Now this is where it hits 😁 great mix matie 👍

From the Island of Kiwis in the southwest Pacific Ocean, Auckland, New Zealand, our friend @frankbooker recorded a new mix massaging his Condesa Mixer. Frank was among us at Baile da Mareh for carnival in São Paulo 2019. Enjoy this amazing house vibz guys!

Mareh Mix - Episode #40: Frank Booker

Colleen 'Cosmo' Murphy's set from the last Low Life party (slightly edited).

COLLEEN 'COSMO' MURPHY | Live At Low Life Valentines, February 12th, 2022 (Edited)

Welcome to the start of another new set of mixes dedicated to the Chug, a spaced out, sleezy, low tempo, hypnotic groove.

On this mix there are tracks by The Human League, Andrew Weatherall, Hardway Bros and The Asphodells plus many more.

This is a low slung groove of a mix put together with Love by @thefunkassassin 

'Once you have established the Groove, watch the hands go up'. Andrew Weatherall

There are more Electronic music sessions to come, Follow @thefunkassassin for all future mixes, there’s some fire on the way.

For all past mixes click here ==> soundcloud.com/thefunkassassin/sets/the-andy-haworth-mix-sessions

Instagram: www.instagram.com/the_funk_assassin/
Spotify: open.spotify.com/user/g2fac3ls3k8e1ucxe4fqe7g89
Facebook: www.facebook.com/TheFunkAssassin/

Recorded on Earth Day 2022.

Back2Electric 01 - The Human League, Andrew Weatherall, Hardway Bros, The Asphodells

"A Tom Moulton Mix" The Sandpiper Fire Island N.Y.C  Labour Day Mix Tape 1974

The first hour & a half recorded live at the first ever House Of Booker show, August 2022 @ Neck of The Woods in Auckland...
Setting the vibes! X

Welcome 2... House Of Booker

Teesside's brand new disco outfit touches down with a funky thud this June in an old industrial warehouse space in central Middlesbrough.

This months guest DJ - Al Kent - hails from the naughty side of our northern border and is one of contemporary disco's most respected faces.

Despite his reputation as a digger and his background in rare soul and disco, Al is no musical snob when it comes to DJing. He knows how to move a dance-floor with music that ranges from the most obscure disco to bona-fide classics. It's his edits that elevate him beyond the normal conception of a "disco DJ" though. If you thought disco was music for the back room, think again.. Al's sound is big and bad, perfectly mixed in a way Ron Hardy would be proud of. His style has earned him serious praise from many of his peers like Sadar Bahar, Mike Huckaby, Theo Parrish, Rahaan, Red Rack'em, Joey Negro (who once famously called him Scotland's answer to Walter Gibbons), Dimitri From Paris and Horse Meat Disco.

The Electric Boogie Podcast 002 - Al Kent (Million Dollar Disco//BBE)

In case you missed it here's a mellow DJ Mix i made for Fade To Sunset (presented by Ana Fernandes) on @openlabradio Ibiza first broadcast on August 15th 2019!

https://openlab.fm/

Fade To Sunset DJ Mix For Openlab Radio Ibiza

To tie-in with my 200th blog post, this was the last mix I ever tape edited, putting it together on my original Revox B77 reel-to-reel, which I’d bought 14 years earlier, back in 1982. See the post with accompanying images at the blog:
http://www.gregwilson.co.uk/2012/11/the-monastic-mix/ 

THE MONASTIC MIX:
‘The Monastic Mix’ was very much a labour of love, gradually assembled in stages, as I bounced between reel-to-reel and DAT in order to add further textures. I did it in collaboration with a young DJ from Liverpool, Matt Shannon, who was into the Trip Hop / D’n’B vibes of the time, which I really liked myself, but didn’t have any of the records (I was, as you might say, on the bones of my arse brassic back then, so I wasn’t in the position to be buying anything other than the bare essentials). We fused Matt’s tunes with mainly older stuff from my own collection for the mix, which appeared on one side of a free cassette that was given away to everyone who attended the launch of 'The Monastery', an experimental monthly club night on Merseyside (plus a couple of Wednesday specials at London's 'Mars Bar' in conjunction with Microdot, the design company ran by Brian Cannon). We made things particularly difficult for ourselves, holding the night on a Sunday, and choosing an off the beaten track venue, Stairways, a Birkenhead Rock club, to which we bussed people through the Mersey Tunnel from Liverpool, as well as attracting others from The Wirral. However, despite all the drawbacks, we somehow managed to keep things afloat for the best part of a year, enjoying some great memories and much musical mayhem along the way.

‘The Monastery’ brought together a collective of DJ’s and musicians who were largely disillusioned with the local dance scene - Derek Kaye, Bernie Connor, DJ Trix, Phil Jones, Desa, Girls On Top, Phil Melia, Kerry Harrison, Ciaron Bell, Matt and myself all played our parts, doing it for the love rather than money, with Martin O’Shea (who, as it would work out, went on to manage the successful girl group, Atomic Kitten) promoting the nights. The basic premise was that we didn't go down the four-on-the-floor path, as this was being played pretty much everywhere else at the time, concentrating instead on groove-based music from the 60's to the 90's.  

Featuring Soul, Funk, Electro-Funk, Hip Hop, Indie-Dance, Trip Hop, Drum & Bass and more, ‘The Monastic Mix’ became cult listening for many of the people who got hold of the cassette, although I’m sure that others found it a bit too eclectic for the time and never gave it a second hearing. I’ve been told that it’s quite a demanding mix to listen to, dark in places and somewhat ‘druggy’ (‘one for the heads’ being a comment made about it back then). 

It’s close to my heart because it reflects my state of mind at the time it was made, which was pretty turbulent. Since my production work had ground to a halt a few years earlier, I was very much in no man’s land, completely detached from the music scene and with no means of expressing myself. I was still totally illiterate as far as computers were concerned and I remember feeling old and out of touch. There were moments when I wanted nothing more to do with the music industry, being punch drunk from the knocks I’d taken during recent years, but, having never had a ‘proper job’ in my life, I was pretty much in a catch 22 situation. I had no money and no prospects, life was passing me by and I was more or less washed out creatively. Suffice to say it was a very bleak period for me.

It was during this time that my friends, seeing how much I was struggling, were urging me to get back into deejaying, telling me that I could make good money by trading on my reputation of old. However, there was a big catch, which was that I’d have to decide what area of dance music to specialise in, which was an alien concept for me, having made my name playing the best of a whole range of styles, rather than just one narrow area. Thankfully (and I can only say this with hindsight) I resisted the temptation to take this option, which would have amounted to selling my DJ soul for a quick cash-in.

The idea behind The Monastery was planted in my mind by my friend, Kermit, who, following on from the Rap Assassins, had hooked-up with former Happy Mondays mainman Shaun Ryder to form the band Black Grape.  Just before they were about to do the final mixes on their debut album, ‘It’s Great When You’re Straight…Yeah’ (which would subsequently top the British charts), Kermit came to see me in Liverpool with a cassette of all their tracks. I was blown away with what they’d come up with, but it also served to highlight my own shortfallings. I commented that he’d done so much while I’d been wasting away at home doing nothing, but he told me that the time I was spending, in relative seclusion, with my music, books and videos, would prove to be time well spent. He likened my existence to being in a monastery – a comment that very much resonated within me and somehow gave me renewed hope for the future.

The following year, when the idea of a putting together a club night was put to me, I suggested it should be called The Monastery, with the music policy and presentation completely unlike anything else that was happening, combining DJ’s with live musicians. When it came to putting the mix together, I wanted to reference as many of my musical influences as I could, even if it only be a tiny snippet. I managed to cram a lot of them in and I can guarantee that, even after numerous plays, you’ll still recognise new elements hidden away in there. There’s a lot of stuff going on in the detail and, listening back to it later down the line, I became aware of a definite autobiographical slant that didn’t seem so obvious then, reflecting the struggle and soul searching that summed up my life at the point it was made. A mix will, obviously, always have something of yourself within it, but this is undoubtedly more personally revealing than anything else I’ve done – there’s some kind of twisted narrative in there, and I can hear me talking to myself via some of the samples I chose (for example, when you hear the words ‘does anyone remember who I am?’, I really meant it, trapped in obscurity as I was). Even the discordant parts, the bits that jar with me now, show me exactly where my head was at.

It was an important personal step for me, and I thank Matt Shannon for what he brought to the table – I didn’t have all the ingredients myself, and he was also pretty handy on the decks, so Matt was, of course, key to this. He no doubt reads it in a different way to me, but I know it has its own special symbolism for him, especially given he never followed the DJ route, and instead carved out a rewarding career working in the computer, rather than in club realm. 

‘The Monastic Mix’ very much informed what I did later, especially the Teenage DJ project, which built on that autobiographical slant I’d stumbled across. It’s echoes can also be heard via my use of samples in a live context - people who know my mixes from more recent times will, no doubt, recognise many of the samples I’ve subsequently used, which are spun from the same tape, but in a different context – from another time and place.

I think it’s a mix that’s most conducive to a chilled-out environment (and state of mind). I might have given the impression that it’s pretty heavy-going, but you’ll find lots of familiar stuff throughout (it makes for a great game of spot the sample) and I’m sure it’ll raise a smile, and perhaps even the spirit, here and there. 

Greg Wilson - November 2012

THE MONASTIC MIX (by greg wilson and matt shannon for the monastery 1996)

Streamed to Facebook Live on May 4, 2020, this two-hour live DJ set is a showcase of many long-time dub favorites of mine. 

=================Track List====================

Rockers Galore - Butch Cassidy [Fenetik]
Feel It Dub - Jonah Dan [Inner Sanctuary]
Jah Jah Dub - Jah Shaka Ridim Section [Jah Shaka]
Bitter Dub - Fatman-vs-Shaka [Fatman]
No Love Version - King Tubby & Friends [Blood & Fire]
Truth Theme (Melodica Version) - The Truth [High On Hope]
Wall Street - Jackie Mittoo [Studio 1]
Taxi To Baltimore - Scientist [Clocktower]
Make Joyful Noise - Jah Stitch [Attack Gold]
A Joyful Dub - King Tubby [Attack Gold]
Give Up The Badness - Johnny Clarke [Justice]
Garden Of Life - Leroy Sibbles [Trojan]
Zion Dub (King Tubby Dub) - Horace Andy [Wackie's]
Eastman Sound (pt. 3) - Augustus Pablo [Rockers]
Brighter Days Dub - The Disciples [Backyard Movements]
Warmongers Dub - Barry Issac [Reggae On Top]
Movie Show (Dub) - Junior Delahaye [Wackie's]
Champion Version - King Tubby [Blood & Fire]
I Am Levi (pt. 2) - I Jahman Levi [Concrete Jungle]
Dub it Dub - Gaudi [Six Degrees]
One People (version) - Wareika Hills Sounds [Uhuru]
Addis Ababa Dub - Wackie's Rhythm Force [Wackie's]
Blood Suckers - Pablo Gad [Suave Records]
Black Panta - The Upsetters [Upsetter]
Promised Land - Dennis Brown / Aswad [Simba]
Cut No. 144,000 - Aswad [Simba]
Dub Fire - Aswad [Island]
Rocker's Almighty Dub - The Aggrovators [Clocktower]
The Grunwick Affair - Dennis Bovell [Pressure Sounds]
Man From Africa - Shaka Riddim Section [Jah Shaka]
Shaolin Grade (dub) - Artikal [Cultural Warriors]
Bass Culture (acapella) - Linton Kwesi Johnson [EMI]
Natty Dread In A Greenwich Town (Extended) - Cornell Campbell [Attack]
Civil Unrest - Mad Professor [Ariwa]
Drumsong 2 - Leroy Hunt & Ras Takashi [Wackie's]
Flight Of Africa Dub - King Tubby [Clocktower]

===================================================
In these challenging times, having lost all of my work as a professional touring DJ, any support or financial help would be appreciated. You can either donate monthly with Patreon: patreon.com/fknyc or send one-time gifts via PayPal (use: "family and friends") to: paypal.me/axisnyc Thanks in advance for whatever you may be able to do.

François K - Old-Skool Dub Session

On this epic 5 Hour Dj Mix, Imma let DJ Spun speak on his vibe with this one. This is our Memorial Day Weekend party mix - use it well! (and re-post to your own account): 

"I not so slowly transitioned from being a punk rock musician-guitarist-singer to new wave-disco-punk-DJ & Club Kid in 1987 Enchanted by the diverse mix of people and sounds that made clubbing in SF in that era such a unique experience. Selling my guitar and Fender Super Reverb amp to buy turntables about 15 years before a certain NYC band wrote a song about it. 

With all of today’s political divisiveness, the global pandemic, isolation, and pending economic collapse. It has me reflecting on those pre-rave days at the end of the Cold War era, the time of Reganomics and other political BS, really has me flashing back to clubbing in San Francisco and the Bay Area at that influential time in my life. A time when the clubs were a real sanctuary and DJ’ing was not such a big business. The places I went to dance were so diverse with innovative DJ’s that usually played all night, playing music that didn’t cater to one crowd or genre but rather creating a home for so many outcasts, with such different tastes and perspectives. 
Psychedelic, Punk Rock, Mod, New Wave, Industrial, Disco, Hip Hop, Funk, Gothic, Soul, Rock, Proto House, and Alternative all blending in to one. 

This DJ mix isn’t meant as any kind of definitive breakdown of the time (that would take weeks), just a glimpse into what you might of heard on one night at the club...

80’s Fantasy Club Night...
Featuring tracks by:
Kraftwerk, Frankie Goes to Hollywood, Talk Talk, Skinny Puppy, Xymox, Blancmange, Ofra Haza, Ministry, Soft Cell, Nina Hagen, Depeche Mode, C.C.C.P. Run DMC, Kurtis Blow, Tina Turner, Stevie Wonder, Prince, Eurythmics, Cabaret Voltaire, Gaz Nevada, Kajagoogoo, Section 25, Pet Shop Boys, New Order, and more.
Name that tune... If you can. :)

Dedicated to all the DJ’s, dancers and club kids of the 80’s!"

Ep. 138 - DJ Spun - 80's Fantasy Club Night (5 Hour Mix)

Luke Solomon build his foundations in the early 90s starting off behind a record counter at Stop on By in Barnet. Moving on to the legendary Freetown Records and then on to Narcotic Records for Roger Sanchez he worked in PR and promotions. During this time, he gained a residency at London’s ground breaking pirate radio station Girls FM where he met his dearly departed friend Kenny Hawkes. Together they set up the London mid-weeker Space where they invited people like Chez Damier and Derrick Carter. Meanwhile Luke had become close to Derrick Carter and together they set up the Classic Music Company which is currently enjoying a huge renaissance. Amongst all of this Luke began his studio career forming the house music duo “Freaks.” Fast forward over 25 years where Luke Solomon has been guiding the good ship Classic through a seminal year and working closely as A&R with Simon Dunmore at both Glitterbox and Defected. Over the last few years he has been cementing his position as a Producer, working with Horse Meat Disco on their forthcoming album on Glitterbox, and with Honey Dijon on her second artist album forthcoming on Classic in 2020 and writing with the legendary Kathy Sledge on brand new material. Luke has also kept his London residency status holding court at the sadly closed Savage Disco @ Metropolis and moving now to a permanent residency at XOYO in London. He also continues to work on solo music, currently enjoying success with his studio band “Powerdance.”

Lumberjacks Tapes 002: Luke Solomon

A House, Funk, Disco and Dance DJ. Listen to my latest Word Is Love Show’s playing the very best latest New Releases, Classics and Remixes

For Bookings Email thefunkassassin@gmail.com

Have Funk!

Back2Electric 01 - The Human League, Andrew Weatherall, Hardway Bros, The Asphodells

The Funk Assassin

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