Greg WIlson

Playlist 1

2016 Mixes

Berts

Discothèque Credits DJ support

Live Greg Wilson DJ mixes - in chronological order, the most recently uploaded first.

Live DJ Mixes

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 recording from Bollywood tent at Bestival 08.09.13.

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

BESTIVAL BOLLYWOOD 08.09.13 (greg wilson live mix)

Full live recording from Festival No.6 in Portmeirion, North Wales, 14.09.13.

Accompanying blog post here:
http://www.gregwilson.co.uk/2013/09/festival-season-comes-to-a-close/

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

FESTIVAL NO.6 PORTMEIRION 14.09.13 (greg wilson live mix)

Full recording from 10th Anniversary Special @ Underdog in Manchester 20.12.13.

There's a blog post about the anniversary here:http://www.gregwilson.co.uk/2013/12/10th-anniversary-flashback/ 

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

GW 10TH ANNIVERSARY @ UNDERDOG MANCHESTER 20.12.13 (greg wilson live mix)

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)

STARRING KERMIT LEVERIDGE, EVM128 & THE REYNOLDS
FEATURING BB. JAMES (LEAD VOCAL 'GIVE IT AWAY')

Uplifting, life-affirming, and perfectly timed for the summer months - cobbled together, Heath Robinson stylee, more by serendipity than design, into a coherent whole by DJ / Producer Greg Wilson. Most of the tracks featured are by Blind Arcade (Kermit Leveridge & EVM128), either existing demos or works in progress, but the mixtape is also peppered with half-a-dozen GW edits, lyrically laced to bubble the Super Weird stew – the constant presence, and main ingredient, being Kermit, for it's his inspirational tale of faith and redemption at the very core of this morphogenetic mixtape. Following on from the Ruthless Rap Assassins and Black Grape, we believe that this is his greatest musical odyssey, drawing from the deep wells of his own mythos and logos. There were 3 frontmen in the Rap Assassins, 2 in Black Grape, but now, for the first time, Kermit steps to the fore – no longer to be described by such a limited term as 'rapper', but as a sabre-skilled vocal chameleon, his shades and depths ranging from wise old soul to lovestruck adolescent, invoking his many I's as a cast of compelling characters, both comic book and close–up personal, whilst, in trickster tradition, keeping us on our toes, not knowing what to expect next.

Let me take you by the hand
So you know what's going on
Let me take you step by step 
On a journey that won't take too long
Come let me show you
Reality is not what it seems
It's all a construct
And what you see might not be real

Kermit Leveridge – The Construct

Accompanying blog post (inclusive of tracklisting):
http://www.gregwilson.co.uk/2014/06/blind-arcade-meets-super-weird-substance-in-the-morphogenetic-field/

Check out our Super Weird sounds at: https://superweirdsubstance.bandcamp.com

Interview re Super Weird Substance:
http://thepool-london.com/loop/greg-wilson-qa-on-blind-arcade-meets-super-weird-substance-in-the-morphogenetic-field.html

Thanks to all who contributed to the various stages of recording – Blind Arcade’s Kermit Leveridge & EVM128, of course, studio engineer Derek Kaye, singers BB. James, Amy Wilson, Katherine Reynolds, Carmel Reynolds and Tracey Carmen, trumpeter Kevin G. Davey, saxophonist Marc Rockwood, special guest vocalists Howard Marks and MC Tunes, plus Martin Foster, Ollie Miles, Ché Wilson, Sam Heller, Alexis Billington and Asha Billington, who also leant a hand along the way. It’s wonderful what spells we can muster when our magic is combined.

Links:
https://soundcloud.com/super-weird-substance
www.superweirdsubstance.com
https://www.facebook.com/SuperWeirdSubstance
www.kermitleveridge.co.uk 
http://evm128.com
https://www.gregwilson.co.uk

Blind Arcade Meets Super Weird Substance In The Morphogenetic Field (Greg Wilson Mixtape)

Live recording from Corsica Studios, London 12.12.14.

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

CORSICA STUDIOS LONDON 12.12.14 (greg wilson live mix)

Recording from the opening date of my recent Australian Tour at the Lost Disco party in Sydney's Burdekin Hotel 27.12.14

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

LOST DISCO @ THE BURDEKIN SYDNEY 27.12.14 (greg wilson live mix)

Recording from Freddie's @ Pikes in Ibiza 07.10.24.

FREDDIE'S @ PIKES IBIZA 07.10.24 (greg wilson live mix)

Full near 3 hour live mix from Easter Sunday on the Slide Terrace at The Prince Of Wales in Brixton, London 05.04.15.

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

SLIDE TERRACE ON EASTER SUNDAY @ THE PRINCE OF WALES BRIXTON 05.04.15 (greg wilson live mix)

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Wet Paint - Showstopper

Live recording from a special daytime event at The Social in London. 

I never normally record the audience in my mixes, but, for some strange reason, there seems to have been a mic active on my device picking up the crowd. My aversion to this is that, apart from the general ambience of the room, it also picks up people chatting in or around the booth, especially in a small compact space like we were in. I hope this isn’t distracting, but, weighing things up, it was such a good day, and its so long since I’ve uploaded a mix to SoundCloud, that I think it’s only right to share regardless.


AN AFTERNOON AT THE SOCIAL LONDON 01.03.25 (greg wilson live mix)

On The Roof @ Output unfortunately rained off, but we moved indoors to The Panther Room where this was recorded 31.05.15.

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

THE PANTHER ROOM @ OUTPUT BROOKLYN NYC 31.05.15 (greg wilson live mix)

Freshly uploaded to SoundCloud, the recording from my recent appearance at Pikes, Ibiza on May 19th, when I was one of the secret DJs, along with Graeme Park, for their Monday night session at Freddie’s.

FREDDIE'S @ PIKES IBIZA 19.05.25 (greg wilson live mix)

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Lemi Vice & Action Jackson Feat. Gucci Mane - Kangaroo Money (Bass Cadets Remix)

Recorded at Stonebridge/Glastonbury on June 29th 2025.

GLASTONBURY STONEBRIDGE 29.06.25 (greg wilson live mix)

Recording from my first of 2 appearances at Glastonbury 2015, outdoor at Genosys in Block 9 on 27.06.15.

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

GLASTONBURY BLOCK 9 GENOSYS 27.06.15 (greg wilson live mix)

Recording from my second Glastonbury 2015 appearance in the Beat Hotel 28.06.15.

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

GLASTONBURY BEAT HOTEL 28.06.15 (greg wilson live mix)

FREDDIE'S @ PIKES IBIZA 26.07.25 (greg wilson live mix)

I remastered a reel from wat sounds like a special night on the 2nd fl. of Danceteria . listening back , i was very fortunate to play at a venue that wanted u to play in the moment and do not play the pop shit of the day. also fortunate for the deversity of the clientele (gay , straight , black , white , purple , pink and blue). never had to play "mickey" or acts like paula abdul and the lot. as a very influential man put it , truly was "A supermarket of style". 

Classic Bastone @ Danceteria w.21st. 2nd fl.  "the best fuckin club"

Recording of Greg Wilson's first live appearance of 2016, at The Nest in Dalston, London 05.02.16.

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

THE NEST LONDON 05.02.16 (greg wilson live mix)

Nangs (Rambo V Remix) - Tame Impala
Function (feat. PartyPatty) - Justin Martin & Ardalan
Big Discs - Eats Everything
Larry's Garage - Juliet Sikora
Tell Me (KDA Club Vocal) - Waterson
Kinda Sweaty - FUNK MANCHU
Evil Eyes (Catz 'n Dogz Remix) - Roisin Murphy
Stranger (Bestley Bootleg) - Goldfrapp
Rascal Heights - Albert Cabrera
Spanish Hustle (Music of the Earth Edit) - Danny Krevit  

February 2016 Mix

Download, bio, infos soon on www.lesyeuxorange.com

LYO#058 / Fabrizio Mammarella

Live mix from the Slam Tent at Scotland's T In The Park Festival 10.07.10.

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

T IN THE PARK MIDDAY SLAM SESSION 10.07.10 (greg wilson live mix)

An unforgettable Halloween event aboard the San Francisco Belle 31.10.10.

SUNSET HALLOWEEN BOAT PARTY SAN FRANCISCO 31.10.10 (greg wilson live mix)

Amazing selection of sounds by these two. The J mix was made in support of the earthquake/ tsunami victims in Japan - please donate to the cause if you like the mix.

Cio DOr and Donato Dozzy--J

We are really excited to welcome Danny Krivit on the 22nd of February 2013 for the first time to our club. He is a real inspiration and a true legend of the entire dj-culture.

Also big thanks to Rico for providing some of the finest mixes on Soundcloud!

www.zukunft.cl

DANNY KRIVIT + RON TRENT - Live @ Square One, Chicago - 04-04-2002

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.