

Full 3 hour mix from a superb New Year’s Eve gathering at Manchester’s 2022NQ . 

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

2022NQ MANCHESTER NYE 31.12.12 (greg wilson live mix)

The new album 'CARACAL' is out now
iTunes: http://po.st/P3wCTx
Amazon: http://po.st/pPvCDJ
Official Store: http://po.st/qO7d9s
www.disclosureofficial.com

Disclosure Live: http://disclosureofficial.com/live/
Official Merch: http://po.st/4iqh1L

The debut album from Disclosure 'Settle' 
iTunes: http://po.st/Eabal4
Official Store: http://po.st/iaE7o9
Special Edition: http://po.st/viEW5R

http://disclosureofficial.com
http://facebook.com/disclosureuk
http://twitter.com/disclosure
http://instagram.com/disclosure
http://instagram.com/disclosure_pics
http://youtube.com/disclosureVEVO
http://youtube.com/officialdisclosure
https://open.spotify.com/artist/6nS5roXSAGhTGr34W6n7Et

Running Beats

White Noise (Radio Edit) [feat. AlunaGeorge]

Buy on iTunes

Lounge Mix

Recorded July 17, 2010 for Cinespia's screening of "Saturday Night Fever" at the Hollywood Forever Cemetery.  Cut Chemist mixes up party time classics from 1973-1979.

Cut Chemist -Disco is Dead (1973-1979)

Major Lazer Presents Walshy Fire's Workout Mix

Intro - Hulk Hogan 
0:15 Bunji Garlin - Ready for the road (Major Lazer Dub Remix)
3:41 The Partysquad - Lion
5:52 Kid Kamillion/Rod Lee - Get Yo Handz up
7:15 KW Griff feat. Pork Chop - Bring In the Katz
9:35 Blasterjaxx - Miami (Original Mix)
12:07 GTA & Dimitri Vegas & Like Mike ft. Wolfpack - Turn It Up
14:22 Bauuer - Slip
15:56 Sister Nancy - Bam Bam (FASTA Boombahton Bootleg)
19:30 Diplo and M83 - Express City (Benzi Short Redo)
21:37 Macklemore - Thrift Shop (Bounce Edit Benzi Refix)
22:12 Pepe y Otto - Culo
22:23 Action (Richie Beretta 7th Grade Dance Remix) 
24:25 Alesia and DJ Snake - Bird Machine
26:42 Popcaan - Talk Bout We (Major Lazer Remix)
28:17 Mavado - Wah Dem A Do (Major Lazer Remix)
29:14 Bunji Garlin - So & So (Doc Jones Remix)
31:16 Jeff Retro - What U Came For (Trap to Toe Tap Remix)
33:22 Kid Khamillion and Dirk Diamonds - Blood Rave 
36:28 Krafty Kuts - Feel Like Jumping
39:04 Gangnam Style - PSY (강남스타일) (Diplo Remix) 
40:10 Yellow Claw & Cesqeaux - IBETCHU
41:16 Trap- Treat Me Right 
43:26 Trap- Boom Clash (Major Lazer Remix) 

Major Lazer Workout Mix (May 2013)

Tracklisting:
Rudimental - Hell could Freeze(Skream Remix)
Todd Terje - Inspector Norse
Maiya - French Soler 
KidNap Kid - Animaux
Stuffa - Keep On
Codec - Got what you Need
Russ Chimes - Turn me out
George Morel - Morels Groove
Rudimental - Baby ft MNEK & Sinead Harnett 
Chris Malinchak - Good To Me
Rudimental - Waiting All Night Ft Ella Eyre (Kidnap Kid)
Cyril Hahn - Say My Name - 
Eli & Fur - Nightmares
Rudimental  - Rudi Intro
Zedd - Dovregubben (Original Mix)
Benny Page and Mz Bratt - Tear Down 
Damien Marley - Welcome To Jamrock
TC - Do You Rock 
Bad Boyz ft Top Cat
Serum  - Rat Trap
Rayvon & Shaggy - Big up 
Calyx & TeeBee - Skank 
Cutty Ranks  - Limb By Limb
Rudimental ft Ella Eyre - Waiting All Night (Original)
Run Tingz Cru and Tenor Fly - Don Man Sound(Run Tingz Jungle Remix)
Logistics  - Cosmonaut
Rudimental ft Foxes (Andy C Remix) - Right Here
Metrik - Drift

Home

Hell Could Freeze (Skream Remix)

http://twitter.com/IamBabyBlue
http://www.facebook.com/babyblueonline
iTunes Link
https://itunes.apple.com/gb/album/bump-single/id656211966

http://www.3beat.co.uk
http://www.twitter.com/3beatmusic
http://www.facebook.com/3beatmusic
http://www.youtube.com/user/3BeatProductions
http://www.soundcloud.com/3beat


Hugely talented rapper/singer Baby Blue is back with a brand new banger -
“Bump”. Following on from the massive success of “Magnetic Eyes” - her
recent chart smash with Matrix & Futurebound - “Bump” is Blue’s
breakthrough solo single.
The track is a fusion of emotive rap lyrics with a hugely catchy hook that
showcases Baby Blue’s impressive singing voice. Swedish super producers
Quiz & Larossi, who already have six UK number 1s under their belt, bring
their immense skills to bear on the single.
“Bump” was co-written with top songwriter Ina Wroldsen who has scored hit
after hit with some of the best-known names in pop such as Leona Lewis,
One Direction, Pixie Lott, Britney Spears, The Saturdays and Tinchy Stryder.
She also wrote James Arthur’s chart topper “Impossible”.
“Bump” debuted on Charlie Sloth’s show on 1Xtra to a big audience reaction
and much excitement from Charlie himself who said wants to make it his
Record of The Week – watch this space! Spot plays have also come from
1Xtra’s DJ Target and Choice FM’s Firin Squad.
The remix bundle features some of the hottest talent around including
Dubstep star Koven as well as Diztortion who’s been getting a lot of attention
for his work on Stylo G’s “Soundbwoy” and Lethal Bizzle’s “They Got It
Wrong” featuring Wiley.
Blue’s recent street release “Soap Box” received solid support from 1Xtra
(Charlie Sloth’s ROTW plus spot plays from Target, Viz and Nick Bright),
Choice FM (Woody, Manny Norte, Firin Squad, Ras Kwame) and Rinse FM.
Radio 1’s Huw Stephens was also a fan.
In the official video for “Bump” Blue looks every inch the superstar, poised to
take her rightful place as the UK’s first lady of rap.

Baby Blue - Bump (TS7 Remix)

http://www.sendspace.com/file/hx7poa - DOWNLOAD LINK


Jayglo - Summer Lowridin' G-Funk Mix

Check out our latest Bootleg Remix for https://soundcloud.com/majorlazer 
http://www.facebook.com/drunkenmasters
http://www.twitter.com/drunken_masters
Make sure to check out the Partysquad too:
https://www.soundcloud.com/thepartysquad
https://www.facebook.com/thepartysquad


Download

Mashup The Dance - Major Lazer & The Partysquad (Drunken Masters Remix)

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.