Track of the moment:
Change One Thing
9 years ago
Thursday, May 31, 2012
Wednesday, May 30, 2012
Tuesday, May 29, 2012
Saturday, May 26, 2012
Friday, May 25, 2012
Mental Cube - Q (Original Mix) [1991]
Produced by the better known moniker Future Sound of London, "Q" is an indisputable classic.
Thursday, May 24, 2012
Tyler Stadius - Free Yourself (Mix) parts 1 & 2
One of the good guys, it's been awhile since I've last heard a mix by Tyler T-Bone Stadius. This one doesn't disappoint.
Part 2 - Tracklist
1. Wild – Not Now I'm Dancing – Bloop Recordings
2. Zoo Brazil – Slob (Nick Curly Remix) SCI & TEC Digital Audio
3. Le Dust Sucker – Mean Boy (Dominic Eulberg Remix) Plong
4. Matt Sassari - Jaguanda - Malicious Smile
5. La Pena – Just- La Pena
6. Maetrik – The Reason – Cocoon Recordings
7. John Lagora – Bitch (Maetrik Remix) Ready 2 Rock
8. S Johnny K - If - EC Records
9. Amine Edge – I Wanna Boogie - LouLou Recordings
10. Kitar - Mind Elements – Shitfuck
Part 2 - Tracklist
1. Wild – Not Now I'm Dancing – Bloop Recordings
2. Zoo Brazil – Slob (Nick Curly Remix) SCI & TEC Digital Audio
3. Le Dust Sucker – Mean Boy (Dominic Eulberg Remix) Plong
4. Matt Sassari - Jaguanda - Malicious Smile
5. La Pena – Just- La Pena
6. Maetrik – The Reason – Cocoon Recordings
7. John Lagora – Bitch (Maetrik Remix) Ready 2 Rock
8. S Johnny K - If - EC Records
9. Amine Edge – I Wanna Boogie - LouLou Recordings
10. Kitar - Mind Elements – Shitfuck
Wednesday, May 23, 2012
The Great Gatsby (Trailer)
Based on the trailer, I've got mixed feelings on this one, particularly the choice of songs. Set to release on 25 December, 2012.
Tuesday, May 22, 2012
The Master (Trailer/Teaser)
New film by Paul Thomas Anderson set to release October 12, 2012. Jonny Greenwood is on film score duty again for PTA (the first time was on the mighty "There Will Be Blood" feature).
Monday, May 21, 2012
Orbital - Live at Glastonbury (FULL HQ)
- "Walk Now" (1994)
- "Are We Here?" (1994)
- "Attached" (1994)
- "Kein Trink Wasser" (1995)
- "Impact (The Earth Is Burning)" (1995)
- "Remind" (1995)
- "Halcyon" (1999)
- "The Box" (1999)
- "Style / Bagpipe Style" (1999)
- "The Girl with the Sun in Her Head" (2002)
- "Funny Break (Weekend Ravers)" (2002)
- "Belfast" (2002)
- "Frenetic" (2002)
- "Satan" (2004)
- "Dr Who?" (2004)
- "Chime" (2004)
Friday, May 18, 2012
Otis Redding - Live at Monterey Pop Festival (1967)
With the passing of Donald "Duck" Dunn, thought I'd post this:
Setlist:
Shake
Respect
I've Been Loving You Too Long
Satisfaction
Try a Little Tenderness
Setlist:
Shake
Respect
I've Been Loving You Too Long
Satisfaction
Try a Little Tenderness
Thursday, May 17, 2012
Donna Summer - State of Independence
Produced by the great Quincy Jones and backed by an all-star choir,
which included Michael Jackson, Brenda Russell, James Ingram, Dionne
Warwick, Michael McDonald, Lionel Richie and Stevie Wonder:
Arcade Fire - Modern Man (Live on Later with Jools Holland - 16/11/10)
So I wait in line, I'm a modern man
And the people behind me, they can't understand
Makes me feel like
Makes me feel like
So I wait my turn, I'm a modern man
And the people behind me, they can't understand
Makes me feel like
Something don't feel right
Like a record that's skipping
I'm a modern man
And the clock keeps ticking
I'm a modern man
Makes me feel like
Makes me feel like
In my dream I was almost there
And you pulled me aside and said you're going nowhere
They say we are the chosen few
But we're wasted
And that's why we're still waiting
On a number from the modern man
Maybe when you're older you will understand
Why you don't feel right
Why you can't sleep at night now
In line for a number but you don't understand
Like a modern man
In line for a number but you don't understand
Like a modern man
Oh I had a dream I was dreaming
And I feel I'm losing the feeling
Makes me feel like
Like something don't feel right
I erase the number of the modern man
Want to break the mirror of the modern man
Makes me feel like
Makes me feel like
In my dream I was almost there
But you pulled me aside and said you're going nowhere
I know we are the chosen few
But we're wasted
And that's why we're still waiting
In line for a number but you don't understand
Like a modern man
In like for a number but you don't understand
Like a modern man
And you feel so right
But how come you can't sleep at night?
In line for a number but you don't understand
Like a modern man
I'm a modern man
I'm a modern man
I'm a modern man
I'm a modern man
Wednesday, May 16, 2012
Pink Floyd HD - 1967 - The Piper at the Gates of Dawn [2011 Remastered] (Full Album)
Track 1 (Astronomy Domine): 0:00
Track 2 (Lucifer Sam): 4:12
Track 3 (Matilda Mother): 7:21
Track 4 (Flaming): 10:28
Track 5 (Pow R. Toc H.): 13:14
Track 6 (Take Up Thy Stethoscope and Walk): 17:40
Track 7 (Interstellar Overdrive): 20:47
Track 8 (The Gnome): 30:26
Track 9 (Chapter 24): 32:41
Track 10 (Scarecrow): 36:23
Track 11 (Bike): 38:34
Tuesday, May 15, 2012
Monday, May 14, 2012
Friday, May 11, 2012
Thursday, May 10, 2012
John Peel's Record Collection
Just in case you missed it, a portion of John Peel's record collection has been slowly and steadily uploaded to be shared to everyone online. Over the next six months, 2,600 albums will be uploaded including
Check it out here.
From The Guardian:
John Peel's record collection is about to go online. Starting on Tuesday, the John Peel Centre for Creative Arts will begin uploading details of the late DJ's cherished vinyl, unveiling 2,600 albums over the next six months.
Every week, the Centre will expand the scope of its virtual museum, adding another 100 records, covering everything from Appalachian mountain music to zouk. "It's a very personal look at John's collection," producer Charlie Gauvain said. According to Sheila Ravenscroft, Peel's widow, curators will highlight one artist from each batch, picking through more than 65,000 items in his archive. Peel kept meticulous files about his records: each sleeve was given a typed filing card, with all sorts of information.
"There'll be information about the record sleeve, front and back, all the information about the record itself, as well as whether John rated the album or not," Ravenscroft explained. Although copyright prevents the centre from streaming the records, links will be included, when available, to purchase or stream the music on Spotify and iTunes. "I think people are going to be very interested as to what's in the collection," Ravenscroft said. "They will be amused and intrigued by it."
Besides the details of Peel's records, the virtual museum will also include videos, and incorporate Peel's own home movies. Producers discovered 30 hours of footage at his home in Suffolk, with everything from clips of bands to footage from Liverpool's Anfield stadium. The website will apparently launch with John Peel's Suffolk Comforts, a 1989 film "that's never been broadcast before", Gauvain said. "It's a real gem … [with] some really personal things in it."
Peel died in 2004, after almost 40 years as a BBC radio DJ. He was 65.
As previously reported, Peel's virtual museum is part of the Space, a digital arts service funded by the British Arts Council and the BBC.
Check it out here.
From The Guardian:
John Peel's record collection is about to go online. Starting on Tuesday, the John Peel Centre for Creative Arts will begin uploading details of the late DJ's cherished vinyl, unveiling 2,600 albums over the next six months.
Every week, the Centre will expand the scope of its virtual museum, adding another 100 records, covering everything from Appalachian mountain music to zouk. "It's a very personal look at John's collection," producer Charlie Gauvain said. According to Sheila Ravenscroft, Peel's widow, curators will highlight one artist from each batch, picking through more than 65,000 items in his archive. Peel kept meticulous files about his records: each sleeve was given a typed filing card, with all sorts of information.
"There'll be information about the record sleeve, front and back, all the information about the record itself, as well as whether John rated the album or not," Ravenscroft explained. Although copyright prevents the centre from streaming the records, links will be included, when available, to purchase or stream the music on Spotify and iTunes. "I think people are going to be very interested as to what's in the collection," Ravenscroft said. "They will be amused and intrigued by it."
Besides the details of Peel's records, the virtual museum will also include videos, and incorporate Peel's own home movies. Producers discovered 30 hours of footage at his home in Suffolk, with everything from clips of bands to footage from Liverpool's Anfield stadium. The website will apparently launch with John Peel's Suffolk Comforts, a 1989 film "that's never been broadcast before", Gauvain said. "It's a real gem … [with] some really personal things in it."
Peel died in 2004, after almost 40 years as a BBC radio DJ. He was 65.
As previously reported, Peel's virtual museum is part of the Space, a digital arts service funded by the British Arts Council and the BBC.
IT WAS BACK IN '82 (by greg wilson for piccadilly radio manchester 1982 reconstructed by pezz 2004)
Taken from blog post:
http://www.gregwilson.co.uk/2012/05/it-was-back-in-82/
IT WAS BACK IN ’82:
One of the defining moments of my DJ career took place exactly 30 years ago, on Monday May 10th 1982, when my first radio mix was broadcast on Mike Shaft’s show, ‘T.C.O.B’ (Taking Care Of Business), on Manchester’s hugely influential Piccadilly Radio, which played a major part in bringing black / dance music to wider attention during the 70’s and ‘80’s - from Soul, Funk and Disco, through Jazz-Funk and Electro, and on into Hip Hop, House and Techno. I go into its rich legacy in greater depth here:
http://www.electrofunkroots.co.uk/articles/dont_touch_that_dial.html
The mix had been recorded a few days earlier, as live, one afternoon at Legend in Manchester (the club closed at the time). Mike Shaft had brought along a Revox B77 Reel-To-Reel to record onto, the machine being the portable unit of choice throughout the radio industry in this country back then. This was the first time the Revox, which has since played a constant role in my work, entered my life. At the time I had no means to record at home, but by the end of the year, following the runaway success of the mixes, which would subsequently become a regular feature on Piccadilly, I’d purchase a couple of Technics SL1200’s and a Matamp Super Nova mixer (this was at a time when, with the exception of London DJ, Froggy, who used them for his Roadshow, no UK DJ’s had such equipment at home). To top things off I bought my first B77, so I could put together my mixes at home, which would serve to lead me ever-deeper into my obsession with editing. So glory be to Mike Shaft and to Piccadilly Radio for facilitating this life-defining arc of continued discovery.
The reel of ¼ tape onto which that first mix was recorded onto was, as with most of my radio mixes (the final one, ‘The Best Of ‘83’, being aired in December 1983), lost – probably copied over at some point or other, having been stored at the station. I managed to salvage a few of these mastertapes, most importantly ‘The Best Of ’82, but the original mix wasn’t amongst these, and I only had it on an extremely lo-fi cassette recorded from the radio at the time.
As the author / DJ Dave Haslam once said, the mixes “were probably some of the most taped programmes in Manchester radio history”. These tapes would also spread further afield than the Greater Manchester region that Piccadilly broadcasted to, with copies, and copies of copies, finding their way into cassette players and ghetto blasters in all corners of the country, often without people having a clue about their source – this was the ‘mixtape’ in its earliest form from a British perspective. One such recipient of my mixes was Stafford based Pezz, then a 14 year old lad discovering his musical influences, and later of the fabled Nottingham-based soundsystem and DJ collective, DiY, who were amongst the pioneers of the UK free party scene, having formed in 1989.
I’d meet Pezz at the Liverpool offices of 3Beat, the record shop / label he worked for – this was in 2002, 20 years on from when my radio mixes first aired. My DJ comeback was still in the future, and I was very much an obscure name from the past at best, most people of Pezz’s age brought up on a later generation of DJ’s. So his excitement at meeting me was unexpected – he was talking about this tape from back in my Piccadilly days that had made a big impact on him and his friends at the time, as they set off on their own personal dance music odysseys, and asked me if I could identify a couple of the tracks featured (these id’s having eluded them for 2 decades). It turned out that one of his big mates back then was Dean Meredith, later of Bizarre Inc, who enjoyed chart success in the early 90’s, and more recently Chicken Lips (whose ‘He Not In’ I edited on my first ‘Credit To The Edit’ compilation in 2005), and that this tape had been a major influence on the sound of his latter project, which, along with Bizarre Inc, was produced in collaboration with partner Andy Meecham.
Pezz takes up the story in the sleevenotes of a limited run CD (300 copies only), from 2007, which he called ‘It Was Back In ‘82’:
“As soon as I’d met Greg, an excited call was made to Dean. ‘…. Hey kid, guess what! I just met Greg Wilson – No way – I need you to send me a copy of the tape up as soon as possible….’ Then came the months of waiting more phone call’s hassling to get a copy before eventually with the bribe of digitally remastering it onto CD it finally arrived!
In the meantime I’d had many conversations with Greg and e-mail’s were exchanged, one of which contained a list of essential Electro-Funk releases. This list was full of records I, and anyone I showed it to, had never heard of, apart from some obvious classic’s such as the Peech Boy’s ‘Don’t Make Me Wait’, and Afrika Bambaataa’s ‘Planet Rock’. When I finally sent him a copy of the tape I’d got from Dean he identified mysterious artists and titles like The Gunchback Boogie Band’s ‘Funn’ and Jimmy Spicer’s ‘The Bubble Bunch’. I began hunting down these tracks on the internet, the first to arrive was Larry Graham’s ‘Sooner Or Later’, and the excitement of finally getting my hands on these tunes was unreal, mindblowing! I hadn’t had such a buzz from buying records in years. A goal was then set to collect every track on the tape. Gradually over the coming weeks all but a handful were found. In the meantime, Greg found the old tracklistings for his first ever mixes for Mike Shaft, which just happened to be the two mixes contained on the legendary tape. I was then able to find all but two tracks, or rather two small drum sections he used in the first of the mixes. Not even Greg can recall where these came from!
Before long it seemed obvious that listening to this 20-year-old tape was not enough. After collecting these, and a host of other early 80’s Electro-Funk releases, I decided that the only thing left to do was to re-create the mixes myself! Rather than just re-do them as Greg did back in ‘82 on the decks at Legends. I decided to use the computer to ensure the tightest of mixes and present them in today’s highly polished manner (I also lifted and cleaned the missing drum parts direct from the tape). The whole concept of taking someone else’s work and re-creating it is quite strange, and actually completing it and then re-presenting it to Greg felt even more bizarre. Thankfully he was really into what I’d done, especially as the original ¼” masters have been lost and, like myself, the only copy of these mixes that Greg had was recorded onto cassette from the radio.”
Pezz’s full sleevenotes can be read at:
http://www.electrofunkroots.co.uk/it-was-back-in-82/
So, to mark its 30th anniversary, this reconstructed version of my first ever radio mix, which was painstakingly pieced together by Pezz, has now been uploaded onto my SoundCloud.
The mix would be the first of its type on British radio, and following the fantastic response to mix 1, Mike Shaft decided to make it a regular feature, with new mixes every 3-4 weeks. It would have an instant impact in the clubs, with Legend’s attendance, which was already on the up, going through the roof in a matter of weeks. It was a momentous month, which also saw the release of the seminal Electro track, ‘Planet Rock’ (see: www.electrofunkroots.co.uk/articles/when_the_planet_rocked.html) and the opening of a new Manchester club, which I’d DJ at later down the line, called The Haçienda.
My career was about to go into overdrive, and ‘The Greg Wilson Mix’, as Mike, in his distinctive mid-Atlantic drawl, would introduce it, was a major part of this process.
Greg Wilson May 2012
http://www.gregwilson.co.uk/2012/05/it-was-back-in-82/
IT WAS BACK IN ’82:
One of the defining moments of my DJ career took place exactly 30 years ago, on Monday May 10th 1982, when my first radio mix was broadcast on Mike Shaft’s show, ‘T.C.O.B’ (Taking Care Of Business), on Manchester’s hugely influential Piccadilly Radio, which played a major part in bringing black / dance music to wider attention during the 70’s and ‘80’s - from Soul, Funk and Disco, through Jazz-Funk and Electro, and on into Hip Hop, House and Techno. I go into its rich legacy in greater depth here:
http://www.electrofunkroots.co.uk/articles/dont_touch_that_dial.html
The mix had been recorded a few days earlier, as live, one afternoon at Legend in Manchester (the club closed at the time). Mike Shaft had brought along a Revox B77 Reel-To-Reel to record onto, the machine being the portable unit of choice throughout the radio industry in this country back then. This was the first time the Revox, which has since played a constant role in my work, entered my life. At the time I had no means to record at home, but by the end of the year, following the runaway success of the mixes, which would subsequently become a regular feature on Piccadilly, I’d purchase a couple of Technics SL1200’s and a Matamp Super Nova mixer (this was at a time when, with the exception of London DJ, Froggy, who used them for his Roadshow, no UK DJ’s had such equipment at home). To top things off I bought my first B77, so I could put together my mixes at home, which would serve to lead me ever-deeper into my obsession with editing. So glory be to Mike Shaft and to Piccadilly Radio for facilitating this life-defining arc of continued discovery.
The reel of ¼ tape onto which that first mix was recorded onto was, as with most of my radio mixes (the final one, ‘The Best Of ‘83’, being aired in December 1983), lost – probably copied over at some point or other, having been stored at the station. I managed to salvage a few of these mastertapes, most importantly ‘The Best Of ’82, but the original mix wasn’t amongst these, and I only had it on an extremely lo-fi cassette recorded from the radio at the time.
As the author / DJ Dave Haslam once said, the mixes “were probably some of the most taped programmes in Manchester radio history”. These tapes would also spread further afield than the Greater Manchester region that Piccadilly broadcasted to, with copies, and copies of copies, finding their way into cassette players and ghetto blasters in all corners of the country, often without people having a clue about their source – this was the ‘mixtape’ in its earliest form from a British perspective. One such recipient of my mixes was Stafford based Pezz, then a 14 year old lad discovering his musical influences, and later of the fabled Nottingham-based soundsystem and DJ collective, DiY, who were amongst the pioneers of the UK free party scene, having formed in 1989.
I’d meet Pezz at the Liverpool offices of 3Beat, the record shop / label he worked for – this was in 2002, 20 years on from when my radio mixes first aired. My DJ comeback was still in the future, and I was very much an obscure name from the past at best, most people of Pezz’s age brought up on a later generation of DJ’s. So his excitement at meeting me was unexpected – he was talking about this tape from back in my Piccadilly days that had made a big impact on him and his friends at the time, as they set off on their own personal dance music odysseys, and asked me if I could identify a couple of the tracks featured (these id’s having eluded them for 2 decades). It turned out that one of his big mates back then was Dean Meredith, later of Bizarre Inc, who enjoyed chart success in the early 90’s, and more recently Chicken Lips (whose ‘He Not In’ I edited on my first ‘Credit To The Edit’ compilation in 2005), and that this tape had been a major influence on the sound of his latter project, which, along with Bizarre Inc, was produced in collaboration with partner Andy Meecham.
Pezz takes up the story in the sleevenotes of a limited run CD (300 copies only), from 2007, which he called ‘It Was Back In ‘82’:
“As soon as I’d met Greg, an excited call was made to Dean. ‘…. Hey kid, guess what! I just met Greg Wilson – No way – I need you to send me a copy of the tape up as soon as possible….’ Then came the months of waiting more phone call’s hassling to get a copy before eventually with the bribe of digitally remastering it onto CD it finally arrived!
In the meantime I’d had many conversations with Greg and e-mail’s were exchanged, one of which contained a list of essential Electro-Funk releases. This list was full of records I, and anyone I showed it to, had never heard of, apart from some obvious classic’s such as the Peech Boy’s ‘Don’t Make Me Wait’, and Afrika Bambaataa’s ‘Planet Rock’. When I finally sent him a copy of the tape I’d got from Dean he identified mysterious artists and titles like The Gunchback Boogie Band’s ‘Funn’ and Jimmy Spicer’s ‘The Bubble Bunch’. I began hunting down these tracks on the internet, the first to arrive was Larry Graham’s ‘Sooner Or Later’, and the excitement of finally getting my hands on these tunes was unreal, mindblowing! I hadn’t had such a buzz from buying records in years. A goal was then set to collect every track on the tape. Gradually over the coming weeks all but a handful were found. In the meantime, Greg found the old tracklistings for his first ever mixes for Mike Shaft, which just happened to be the two mixes contained on the legendary tape. I was then able to find all but two tracks, or rather two small drum sections he used in the first of the mixes. Not even Greg can recall where these came from!
Before long it seemed obvious that listening to this 20-year-old tape was not enough. After collecting these, and a host of other early 80’s Electro-Funk releases, I decided that the only thing left to do was to re-create the mixes myself! Rather than just re-do them as Greg did back in ‘82 on the decks at Legends. I decided to use the computer to ensure the tightest of mixes and present them in today’s highly polished manner (I also lifted and cleaned the missing drum parts direct from the tape). The whole concept of taking someone else’s work and re-creating it is quite strange, and actually completing it and then re-presenting it to Greg felt even more bizarre. Thankfully he was really into what I’d done, especially as the original ¼” masters have been lost and, like myself, the only copy of these mixes that Greg had was recorded onto cassette from the radio.”
Pezz’s full sleevenotes can be read at:
http://www.electrofunkroots.co.uk/it-was-back-in-82/
So, to mark its 30th anniversary, this reconstructed version of my first ever radio mix, which was painstakingly pieced together by Pezz, has now been uploaded onto my SoundCloud.
The mix would be the first of its type on British radio, and following the fantastic response to mix 1, Mike Shaft decided to make it a regular feature, with new mixes every 3-4 weeks. It would have an instant impact in the clubs, with Legend’s attendance, which was already on the up, going through the roof in a matter of weeks. It was a momentous month, which also saw the release of the seminal Electro track, ‘Planet Rock’ (see: www.electrofunkroots.co.uk/articles/when_the_planet_rocked.html) and the opening of a new Manchester club, which I’d DJ at later down the line, called The Haçienda.
My career was about to go into overdrive, and ‘The Greg Wilson Mix’, as Mike, in his distinctive mid-Atlantic drawl, would introduce it, was a major part of this process.
Greg Wilson May 2012
Wednesday, May 9, 2012
Sunday, May 6, 2012
Friday, May 4, 2012
Thursday, May 3, 2012
Omid 16B - Transitions Guestmix 6/3/2012
Tracklisting:
01. Lana Del Rey - Blue Jeans (Omid 16B Inda House Remix) - Universal/ Polydor
02. Promo - Reborn (Dani Remix) CDR Promo
03. Mikel Curcio - Pronto (Original mix) - CDR Promo
04. Monitor - Blissful (Mikel Curcio Remix) - CDR Promo
05. Lana Del Rey - Blue Jeans (Omid 16B Club Loop) - Universal/ Polydor
06. Saalim - Mood Swang (Electric Suite Remix) - Discoteca
07. Onur Ozman - Tomorrow (Original Mix) - CDR Promo
08. Betoko - Someday (Mar T Remix) - Wow!
09. Omid 16B - Need Somewhere To Hide (Original Mix)- Sexonwax Promo
10. Omid 16B - Sleeping (Original Dub) - Sexonwax Promo
11. Lana Del Rey - Blue Jeans (Omid 16B Club Mix) - Universal/ Polydor
12. Omid 16B - The Night - Bedrock Records
13. Omid 16B aka Phaser - Second Choice - Alola/ Disclosure Recordings
14. Omid 16B - Escape Driving To Heaven (Maher Daniel Stripped Remix) - Sexonwax Promo
Wednesday, May 2, 2012
Illuminatus - Hope (Oliver Lieb Remix)
Pretty obvious which era I'm stuck in right now, yeah? This tune just keeps getting better and better...especially from the breakdown on...
Luzon - The Baguio Track(Original Mix)
Was just talking to my buddy from the Philippines and we were talking about the geography there...which got me thinking about this track:
Tuesday, May 1, 2012
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