Following the re-boot of the A&R Edits imprint last year, the latest 12”, #11 in the series, is now available, coupling Italian DJ Moplen’s edit of mid-‘70s Disco favourite, ‘It Only Takes A Minute’ by Tavares, with a collaboratory take on David Joseph’s ‘You Can’t Hide (Your Love From Me)’, the result of my 2011 edit of Moplen’s edit of Larry Levan’s 1983 remix of the track, which now finally finds its way onto vinyl.
This was originally meant as my small contribution to last April’s Cerne to CERN continental Happening, where the Liverpool Arts Lab hooked up with the Cosmic Trigger crew for a magic bus ride into the beyond (in this case Damanhur in Italy, before crossing the Swiss border on route to Geneva to head to the site of the CERN collider).
I received a copy of the new Late Nite Tuff Guy remix 12” through the post recently. Issued by Salsoul, the classic New York label that unleashed numerous dancefloor gems between 1974-84, including the very first commercially available 12”, ‘Ten Percent’ by Double Exposure (1976). LNTG’s 12” included another Double Exposure favourite, ‘Everyman’, plus ‘Dr Love’ by First Choice, both of which have been huge for me, having received digital copies in the last couple of years – ‘Everyman’ topping my ’20 Choice Edits & Reworks’ selection for 2017, whilst ‘Dr Love’ featured on the 2016 list:
https://blog.gregwilson.co.uk/2017/12/20-choice-edits-reworks-2017/
Tony Williams, the accidental UK catalyst for the fusion of Jamiacan Dub and New York dance music during the early-‘80s, sadly died on April 30th. Tony has received scant acknowledgement for this, and it wasn’t until I interviewed him in 2004 that he became aware of this legacy, resulting from the underground popularity of the self-released ‘(Money) No Love’ (artist credit Bo Kool, and arguably the first UK rap recording) and its instrumental flip side ‘Love Money’ (artist credit Funk Masters) pressed up in 1980 on a label named after his daughter, Tania – his production debut. When I commenced my Discotheque Archives series for DJ Magazine, the first edition featured ‘Love Money’ as the Classic Single:
https://djmag.com/features/greg-wilsons-discotheque-archives
The seventeenth edition of my ‘Discotheque Archives’ series for DJ Mag is now online, featuring more landmarks in pre-Rave club culture:
I’ve written / adapted some sleeve notes for the new Joey Negro / Z Records compilation, which I’ve reproduced below. The album is available now on CD and digital, whilst there’s also a vinyl double-pack available, featuring 8 of the tracks, 2 per side. You can purchase the various formats here:
http://www.zrecords.ltd.uk/product-detail///Z+Records/Various+Artists/Electro+compiled+by+Joey+Negro/cd/387
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’:
https://www.youtube.com/watch?v=8UQK-UcRezE
The eighth edition of my ‘Discotheque Archives’ series for DJ Mag is now online, featuring more landmarks in pre-Rave club culture:
Just uploaded the 6th digital edition of the Discotheque Archives series I’ve been putting together for DJ Mag with the help of Josh Ray. Each month it focuses on a classic DJ, a classic club, a classic record and a classic record label – these are generally a combination of US and UK, with the odd European inclusion, each concerned with aspects of pre-Rave club culture.
The fifth edition of my ‘Discotheque Archives’ series for DJ Mag is now online, featuring more landmarks in pre-Rave club culture:
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