Small World Disco 04 (LTJ rework edit) side A : They Call It Edit - side B : At The Disco

Small World Disco 04 They Call It Edit (LTJ rework edit)

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Bohannon - Summertime Groove (SLY Rework)

Teenage DJ aka Greg Wilson ‘I Was A Teenage DJ Pt 1’ (extended)

119 bpm

Previously limited vinyl only 2005 & 2008.

The Teenage DJ project was something that organically came together from the time I initially started using a computer at home, around the end of the 90’s. It developed out of the sketch ideas I was doing at the time in order to learn how to master the basics of the music programs I wanted to work with, particularly Acid. Before I knew it there were a dozen or so of these sketches, and the idea of a project began to form. Over the next couple of years the amount of sketches would grow to around 30 or so, at which point, in 2003, I put the project on the backburner while I directed my energies into setting up www.electrofunkroots.co.uk , before returning to the clubs at the end of the year, where I began to play some of the more dance-based TDJ grooves I’d put together, like ‘Glorious’, ‘Time And Place (Disco Break)’ and, most notably, ‘I Was A Teenage DJ Pt 1’, built around the intro of KC & The Sunshine Band’s 1977 single ‘I’m Your Boogie Man’, which dated right back to when I actually was a teenage DJ, back in my Merseyside hometown of New Brighton.

The response to them was so positive that, in 2005, I decided to press up a four track 12”, which I called ‘Teenage DJ Disco Best’ (borrowing its title, and the ‘Disco’ logo from a promo I received back in 1978 called ‘Kraftwerk’s Disco Best’).Given that all the TDJ tracks were quite short I decided to extend ‘I Was A Teenage DJ Pt 1’, creating a reprise and adding a couple more minutes for the dancefloor.

This would turn out to be something of a landmark track for me, becoming an underground favourite, most rewardingly on a personal level in New York. At this point all my bookings were still in the UK, but, with the first volume of Credit To The Edit imminent things began to shift up a gear for me, with Groove Magazine in Germany bringing me over to Berlin for my European return (I’d last played abroad at Mülheim in Germany in 1980, for the two months immediately before I landed my Wigan Pier residency).

Thanks to DJ's Rub N Tug and nights like No Ordinary Monkey, the track took off on the New York underground preceding my debut there following the release of the first Credit To The Edit album in 2005.

The ‘Teenage DJ Disco Best’ 12” would become a DJ favourite far and wide, both at this early point and later via subsequent re-pressings, all four tracks picking up plenty of plays. In 2008 ‘I Was A Teenage DJ Pt 1’ would re-emerge, having been pressed up back to back with another landmark tune for me, my Imagination / Missy Elliot mash-up, ‘Gotta Keep Workin’ It’, for the first Reactivate 12”. It’s something I’ll always return to from time to time, given its special place in my DJ heart – it’s the groove that keeps on giving.

Greg Wilson – July 2011

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

Teenage DJ aka Greg Wilson ' I Was A Teenage DJ Pt 1 (extended)'

Teenage DJ aka Greg Wilson ‘Time And Place (Disco Break)’

124 bpm

Previously limited vinyl only 2005.

Another of the Acid sketches I put together in the years prior to my DJ return(more detailed lowdown here: http://soundcloud.com/gregwilson/teenage-dj-aka-greg-wilson-i), this time drawing on the groove from Oliver Cheatham’s 1983 release, ‘Get Down Saturday Night’.

My working title for it was ‘Twister’(Twist via Oliver) and, having immediately spotted its commercial possibilities, I resolved to develop it further . However, I left it on the backburner too long, my plan biting the dust good and proper when I realised that someone had well and truly beaten me to the punch - an Italo-Belgian DJ called Vito Lucente, who’d score a #1 hit in 2002 with the Room 5 single ‘Make Luv’, which also featured part of the original vocal to great effect. There was no point pursuing the ‘Twister’ idea now, so with a ‘such is life’ shrug of the shoulders I resigned it to the ‘what might have been’ file.

However, when I started deejaying again I realised the ‘Twister’ would come in handy, so I began to play it here and there. The Room 5 was too housed-up for me to consider using, not to mention the fact it had been played to death, but ‘Twister’ retained the early 80’s feel that fitted my vibe – it was a useful track to drop when you needed to give the dancefloor something familiar, but with your own twist. Subsequently, it was an obvious candidate for the ‘Teenage DJ Disco Best’ 12” EP I pressed up in 2005 – with ‘I Was A Teenage DJ Pt 1’ providing such a strong lead track, it could play an important subsidiary role, which is exactly what transpired. It was at this point it became 'Time And Place (Disco Break)', referencing some of the samples I'd dropped in.

I actually met Oliver Cheatham when ‘Get Down Saturday Night’ was released in the UK back in ’83. His record company, MCA, brought him to my night at Legend in Manchester, where he made a personal appearance, performing the single on the club’s dancefloor. Wigan Pier and Legend hosted numerous PA’s in the early 80’s, none of which we paid the acts for, their record companies footing the bill as part of their promotional budget, wanting to get their artists exposure in the most influential dance venues.Other PA’s included Gwen Guthrie, Imagination and David Joseph (it was a consequence of the David Joseph PA that I was invited to demonstrate mixing on the TV show ‘The Tube’:http://www.youtube.com/watch?v=77sjud0zLJY) .

Greg Wilson July 2011

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

Teenage DJ aka Greg Wilson 'Time And Place (Disco Break)'

Cult Of The Sun

2016 has been a good year for re-editor Evil Smarty and here pops up on Tonbe's Disco Fruit imprint for the first time on vinyl.
""This Is"" is a low-slung disco shuffler turned into a toughened-up house roller.
""If It Feels Good"" sees him in a celebratory mood (think sing-along disco funk with swinging new locked-in drums).
""Feel The Fire"" is a superb re-cut of the Osmonds' ""I,I,I"" that benefits greatly from some fresh new acid lines and
""The Get Down"", a killer, 98 BPM funk revision that makes great use of the source material's urgent, impassioned vocal, bluesy guitars and wild synthesizers.

Pre-order on Juno

Evil Smarty - Feel The Fire

https://www.discogs.com/Various-Red-Motorbike-14/release/8187950

Frasier - Into My Dub

More relevant than ever, ‘World Gone Crazy’ sums up many people’s thoughts in these turbulent times.

This version appeared on the 'Greg Wilson Presents Super Weird Substance' compilation, a GW edit featuring elements of both the club dub and original mix. It was not previously available on SoundCloud until now.

'World Gone Crazy' was the fourth 12" single on Super Weird Substance back in July 2015. Originally written in the early nineties as part of the Mind Body & Soul project Greg Wilson was then developing with singer Tracey Carmen, it was intended for an album that never was and only a demo version was ever recorded. 

Its lyrics identified an information age already spiralling out of control. Two decades on however, and it’s far beyond anything anyone could have imagined back then. Originally referencing the post-acid house generation, ‘a generation lost and disillusioned’ now becomes the sixties generation, growing old in a world even more corrupt and confused than the one they thought they’d change.

It was suggested that 'World Gone Crazy' would be perfect for Leeds singer/musician The Reverend Cleve Freckleton and gruff gravitas of The Reverend’s voice was exactly what the track needed, serving to give its words more poignancy now than when they were written. 

Channeling the fire and spectacle of a spiritual laden Deep South service, Cleve cuts a commanding figure, calling out the world’s wrongs from his sonic pulpit. 'World Gone Crazy' was adroitly programmed by Peza, with The Reynolds and the song’s original singer, Tracey Carmen, providing powerful bvox and Ché Wilson weighing in with funk-laced rhythm guitar.

You can purchase a copy of the track at Juno Download: 
https://www.junodownload.com/products/greg-wilson-presents-super-weird-substance/2900826-02/

The Reverend Cleve Freckleton & The Sinners 'World Gone Crazy' (GW Edit)

A1 - AYX - DISCO
A2 - D.D SOUND - SHOW ME YOUR LOVE INSTR
B1 - LANDRO EXPRESS - DISCO SENTIMENTO
B2 - RUDY - JUST TAKE MY BODY - 8/8

NB$T016: BEPPE LODA (CUTS)ITALIAN SPAGHETTI DISCO =VOL 2

Vinyl - https://lengrecords.bandcamp.com/album/last-night-in-sant-celoni-incl-in-flagranti-remix

With summer finally making its presence felt, Payfone makes its Leng Records debut with a simmering, sunset-ready sizzler that oozes drowsy heat from start to finish. It’s a slow-burn dancefloor beauty all right, but we expect nothing less from Anglo Italian Phil Passera and his growing band of musical collaborators.

Since making their debut with the brilliant “International Smark” back in 2013, Payfone has delivered a swathe of superb singles which cannily combine elements of boogie, disco, NYC proto-house, acid house and Balearica in uniquely alluring ways. Passera has a reputation for using no samples in his creations, instead favouring live instrumentation, classic electronic hardware and ear-catching vocals.
 
Since we last heard from Payfone, Passera has moved his studio from his East London warehouse to a wooden shack in Sant Celoni, a sleepy Catalonian town near Barcelona nestled in the foothills of the Montseny and Montnegre mountain ranges. The inspiration of his new surroundings is clear on this warm, groovy and undeniably picturesque composition.

“Last Night In San Celoni” is a  love letter from two girls meeting and falling in love amidst the tumbling streets and dramatic views of this little-known town just a few miles up the Mediterranean coast from Barcelona.

Featuring the innocent, under stated singing of Los Angeles’ based Jaz James and the seductive Spanish speech of Beunos Aries-based Lumdilla Rodriguez, the duo narrates a romantic, bilingual love story that will melt your heart. Incidentally, it could well be the first (partly) English-language song dedicated to Sant Celoni, but don’t quote us on that.
 
Musically, Payfone is in fine form on “Last Night in San Celoni” where Phil Passera offers up a warm and humid chunk of soft-touch dancefloor bliss underpinned by a combination of vintage analogue drum machine, 1980s style slap bass, rich electric piano motifs, and casually brilliant jazz guitar flourishes provided by regular Payfone guitarist Royce Wood Junior.
 
This result of years of collaborative work  (this song began as a keyboard riff written in a New York studio in the heatwave of 2014), the track’s sumptuous groove seems to gently tug at the senses like the lapping waves on a Baleric Mediterranean beach at Sunset.

The original mix comes accompanied by a more up-beat interpretation by Swiss stalwarts In Flagranti. Opting to fatten the groove whilst dubbing out many of the assembled musical elements, the experienced duo brilliantly wraps lo-fi synthesizer lead lines and 1980s package holiday pop flourishes around a chugging, low-slung groove that will have even the laziest dancers skipping towards the dancefloor.

LENG SHOP

Payfone - Last Night In Sant Celoni (In Flagranti Remix)

Hot R.S. - Slow Blow (The Loneliest Hunk Rework)

Full wav file here:

https://theloneliesthunk.bandcamp.com/track/hot-r-s-slow-blow-the-loneliest-hunk-rework

Hot R.S was a disco-rock band from Johannesburg, South Africa, running from 1977-1980. They were actually a “phantom band” that was made up of only studio recordings. They had no live performances, and no photos of the band. The name Hot R. S. comes from the acronym House of the Rising Sun.

www.facebook.com/theloneliesthunk

Free Download

Hot R.S. - Slow Blow (The Loneliest Hunk Rework)(Free Download)

A multi-media label founded by DJ Greg Wilson, Super Weird Substance deals primarily with balearicpsychedelicdubdisco recordings whilst, on the live side, hosting sixties-styled ‘Happenings’ that include talks, art, bands and DJs.

Announcing its presence at the beginning of summer in 2014 – via the good vibes life-affirming mixtape ‘Blind Arcade Meets Super Weird Substance In The Morphogenetic Field’ – the label took five Super Weird Happenings across the country, whilst releasing a series of new recordings on vinyl, the next year. Eight singles were released between June and October, followed by a CD compilation, bringing together all of the singles as well as alternate versions and a special Greg Wilson mix.

Building on the success of a memorable Festival No.6 showcase in Portmeirion in 2015, Super Weird Substance returned in April 2017 with their most ambitious event to date, the 14 Hour Super Weird Happening at The Florrie. Prior to that Super Weird Substance collaborated with the man who bestowed their name, teaming up with Alan Moore and his Mandrillifesto project, Super Weird Substance created their second mixtape, ‘Alan Moore’s Mandrill Meets Super Weird Substance At The Arts Lab Apocalypse’, taking his acute social commentary and reinventing it within their own joyous sonic realm.

In 2018, the label returned to music with digital single, Gone With The Vibe and the first Substance Select EP. 2019 saw a new, younger energy introduced to the label, bringing with it new sounds, set to be unleashed in 2020, alongside Substance Select Vol.2, releasing Bella Technika remixes on vinyl.