Greg wilson

Greg Wilson Edits

april SHOWerz

Electric

move it thirteen

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

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

Edits & Mash-Ups

<a href="http://bit.ly/13G4Svz">Ninjashop</a> / <a href="http://smarturl.it/mchdeyesdlit">iTunes</a> / <a href="http://smarturl.it/eyesdlam">Amazon</a>

Taken from <a href="http://ninjatune.net/artist/machinedrum">Machinedrum's</a> single <a href="http://ninjatune.net/release/machinedrum/eyesdontlie">'Eyesdontlie'</a> released July 29 on red & black "splatter" 12" vinyl and download.

http://machinedrum.net/
http://ninjatune.net/

Eyesdontlie

Machinedrum - 'Eyesdontlie' (DJ Shadow Remix)

2nd recording from Glastonbury 2013 - from Block 9 Genosys on 28.06.13.

Read the accompanying blog post, 'Glastonbury - The Greatest Show On Earth' here:
http://www.gregwilson.co.uk/2013/07/glastonbury-the-greatest-show-on-earth/ 

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

GLASTONBURY BLOCK 9 GENOSYS 28.06.13 (greg wilson live mix)

Recording from warehouse party at Autumn Street Studio, Hackney Wick, London 20.07.13.

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

AUTUMN STREET STUDIO LONDON 20.07.13 (greg wilson live mix)

Full recording from 2022NQ in Manchester 17.08.13.

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

2022NQ MANCHESTER 17.08.13 (greg wilson live mix)

Live mix from Shoom Summer Of Love 25th Anniversary at West Exit in Hastings 23.08.13

Accompanying blog piece at http://www.gregwilson.co.uk/2013/09/shoom-summer-of-love/

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

SHOOM SUMMER OF LOVE @ WEST EXIT HASTINGS 23.08.13 (greg wilson live mix)

Ok so I have a little confession to make.
A while ago, before my tour of Europe I did a version of this edit.
So it could be heard, I created an alias called 'Tet:Dior', which some of you might be familiar with. I have now decided that it is an LNTG work.
So here it is, and just for the record I love Donna and still miss her greatly. Her influence alongside Giorgio Moroder is something that is very strong and influential to me even to this day.
I hope you enjoy my version.
LNTG.

Follow me on Twitter @LateNiteTuffGuy

Love2Love [LNTG Rework]

More exclusive music

Download: Royksopp 'Running To The Sea' (Late Nite Tuff Guy remix)

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)

Our 'Sights' EP is on iTunes now: http://po.st/SIGHTS

'Sights' is taken from our debut album 'If You Wait'

Vinyl: po.st/IfYouWaitLP
iTunes: po.st/IfYouWait
CD: po.st/IfYouWaitCD

http://londongrammar.com
twitter.com/londongrammar
facebook.com/londongrammar

If You Wait

Sights

Produced by Joe Kearns and Chris Ketley
Engineered and Mixed by Joe Kearns
Assisted by Andy Cook
Mastered by Naweed Ahmed
Recorded and Mixed at British Grove Studios
Mastered at Whitfield Mastering

Arranged by Chris Ketley, Joe Kearns and Ellie Goulding
Vocals and Guitar by Ellie Goulding
Piano by Chris Ketley
Violin by Izzy Judd
Cello by Caroline Dale
Programming by Joe Kearns


Ellie Goulding - All I Want (Kodaline Cover)

93 Million Miles

Light The Way

Touch Me [LNTG Tuff Rework]

Mighty Clouds Of Joy 'Mighty Cloud Of Joy' (greg wilson & ché wilson rework)

124 bpm

DJ only vinyl 2024.

The Mighty Clouds Of Joy were an LA-based gospel group who’d been releasing records since the early-‘60s, initially as The Mighty, Mighty Clouds Of Joy’. In 1974 they made a departure from their more traditional style when the group went into Sigma Sound Studios in Philadelphia, the epicentre when it came to the soulful dance music that would soon explode as disco, recording their album, ‘It’s Time’, with producer/songwriter, Dave Crawford. Members of the Philadelphia International group, MFSB, already renowned for backing artists like Harold Melvin & The Bluenotes, The O’Jays and The Three Degrees, were brought aboard for the sessions, including the legendary Baker-Harris-Young rhythm section, who, apart from MFSB, fuelled The Trammps, with Earl Young celebrated for innovating the disco style of rock drumming.

I came across the group via their second single from ‘It’s Time’, ‘Mighty Cloud Of Joy’, released in late-‘74. I figure I must have picked my UK 7” out of a bargain bin when I was 14, maybe 15. There’s nowhere I would have previously heard this – it was before I started DJing, and it’s not something likely to be played on radio. I reckon I bought it on spec – I knew the label, ABC, via singles by Eddie Holman, Four Tops and Rufus, so it was a trusted source, and I would have been fascinated that the artist and title were (almost) the same.

It picked up specialist plays from some soul and funk DJs here, including Colin Curtis at the Blackpool Mecca and Les Spaine at The Timepiece in Liverpool, but largely went under the radar. It remained a personal favourite from the period, which I’d have thought would have done well in the States, but it appears to have been largely slept on there too, the track receiving DJ support, but not igniting as you’d imagine it would have. The following year, again recorded at Sigma Sound, the next Mighty Clouds album, ‘Kickin’’, included ‘Mighty High’, which would blow up big time with US DJs and top the disco chart (it wasn’t a track I can ever recall hearing in a UK club). It surprised me to learn that ‘Mighty High’ had been so big, while ‘Mighty Cloud Of Joy’ is conspicuous by its absence from both the US R&B and Disco charts – the latter sounding far more like a disco classic to my ears.

Having remixed Gabriels ‘Love And Hate In A Different Time’ with Ché, inspired by the mid-‘70s Earl Young disco groove, it brought to mind the gospel-infused ‘Mighty Cloud Of Joy’, and this rework resulted. Having played it out while we fine-tuned, despite its relative obscurity, people responded to it like they’ve known it all their lives, it’s ‘movin’ on up’ refrain infectious, which makes it all the more surprising that it wasn’t huge on release.

Pressed on limited vinyl as part of the GW Edits series, and featuring ‘The Turnaround’, an update of Vicki Sue Robinson’s ’76 disco anthem, ‘Turn The Beat Around’.

Mighty Clouds Of Joy 'Mighty Cloud Of Joy' (greg wilson & ché wilson rework)

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)

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)

Dumb Ducks was my first single, produced by myself, taken from The Estate Agents Ep
came out on vynal, estate recordings 2004 Broke n English

http://t.co/Chmvfy1m
www.karmicevo.com
@KarmicEvo twitter


Dumb Ducks

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)

New music by Wiz Khalifa performing Telescope feat. 50 Cent


Wiz Khalifa - Telescope (Feat. 50 Cent)
Wiz Khalifa - Telescope (Feat. 50 Cent)
Wiz Khalifa - Telescope (Feat. 50 Cent)

Wiz Khalifa - Telescope (Feat. 50 Cent)

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

92 bpm

Previously limited vinyl only 2006.

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

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

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

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

Greg Wilson – November 2012

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

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

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)

Shields: B-Sides

gun-shy (Lindstrom Remix)

Grizzly Bear - Gun Shy (Lindstrom Remix)

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)

Diplo & Swick - Dat A Freak (feat. TT & Lewis Cancut) [Dub Version]

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)

Live recording from the Stonebridge tent at Glastonbury Festival 2013.

Read the accompanying blog post, 'Glastonbury - The Greatest Show On Earth' here:
http://www.gregwilson.co.uk/2013/07/glastonbury-the-greatest-show-on-earth/

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

GLASTONBURY STONEBRIDGE 27.06.13 (greg wilson live mix)

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.