It’s always a buzz when a project comes to fruition, so today’s release of Credit To The Edit Vol 3, something I’ve looked forward to since we set the ball rolling around a year ago, seems perfectly timed with the much-needed rush of sunshine we’re experiencing after an extended period of shivering. Feels like the Spring has finally arrived, right on cue, and hopefully this will provide part of the season’s soundtrack for you.
Tag Archives | Credit To The Edit
My latest Credit To The Edit compilation, volume 3 in the series, is issued next month – I’ll do a full post about the album and its contents once available, but, in the meantime, wanted to draw attention to the first in a number of Credit To The Edit parties I’ll be hosting, both in the UK and overseas, throughout 2018.
In January 2012 I received an email from Lee Perry. My first thought was ‘surely not’, but it wasn’t – this was the other Lee Perry, not Scratch but Wolverhampton’s very own Peza.
Back in 1966, The Beatles’ record producer, George Martin, executed my favourite singular edit of all time. John Lennon had been working on the now iconic ‘Strawberry Fields Forever’ – he’d recorded 2 versions, and was faced with the dilemma of wanting to use the first section of one recording, but take the rest of the track from a completely different and more progressive version. His comment to George Martin, when the producer pointed out the difficulties of matching pitch and tempo, was ‘you can fix it’. The fixed version is the definitive one that we all know, two recordings perfectly merged together by one decisive splice. You can hear it, if you listen carefully, at just before the minute mark, on ‘going to’:
Our t-shirt link-up with NoWayBack has proved fruitful during the past 18 months, with a number of limited GW Edit designs – all sold out with the exception of the recent marl grey version: http://blog.gregwilson.co.uk/2016/07/gw-no-way-back-tshirt/
I’d written most of this post at the end of last month on the flight from Lisbon to Salvador in Brazil, where I played New Years Eve at the idyllic setting of Biopeba Island in Bahia for the Mareh Music Festival. The intention was to post once I got back to the UK on January 3rd, but fate took a turn.
Back in 2004 Sav Remzi, then one of the leading figures on London’s underground dance scene, booked me to play at the TDK Cross Central Festival at The Cross, one of the venues (now long gone) then situated in the goods yard behind Kings Cross Station in London. I remember Maurice Fulton also appeared – it was the first time I’d seen him play.
Having just marked the 10th anniversary of my DJ return, I’ve now reached the 30th anniversary of when I cut out first time around at the end of ’83 – my last Wigan Pier appearance on Tuesday 28th December, before rounding things off at Legend the next night. During the same week my final mix for Mike Shaft’s show on Piccadilly Radio was broadcast. Following on from the previous year’s ‘The Best Of 82’, which had caused such a stir, ‘The Best Of 83’ did what it said on the tin, bringing together the biggest tunes I was playing that year. My successor, Chad Jackson (a future DMC World Mixing Champion) would continue the ‘Best Of’ tradition on Piccadilly, with the baton later handed on to Stu Allan – these end of year mixes continuing until 1992.
Daft Punk are sitting pretty at the top of the UK singles chart for the first time. The track in question, ‘Get Lucky’, taken from their forthcoming album, ‘Random Access Memories’, came as something of a surprise, for instead of hitching itself to the current EDM juggernaut that’s sweeping America, the French duo have completely bucked the trend by drawing their influence from Disco, featuring its most celebrated guitarist, the great Nile Rodgers of the Chic Organisation (as well as R&B vocalist, Pharrell Williams). A media sensation, it’s everywhere at the moment – on the radio, on the TV, in the clubs and, of course, all over the internet, becoming the most streamed new release in Spotify history. It’s already been re-edited by a whole host of DJs and is pretty much nailed on to be the single of the summer.
It’s 2013 and Coldcut duo Jonathan More and Matt Black are celebrating the 25th anniversary of their Solid Steel radio show. To mark this milestone, a number of selectors have been invited to contribute a mix to the programme, its presenters choosing various artists and DJs they feel have had a significant presence at some point during the last 25 years. I regard it as a big compliment to be one of those approached, so was more than happy to oblige, the only brief being that they wanted us to weigh in with something that sits outside of that for which we’re generally known, which suited me fine – it was just a case of what?