Greg wilson

Second part of live mix from the Credit To The Edit Vol 2 launch party at the Horse & Groom, Shoreditch 22.11.09.

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

CREDIT TO THE EDIT 2 LAUNCH @ HORSE & GROOM LONDON PT2 22.11.09 (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)

Third and final part of live mix from the Credit To The Edit Vol 2 launch party at the Horse & Groom, Shoreditch 22.11.09.

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

CREDIT TO THE EDIT 2 LAUNCH @ HORSE & GROOM LONDON PT3 22.11.09 (greg wilson live mix)

We have a real treat today. Over 2 years ago we approached one of the men who responsible for turning us into disco fiends. We really didn’t expect to receive a response and when we did we were both surprised and enthused. This man was Greg Wilson. Not only did Greg take the time to give us one of our first guestmixes but he also spent an hour on the phone to us giving us a really in-depth insight (below) into the scenes history and his origins as a Dj. Suffice to say we have the utmost respect for Greg who has always taken to time to ensure people accurately understand where these timeless tracks all came from and whats keeping them relevant.

Greg recently came down to play at one of our parties in London and has very kindly given us the recording of his live set to use as his second guestmix for us. We think you’ll agree that it cements his position as both an adventurous selector and a talented Dj. There is no tracklist for this one but that’s half the fun.

Read interview here

Greg Wilson - House of Disco Guestmix - Live at Oval Space 24.08.13

Live recording from Giant at The Bussey Building in Peckham, London 04.10.13.

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

GIANT @ THE BUSSEY BUILDING LONDON 04.10.13 (greg wilson live mix)

Recorded at the Electric Chair Riot at Manchester's Legends (not to be confused with Legend, my early 80's venue) 27.12.09.

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

ELECTRIC CHAIR END OF YEAR RIOT MANCHESTER 27.12.09 (greg wilson live mix)

I played a hugely enjoyable 8 hour marathon at Kantine am Berghain in Berlin last Thursday, and although I wasn’t able to record the whole night, I did manage to get the first 3 hours and the final hour and a half. So this is a mix in 2 parts – the first 185 minutes a downtempo groove fest, whilst from 3.05.26 onwards we’re into the final furlongs of the party with proceedings much more upbeat.

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

EINE NACHT MIT...KANTINE AM BERGHAIN  BERLIN 12.12.13 (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)

Edition #24 of Early 80’s Floorfillers takes a look back to December 83. 
You can see the Top 10, complete with label or record sleeve scans and individual track credits, here: 
http://www.electrofunkroots.co.uk/greg-wilsons-top-10-floorfillers-december-83/ 
Greg Wilson – December 2013

GREG WILSON’S EARLY 80’S FLOORFILLERS: 
A fascinating insight on how the fading Jazz-Funk scene gave way to the emerging Electro-Funk movement in the early 80’s, ‘Greg Wilson’s Early 80’s Floorfillers’, marks the 30th anniversary of when these tracks first appeared. Compiled from his record lists of the time, and unfolding month by month, Greg Wilson counts down the Top 10 Floorfillers played at his venues during the key years of ’82 and ’83. Featured, most notably, on his Tuesday sessions at Wigan Pier and Wednesday gatherings at Legend in Manchester, the most cutting-edge weekly black music nights of the era, these were the clubs most associated with the evolving Electro-Funk sound.

The majority of music played on the black scene in the UK was initially only available on import, mainly out of New York during this period, with the club nights described as ‘upfront’, meaning that the DJ’s were way ahead of the curve – what they played now, others played later, or not at all. Without these DJ’s, many now classic dance tracks would never have become UK hits (many without enjoying similar crossover success in the US) – the reason they were released here in the first place was because these specialist DJ’s were breaking them via the underground.

Things would change in a big way during those 2 years; we were entering the hybrid age for dance music, and the oncoming House and Techno and Hip Hop directions would all owe a huge debt to this era of dance alchemy and groove experimentation.

This podcast is also available on iPhone, iPod touch and iPad via the Radio ditto app, which is downloadable for free from iTunes: http://itunes.apple.com/app/id464200632?mt=8

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

GREG WILSON'S EARLY 80's FLOORFILLERS - DECEMBER 1983

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)

Live mix from Triple Crown in San Francisco 19.03.10.

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

TRIPLE CROWN SAN FRANCISCO 19.03.10 (greg wilson live mix)

Live mix from the Big Chill Festival at Eastnor Castle 08.08.10.

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

BIG CHILL 08.08.10 (greg wilson live mix)

Live recording of the final two hours in the Warehouse arena, bringing the inaugural Vintage Festival @ Goodwood to its conclusion with one big tune after another 15.08.10.

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

VINTAGE WAREHOUSE FINALE 15.08.10 (greg wilson live mix)

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

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

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

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

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

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

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

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

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

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

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

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

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

Greg Wilson - June 2012

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

GREG WILSON FESTIVAL ANTHEMS (for oki-ni 2012)

Stuck together with space glue for New York's Beats In Space radio show - broadcast 28.09.10.

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

HAZY COSMIC JIVE (by greg wilson for beats in space / nyc 2010)

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)

Almost two and a half hours from the SUS 4th Anniversary Party at the Seco Lounge in Tokyo 13.11.10.

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

SECO LOUNGE TOKYO 13.11.10 (greg wilson live mix)

Live mix from Cafe Mambo in Ibiza 27.09.09.

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

CAFE MAMBO IBIZA 27.09.09 (greg wilson live mix)

First part of live mix from the Credit To The Edit Vol 2 launch party at the Horse & Groom, Shoreditch 22.11.09.

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

CREDIT TO THE EDIT 2 LAUNCH @ HORSE & GROOM LONDON PT1 22.11.09 (greg wilson live mix)

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

Greg wilson

Takanori koike