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

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

Edits & Mash-Ups

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)

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)

Captain Rapp ‘Bad Times (I Can’t Stand It)’ (greg wilson edit)

120 bpm

Previously limited vinyl only 2009.

With all the talk of recession during late 2008 through 2009, Captain Rapp’s ‘Bad Times’ kept running through my head, prompting the idea to put together this edit, which would be pressed  to limited vinyl as part of the Ruff Edits series, appearing as ‘Ruff Rapp’ on Ruff Edits #3. Now, with the news reporters back to warning us of a rocky road ahead, with all the social problems this might entail, it provides a topical opportunity to share it here.

Taking its lyrical cue from 1982’s seminal recording, ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Bad Times (I Can’t Stand It)’ was a socially conscious rap that explored the issues of the day, topped off with the raw pleas of singer Kimberley Ball. Just as important though was the killer Electro-Funk groove that set the more discerning of dancefloors alight. A proper underground tune that was huge for me during the latter part of ’83 , topping my floorfillers list not long before I called time on my DJ career:
http://www.electrofunkroots.co.uk/lists/no1_floorfillers.html

This was very much a track you’d only hear if you were tuned into what was going on in the black clubs over here. Like the majority of tracks I played, I’d picked it up on import from Spin Inn, the essential shop in the North for Soul, Funk, Disco, Electro-Funk and Jazz (the elements that made up a specialist night circa ‘83). As I've said before, if you didn't buy your records at an import stockist like Spin Inn, you couldn't seriously aspire to be a black music specialist, and Spin Inn was right up there, along with an elite of shops, like Groove and City Sounds in London, shaping the course of UK club culture via the constant stream of dance music, great, good and not so good, they brought into this country.

Whereas New York was the centre of the dance universe at this time, its hybrid groove and technological experimentation pushing the music ever forward, ‘Bad Times’ was a West Coast, not East Coast  track, released on a small label out of Los Angeles called Saturn, with unknowns, Jimmy Jam and Terry Lewis (along with Rich Cason), credited as arranging and performing (Jam & Lewis would, of course, become the most successful dance / R&B producers of the mid-late 80’s). Captain Rapp himself was Larry Earl Glenn, whose 1981 ‘Gigalo Rapp’ (by Disco Daddy & Captain Rapp) has its place in history as the first West Coast Rap 12”. 

‘Bad Times’ would be issued in the UK on the Becket label, but failed to make any real impact beyond the black scene. As such, it’s always retained its underground credentials, and a place in the hearts of black music enthusiasts with a fond ear for the early 80’s. 

Greg Wilson – October 2011

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

Captain Rapp 'Bad Times (I Can't Stand It)' (greg wilson edit)

Raw Silk 'Do It To The Music' (greg wilson edit)

114bpm

Never previously shared

I know there are quite a few edits of ‘Do It To The Music’ knocking about, a couple of which I’ve played out myself (Frico & Kid Color), but here’s the one I put together back in 2006 that’s popped up in a couple of my mixes, just a ruff from the vinyl incorporating both the main vocal mix and the dub, with no added elements. I only ever intended it to be for my own personal use, rather than something I considered pressing up (otherwise I’d have tried to get hold of a slightly cleaner copy to work from). The reason I’d discounted it for inclusion on a limited run 12” was because I’d thought about the track as a potential candidate for the first Credit To The Edit album the previous year, but I’d already used the acappella from the beginning of the dub over DMX Krew’s ‘Who Got The Funk’, the combination becoming Raw DMX ‘Do It To The Funk’ – the first track I played on my DJ comeback at Music Is Better (see: http://www.gregwilson.co.uk/2011/09/music-is-better-re-edited-highlights), and subsequently a key C2theE track. I figured an additional Raw Silk edit would be overkill, so the idea was shelved. But now we’re at a different point in time and I’m sharing edits here on SoundCloud, so here it is.

Mixed by Nick Martinelli & David Todd and released in the US on Mel Cheren’s West End label, ‘Do It To The Music’ was picked up on import by specialist DJ's in the UK, but following its release here on KR it’d crossover to the more mainstream clubs, and eventually enter the Top 20 of the charts here. West End was the source for so many classic underground cuts during my time at Legend and Wigan Pier (Peech Boys, Brenda Taylor, Stone, Shirley Lites, Barbara Mason, Forrrce, DJ Divine etc), and it was right up there with the likes of Prelude and Tommy Boy and as one of the most essential labels of the era as far as the black scene here in the UK was concerned.

So, without further adieu; no time for criticising, music's hypnotising, everybody's temperature's rising, so get down.

Greg Wilson – October 2011

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

Raw Silk 'Do It To The Music' (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)

Chakachas ‘Jungle Fever’ (greg wilson edit)

99 bpm

Previously limited vinyl only 2010.

Following on from last week’s Crystal Grass upload, here’s the track that appeared on the other side of GW Ruff Edits #4, ‘Jungle Fever’ by Chakachas (aka ‘Belgian Jungle’), a deliciously wicked downtempo groove that’s been described as ‘one of the first Disco records’. Somewhat bizarrely, this was a Latin combo from Belgium, who’d been recording since the 50’s. Chakachas (or The Chakachas, as there name also appeared) were certainly unlikely Disco pioneers, but ‘Jungle Fever’ became a UK Top 30 hit in 1972, and would no doubt have climbed much higher had it not been pulled off the BBC airwaves because the sighs and heavy breathing were deemed too risqué for the British public’s sensibilities (Donna Summer’s ‘Love To Love You Baby’ still more than 3 years away). However, it was in the US where it found its greatest success – a massive hit, it reached #8 on the US Pop chart, and #11 R&B, selling a million copies in the process. 

As with Crystal Grass, the reason I edited it was purely to extend the length, adding over 2 minutes to the original version. The first time I remember playing it out was at Café Mambo in Ibiza in 2009, which was also the first mix I ever uploaded to SoundCloud:
http://soundcloud.com/gregwilson/cafe-mambo-ibiza-27-09-09-greg-wilson-dj-mix/ 

Greg Wilson – November 2011

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

Chakachas 'Jungle Fever' (greg wilson edit)

Dubble D & Rakim ‘Soul Squelch’ (greg wilson mash-up)

110 bpm

Previously limited vinyl only 2006

Having just done a blog post about Ralph Lawson’s Basic Vision, where he celebrates the 20th Anniversary of the seminal UK club night Back To Basics (see: www.gregwilson.co.uk/2011/11/back-to-back-to-basics), I thought it might be timely to share this mash-up, where I run Eric B & Rakim 1987 Hip Hop classic ‘I Know You Got Soul’ over Dubble D’s ‘Squelch’, a track that was on the album ‘Reachin’ Out’, issued via Ralph’s 2020Vision label in 2005.

I always associate this mash-up with my first appearance at Manchester’s Electric Chair in February ’05, because I put it together as my opening track specifically for that night – the juxtaposition of Mancunian, Dubble D (aka Danny Ward), a contemporary artist, with Eric B & Rakim, who evoked my 80’s Hip Hop connections with the city, struck the past / present balance I’m always eager to find. However, given Ralph Lawson’s association with Dubble D, there’s also a crucial Back To Basics connectivity.

So it was fitting that ‘Soul Squelch’ was eventually made available on a limited DJ 12”, the first issued on the 2020Vision affiliated Redux imprint, in 2006, alongside another 2020 related mash-up of mine, ‘Chocolate Factor’, this time combining Random Factor’s ‘Circuit Semantics’ (2004) with Chocolate Milk’s ‘Who’s Getting It Now’ (1982) – the release was topped off with an edit of Boogie Corporation’s ‘Dirty Rip’ (alias ‘Hardcore Boogie’). Apart from putting together the edits, I also came up with the label name, which was borrowed from the 2001 ‘Apocalypse Now Redux’, an extended version of the classic 1979 movie, one of my all-time favourites (interestingly ‘Apocalypse Now’ is also referenced by PBR Streetgang, also from Leeds, also part of the re- edits movement – it’s the codename for the boat that takes Willard up the river on his mission to assassinate Kurtz). 

Redux, which continues to thrive today under the stewardship of Andy Whittaker and Tristan da Cunha,  had it on their blog as a free download back in May, and Dubble D also made it available via his SoundCloud (see: http://reduxrecords.wordpress.com/2011/05/16/dubble-d-rakim-soul-squelch-greg-wilsons-mashup-free-download), but it’s completed its download quota now.

You can hear it kicking off the Electric Chair mix here (exclusive content – you must be signed in to access):
http://soundcloud.com/gregwilson/electric-chair-manchester-26 

Greg Wilson – November 2011

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

Dubble D & Rakim 'Soul Squelch' (greg wilson mash-up)

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)

2020 Update: Now available on limited 12" vinyl for the first time. Released 17th January on A&R Edits, coupled with Moplen's edit of Tavares' 'It Only Takes A Minute Girl', which you can check out here: https://hearthis.at/ar-edits/123-the-tavares-it-only-takes-a-minute-girl-moplen-edit

Buy the vinyl here: https://a-and-r-edits.bandcamp.com/

David Joseph’s ‘You Can’t Hide (Your Love From Me)' is a track I’ll forever have a strong personal association with, given that it was with 2 copies of this 12" that I made my claim to fame as the 1st UK DJ to mix live on TV – on February 25th 1983 at Newcastle’s Tyne Tees TV studio, on the classic British music show, ‘The Tube’. Full story and YouTube clip here at Electrofunkroots:
 http://www.electrofunkroots.co.uk/articles/on_the_tube.html 

Last April I was sent a link to an edit by Italian DJ Moplen™ and was, as you can imagine, intrigued when I saw what it was - David Joseph – ‘You Can't Hide (Your DUB From Me)’. Utilizing the Larry Levan mix (I’d used original UK twelves on The Tube, the Levan mix wouldn’t come until later, when the track went big in the NYC clubs), Moplen had done a fine job, but unfortunately I couldn’t play it. 

I replied to his mail, explaining that because of my connection to the track I would need the vocal in there at some point, otherwise the dancefloor might feel short changed. The whole dub vibe teases things up a treat, but the money shot of the song is a must for my own purposes. Moplen was getting a great reaction to the edit as it was, and rightly so – check it out here:
http://soundcloud.com/moplen/david-joseph-you-cant-hide-moplen-edit  

So, for my own personal use, I edited Moplen’s edit to incorporate the full vocal, and the resulting version became one of my big festival tracks of 2011, and something that’s appeared in a number of my live mixes.

This track has come a long way with me since I was first sent a UK promo by Island Records 29 years ago.  

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

David Joseph 'You Can't Hide (Your Love From Me)' (greg wilson edit of moplen edit of levan mix)

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)

Talking Heads ‘Psycho Killer’ (greg wilson edit)

118 bpm

Previously limited DJ only vinyl / CD 2007.

Pressed in 2007 as ‘Gotta Tape I Wanna Play', I originally put this together for my US debut in October 2005, at APT in NYC – recording here:
http://soundcloud.com/gregwilson/first-time-in-nyc-apt-21-10-05 

I was a big fan of ‘Stop Making Sense’, the Talking Heads concert from 1984, which was released as both a film and an album. It starts with David Byrne on an empty stage with just a ghetto blaster and acoustic guitar, performing one of the band’s best-known tracks, ‘Psycho Killer, which was originally released in 1977. The beats, courtesy of a Roland TR-808 drum machine, re-appear in extended form over the closing credits. The idea of an edit was there from the moment I bought ‘Stop Making Sense’ on VHS back in the 80’s, but the sound quality from the video wouldn’t have been up to scratch. However, when it was released on DVD later down the line, this was no longer a problem, and I was able to let the beats run on their own for a couple of minutes before the guitar enters and the track really kicks in.

The edit took off in a big way for me, and later with DJ’s including Andrew Weatherall and Optimo. It subsequently became a major festival tune for me and featured in my Essential Mix in 2009 (http://soundcloud.com/gregwilson/essential-mix-greg-wilson-mix-for-bbc-radio-1). More recently it appeared on my Festival Anthems mix (http://soundcloud.com/gregwilson/greg-wilson-festival-anthems), and given this, I thought it was a good time to share here.

There’s more info about ‘Stop Making Sense’ on the blog, as this was last month’s featured album:
http://www.gregwilson.co.uk/2012/05/living-to-music-talking-heads-stop-making-sense/ 

Greg Wilson – July 2012

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

Talking Heads 'Psycho Killer' (greg wilson edit)

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 1982 Hip Hop movie, ‘Wild Style’, with ‘Intro’ the opening track from Amp Fiddler’s 2003 album, ‘Return Of The 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)

The Main Ingredient ‘Happiness Is Just Around The Bend’ (greg wilson edit)

120 bpm

Previously limited vinyl only 2010.

Originally released way back in 1974, The Main Ingredient’s ‘Happiness Is Just Around The Bend’ is one of those tracks which commands cult status with black music aficionados. It doesn’t sound quite line anything else, Cuba Gooding’s unusual, somewhat esoteric lead vocal setting it apart.

It’s such a positive message, especially at times like this, with the recession beginning bite ever harder. It’s an up track, but not in an obvious way.

This edit first appeared on the Ruff Edits #5 12” under the title ‘Get Up, Get It On’ in 2010. The original version has a really atmospheric intro, running for half a minute before the groove kicks in, and, although I love this purely from a listening perspective, it’s not what, by today’s measure, you’d call DJ friendly, so, the first consideration for the edit was to create a longer intro groove for mixing purposes, before extending the overall track by 3 minutes, squeezing out further goodness. 

Greg Wilson – December 2012

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

The Main Ingredient 'Happiness Is Just Around The Bend' (greg wilson edit)

Gwen Stefani ‘Rich Girl’ (greg wilson edit)

98 bpm

Previously limited vinyl only 2012.

‘Rich Girl’, Gwen Stefani’s worldwide hit from 2004, was originally recorded just over a decade earlier by London duo Louchie Lou & Michie One. Stefani’s version is underpinned by Dr Dre’s inimitable production, which is what attracted me to the track. Apart from a small section of vocal about two thirds of the way in, I concentrate purely on the instrumental aspects, stretching things out to maximise the tracks powerful groove appeal, whilst peppering in some additional sound textures along the way.

Having played it out to a big response ever since I put it together last summer, it was issued on limited vinyl in December 2012 on the KAT imprint, under the title ‘All The Riches’ – further info here: http://soundcloud.com/kat-records/kat016-gw-edits-low-bite-rate. 

Greg Wilson – February 2013

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

Gwen Stefani 'Rich Girl' (greg wilson edit)

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.