Compiled from recordings in Melbourne (Revolver), Adelaide (Sugar) and Sydney (Mad Racket) during Greg’s first trip to Australia in Oct 2006, this mix provides a suitable prelude to his forthcoming Oz dates in the same cities, sandwiched in between trips to Japan and Brazil, all within the next month!

Greg Wilson Live at Revolver / Melbourne - 2006

GREG WILSON
OZMOSIS
MELBOURNE / ADELAIDE / SYDNEY - OCT 06

Part 1

James Brown / (Get Up I Feel Like Being A) Sex Machine
The PTA / Two Sides Of Sympathy (Gw Edit Of Pta Mash-Ups)
Stone Roses / Fools Gold
BT (Brenda Taylor) / You Can’t Have Your Cake (And Eat It Too) (Gw Edit)
Groove Armada / The Girls Say (Gw Edit)
Sugardaddy / Hypnotise (Gw Edit)
Sharon Redd / Can You Handle It (Mastermix)
Montana Sextet / Heavy Vibes
Atlantic Conveyor / We Are
Rockers Revenge / Sunshine (Gw Edit)
Q / The Voice Of Q
Man Boys / Hip Hop Be Bop Rock (Gw Mash-Up)
Big Bear / Willy Love

Part 2

Doobie Brothers / Long Train Running
The Clash / Magnificent Seven
Liquid Liquid / Cavern
Incredible Bongo Band / Apache
Brooklyn Express / Change Position
Teenage DJ / I Was A Teenage DJ Pt 1
Metro Area / Dance Reaction
Gino Soccio / Dancer
Richie Havens / Going Back To My Roots
Rueben Wilson / Got To Get Your Own (Domu Edit)
Sir Joe Quarterman / I’ve Got So Much Trouble In My Life (Barna Soundmachine Remix)
Sugardaddy / State Of Play (Gw Mix)
Spirit Catcher / Move Closer
Redux001 / Chocolate Factor
Ray Mang / Number 1

Part 3

Groove Armada / Diy Disco (Gw Mix)
Crazy Penis / There’s A Better Place
Last Rhythm / Last Rhythm
Afrika Bambaataa & The Soul Sonic Force / Planet Rock
Cybotron / Clear
Chicken Lips / He Not In (Gw Edit)
Chaka Khan / I Feel For You (Gw Edit)
Eurythmics / Sweet Dreams
Joselyn Brown / Somebody Else’s Guy
Happy Mondays / Wfl (Oakenfold Mix)
Marvin Gaye / What’s Going On (Rhythm & Strings)

Another edit for you - this time a 1978 cosmic gospel (new genre alert) track from Capitol Records called Ooh Child by Charles Jackson. It was first heard on the album Passionate Breezes by Mr Jackson himself - but this is taken from a 1978 12″ release on the same label, whom Charles was signed to. You can also find the original lurking on a fantastic Capitol compilation CD. Ok, I think I have now said “Capitol” enough times.

The beef with the edit is simple. The track wasn’t long enough for me, I wanted to re arrange it to make it build better, and stretch it out a bit. Easier for me to play then, that’s all. Didn’t need an edit, doesn’t want an edit, got one anyway. Seeing as how I am not looking to take over the world releasing my edits on vinyl (as they are hardly groundbreaking) its here for you to download. I do suggest that you try and pick up an original copy of the track as well, seeing as how its not that difficult to fin(d and we all still love vinyl, of course).

After a 2 month hiatus, thanks to moving house and being rubbish, the Cosmic Boogie Rodeo show is on tonight from 8 - 10 (GMT) on www.myhouse-yourhouse.net web radio. For the thousands of you listening last time, you will know how well it all went and that my flawless taste in music and my perfect grasp of the queens rallied together to make for one hell of an experience. Hopefully this time I wont make a fist of recording the night and everything will be here some time this week, in case you miss it.

You don’t need any special equipment to listen to the stream, just point your web browser at the link above and have speakers or headphones at the ready. For a taster, tonight’s show will include music from Roni Size, Hot Chocolate, Barrabas, Jocelyn Brown and Roy Ayers amongst others. Hope you can tune in.

Theo took some time out to answer some questions we sent him on e-mail for the upcoming archive night in Liverpool. I wont bang on myself, just let the man do the talking…

Q. You play regularly in the UK - is that because the UK understands your sound, or you understand the UK?

Sometimes there’s understanding, sometimes not, you never know. Its not a conscious strategy…

Q. Does the sound you produce get shaped by the places you go to?

It Depends on how those folks at that particular party reacted and whether that reaction is inspirational to me…and if I can get In the studio when I get Home.

Q. You won an award from Giles Peterson for your Sound Sculptures album - does this, or any recognition, change the way you approach making music?

Its tempting to let it change my approach, but that stance can easily stagnate your output, which I definitely avoid.

Q. We love the Ugly Edits - how did they come about?

Fun. at the time I was bored with what i was hearing at the stores.Wanted to make something fun, but something quirky , weird, and in low volume. never anticipated the reaction, however.

Q. Are there too many edits at the moment, and not enough original ideas?

I’d say there arent enough original edit Ideas. AND not enough original ideas.

Q. Your variety of influences is difficult to find in many people, did this help or hinder you with production? Did everyone get what you were trying to do?

My Influences cant be tracked clearly enough to make it as binary as ‘help or hinder’ in terms of my creative output, and, no everyone doesn’t get what I was trying to do, or what I am doing now.. luckily there are more people that get it, though…..

Q. Is there any form of music that you can’t take anything from at all?

Absolutely not. All musical forms have potential in some area or another, be it production value, content, energy, or attitude.

Q. How important is it to play a long set and shape the whole vibe of a night?

Long set, short set, there are only preferences for that musical provider. Personally, I tend to enjoy longer sets, because there’s more time to live with those people that showed up, and perhaps tell them a story or two.

Q. You can bring one person back to perform with. Who is it?

There are far too many to bring back. But I would put Jimi Hendrix on lead guitar,with Eddie Hazel. Bob Marley on backup guitar and vocals, Ella Fitzgerald on main Vox, with Phyllis Hyman on Backup Vox, with AAliyah, Miles Davis on Trumpet1, Dizzy Gillespie on trumpet 2, John Coltrane on Sax, Art Tatum on lead keys, Johnny Hammond on second keys, Art Blakey on drums, Jaco Pastorius & James Jamerson on Bass, with Duke Ellington & James brown directing and writing for them, but when they went in the studio, JD would produce them.

Q. Liverpool play Man United in the European cup final. Who wins?

The Detroit Pistons

Whilst we are certain it would be Liverpool, we would, of course, like to thank Theo for taking time to answer. You can find out more about the archive night by reading the post about it, listening to the promo mix, or joining the facebook group.

A mix, not necessarily reflecting what will be played at the archive night, but certainly the vibe that I hope will be around - an influx of style and sound. This is a mix of disco based stuff I suppose, but really, its just a collection of tracks that I like. Hope you do too.

You can find out more details of the first archive, featuring Theo Parrish, by going to the post about that very thing, or checking out the now essential archive facebook group.

Full Tracklisting

The Futures / Ain’t Got Time For Nothin
Charles Jackson / Ooh Child (Cosmic Boogie Extend Yourself Edit)
LCD Soundsystem / Freak Out
Material / Reduction
The Emperor Machine / Box Dub
Hot Chocolate / Night Ride
Paul Lewis / Inner City Blues
Phantom Slasher / Lasagne For 10
Kongas / Anikina O
Patti Jo / Make Me Believe In You (Black Science Orchestra Edit)
Moodymann / I Cant Kick This Feeling When It Hits

Its all very exciting. I think so anyway, and I hope that other like minded musical aficionado’s in and around Liverpool do also. On Friday the 21st of November, new night archive kicks off at the equally new Leaf Tea Shop & Bar. archive is a series of nights featuring 5 hour sets from DJ’s and artists who are leading lights of dance music. With most of the night at their disposal, each DJ will have license to play the classics that inspired them, the music they created, and the music they aspire to.

The first archive will be Theo Parrish, the Detroit based DJ and Producer with no interest in genre division. Theo is a legend with productions incorporating and sculpting music in all its forms, and is a true master of his craft.

Born in DC, raised in Chicago and living in Detroit, Theo is a producer and DJ who fuses the energy of Chi-town’s 80s house scene with the electric soul of the Motor City. Theo began producing when he was just thirteen, inspired by groundbreaking DJs such as Ron Hardy, Larry Heard and Lil’ Louis.

In January, the first instalment of his ‘Sound Sculptures’ series scooped Gilles Peterson’s coveted Album of the Year award, and his prized collection of disjointed disco reworks are sure to be a highlight of his performance when he arrives.

Theo’s signature sounds are stripped down, stretched out grooves, raw and sample-heavy. “Love of the music should be the driving force of any producer, performer or DJ. Everything else stems from that core, that love. With that love, sampling can become a tribute; an expansion on ideas long forgotten, reconstruction, collage.”

The whirlwind sounds of Theo’s DJ sets bring his philosophy to life. With no musical stone left unturned, expect a thrilling trip from the wildest jazz to the darkest techno. Free your mind and your ass will follow.

This musical feast will be supported by none other than your very own me - as I will be resident for the night as well as co promoter. We have a great team on board so far with Andy and Nat from Leaf, Antony the guy who makes all the clever design stuff happen, and various other people in and around the northwest helping to make sure as many people find out as possible. This should be the first of many, and as you would imagine, I will use the site here to let people know whats coming up and keep things up to date. If anyone needs any more information just mail me through the site here if you want, or follow the details below.

You can also now find an archive promo mix, and some questions with answers from Theo, here on your very own site.

archive launch party details

FRIDAY 21st NOVEMBER 2008
THEO PARRISH (DETROIT / SOUND SIGNATURE)
STU ROBINSON (COSMIC BOOGIE)

@ LEAF TEA SHOP AND BAR, ELEVATOR
25 PARLIAMENT STREET, LIVERPOOL, L8 5RN

9PM - 4AM / £10 NUS / £12 ADV

Tickets available:
http://www.skiddle.com/events/11255631/
Direct from Leaf, or 3Beat Records, Liverpool

info@archive-club.co.uk
http://www.thisisleaf.co.uk

Facebook: http://www.facebook.com/group.php?gid=28915719305

Just ahead of a return to New York and an appearance at Santos Party House on October 25^th, we re-visit the ‘First Time In NYC’, a 2 part mix recorded at APT on October 21^st 2005.

Part 1 Tracklisting

Dawn Elliot & Co / Gotta Keep Workin’ It (Gw Mash-Up)
Gwen Guthrie / Seventh Heaven
Blondie / Rapture (6ms Edit)
Gunchback Boogie Band / Funn
The Younger Generation / We Rap More Mellow (Joey Negro Edit)
Aurra / Such A Feeling
Kid Creole & The Coconuts / Annie (Soul Mekanik Edit)
The PTA / Two Sides Of Sympathy (Gw Ruff Edit Of PTA Mash-Ups)
West Phillips / I’m Just A Sucker For A Pretty Face
Martin Brew / Galactico (Gw Edit)
BT (Brenda Taylor) / You Can’t Have Your Cake… (Gw Edit)

Part 2 Tracklisting

Montana Sextet / Heavy Vibes
Liquid Liquid / Cavern
Teenage DJ / C’mon (You Can Get It)
Brooklyn Express / Change Position
Sugarbone / Lovesoul (Gw Ruff Mash)
Talking Heads / Psycho Killer (Gw Edit)
Incredible Bongo Band / Apache
Teenage DJ / I Was A Teenage Dj Pt1
Goody Goody / It Looks Like Love
Teenage DJ / Time And Place (Disco Break)
Hi-Voltage / Somewhere Beyond
Teenage DJ / Good To Me
Teenage DJ / Neon Sign
Teenage DJ / So Strong

Sorry for the quite preposterous lack of updates lately - I have been moving house. That, coupled with BT’s absolute ineptness has meant limited Internet abilities lately, and I only work on the site from my lovely home unlike some other bloggers I know who thieve work connection. You know who you are. All back to normal now anyway, so expect loads of good new content coming up.

Thought I would kick off with my latest edit: The Bar Kays - She Talks To Me With Her Body from the grand old year of 1983. I like this track, although its a bit busy and I wasn’t a huge fan of the mass of vocal parts - it has some really interesting little breaks. So I thought I would extend them out and re arrange them a bit, and cut out as much vocal as I could (bringing it crashing back at the climax of the track). Its probably the most accomplished edit I have done so far but wether or not its any good you can judge as now its here for download. You can check it out on youtube as well. Feedback would be super.

Like most people I imagine, my understanding of disco went as far as Saturday Night Fever. In fact, even worse than that, somewhere in my mind I probably linked it with the film Grease just because that had John Travolta in it as well, and Grease was of course rock and roll (and crap rock and roll at that). Hey - what do I know. Disco was just an excuse for a shit party, or to stumble into one of the many ironed on night-club cum-disco-pub’s like Boogie Nights and such that fester out across the nation. Think Disco, think The Bee Gees, The Jacksons, Chic, I Believe in Miracles, I Will Survive, D.I.S.C.O, YMCA (surely the ultimate disco record *cough*), Stayin Alive, The Hustle and millions of other tracks, artists and groups that appear on every “Best Disco Album Ever”, ever. Its safe to say that disco couldn’t have been further from what I considered dance music, even though it more often than not made people dance. These people were the enemy of music, as far as I was concerned.

In around about the year 2003, as my days of djing were drawing to a close (through a combination of the impending arrival of my first little girl and what I thought was a simmering down of the passion I once held for the music), I started to look at other tracks and genres that had always interested me but id never really found the time to explore, and undertook a 4 year journey that completely rewrote everything I knew and understood about dance music, and specifically my cheesy friend Disco. For the 7 or 8 years previous, I had done nothing but buy one kind of music really in order to better understand and appreciate, and for that reason listening to music had started to become a chore rather than the pleasurable experience it should have been. It was time to find the passion again.

I had already read a couple of books that had been of some interest on the broader spectrum of dance music. The first was Last Night a DJ Saved My Life, by Frank and Bill. This armed me with a knowledge of the progression of the sound, but not necessarily the commitment to research further into it. Whilst it was a great book (and one I have since re-read), I was just happy with the fact that I had a more rounded understanding. I also read at the time books about the spectrum of dance music I already knew about having lived through it - Simon Reynolds Energy Flash and Altered State by Matthew Colin which were both pretty formulaic and forgettable (in my opinion, of course). People from Blackburn took ecstasy? Really? Astonishing.

What happened to me musically as I started to dig deep, is probably no different to anyone who is aware that disco is not all for four year olds. Its amazing though, how many people say things like “do you wear platforms when you DJ” or other such bollocks…so with this in mind I wanted to write down, as best as I could, the things that helped me to discover that Disco far from sucks. Call it a starting place to discover more about dance music if you will, something to help a newcomer (not an experienced old cynic) what direction they might have to take. The directions are numerous, and I probably cant remember them all (Cd’s, documentaries, books, films, people, places - some that aren’t directly about disco), but this should be a good start, if nothing else.

Love Saves The Day

Nothing could prepare me for the change in my life when it was suggested to me by THP from Cosmic Disco that I read and understand a masterpiece. Love Saves the Day is a book by Tim Lawrence that defines the rise of dance music in America during the seventies and describes how foundations were laid. The idea of how a party should take place evolved over the course of the decade until it reached a climax with The Paradise Garage and Larry Levan. This book introduced me to so many names that I remembered from Last Night a DJ Saved My Life, but as it concentrated on a much shorter period it allowed a far greater depth to each. Francis Grasso, David Mancuso, Nicky Siano, Arthur Russel, Mel Cheren, Larry Levan, Francois Kevorkian, Frankie Knuckles, Bobby Guttaro, Danny Krivit, The Gallery, The Saint, The Loft, The Garage. If you don’t know much about how these are connected to disco, read this book. See how the complex relationships between all intertwined to create one of the most vibrant, creative and hedonistic times of modern day. This is still the best factual book have ever read, and I have read numerous. I am just about to give it a third read in 2 years.

Mel Cheren - My Life and the Paradise Garage

Mel Cheren is considered by many as the godfather of disco. I’m not sure I agree with that moniker but he was certainly a hugely important figure in the development of the sound. As the head of West End Records, Mel presided over the release of many tracks that are timeless classics, and still move dance-floors today. Indeed, one of my favourite tracks of all time comes from the West End label of this era – Brenda Taylor, You Can’t Have Your Cake and Eat it Too. The book itself chronicles Mel’s life up to the late nineties, and shows the creation of West End records, the development of the super-elite gay community on Fire Island, the birth of the Paradise Garage and The Saint (two seminal New York gay disco’s), drug dependency, and the tragic hangover from years of guilt free partying. This book isn’t just about disco, but it puts disco into perspective from the person (and people) who helped to put it on the map. Understanding the time itself helps to understand the music. A warning though - if you are sensitive about reading about issues and descriptions that are not necessarily about your particular sexual persuasion, then read at your own risk.

Maestro

Maestro by Josell Ramos chronicles the rise of clubs like The Loft, The Paradise Garage and The Gallery by people who either witnessed or helped to shape the disco, and ultimately, the house scene. Focusing heavily on New York and Chicago, interviews with Mancuso, Tee Scott, Grasso, Siano and many of the dancers and party goers of the time give a brilliant insight that really compliments the vibe created by a book like Love Saves the Day. Some people would say that its hurriedly put together, and maybe lacking in chronological flow but I like that about it - and its only hurriedly put together if you are already an expert on the subject. Its the interviews with Grasso that I found most interesting, as he really was the DJ that laid the foundations in New York. Sadly, he passed away in 2001, but watching the footage of him in this film there is no doubt of his impact on later generations, including the likes of Ron Hardy (a hero of mine), Knuckles, et al. The documentary goes on to cover the emergence of House and Garage music from the disco scene, and puts things into context perfectly. Find out more from an interview with the director, or one of the many clips on youtube.

DJ History Forum

Even though its populated with far too many southern Manchester United fans for my liking, the DJ History forum is an invaluable resource. Everyone (almost everyone) who lives on it knows loads, about everything. Any track you don’t know, someone will. And not only that, they will know the year it came out, the label it came out on, what other mixes were with it, where you can buy it, and what your grandads dog was called. Couple this with posts from scene leaders such as Francios K, Greg Wilson, Todd Terje, Bill Brewster (who owns and runs the site) and so on, and also mixes from almost every disco DJ in the country (with track listings) - you are talking serious musical knowledge. Even if you don’t post much, you can browse, read, learn, buy and conquer.

Salsoul Compilations

Salsoul, oh Salsoul. A label that most people know of, even those not riding the disco merry-go-round. I wont lavish you with the details of why Salsoul were so instrumental (along with other labels such as Prelude and West End Records), but I would suggest that you take a listen to the compilations that came out on Suss’d around 2003/2004 and onwards. Disco Divas and Soulful Sista Flavas, Walter Gibbons Anthology, Essential Boogie Flavas, Latin Funk Flavas, DIsco Trance and Cosmic Flavas…the list goes on and on for great compilations of timeless disco from this label. A real insight to music being created around the end of the seventies / beginning of the eighties. Greg Wilson was asked to put together a compilation of disco electronica for the Suss’d Salsoul compilations - it was to be entitled Electrophonic Beats, Dubby Mixes & Black Underground Flavas. Sadly, It never came out, but we decided to document the story about it regardless.

Music Blogs

There are absolutely millions of music blogs. Some give away free tracks for you to download, which is mildly naughty. Some inform you of edits that are coming available, some review older tracks, some have interviews with cool people. Some, like this one, just post up mixes and talk shit. Never underestimate the power and the knowledge of the people in the musical blogging world. Some of these people bleed cowbell if you cut them, and they should be feared, revered and respected for the knowledge and wisdom they possess. Or something like that. I am not going to list every blog I visit here, I don’t see the point when DJ History has pretty much the most difinitive list of music blogs I have ever seen (and the largest sidebar to boot). Just look under the Blogs We Like section on the right. A special mention must go here to Cosmic Disco as well, as I have said in the past, without that site this one would not exist.

Discogs

I think some of the people on the aforementioned DJ History forum are actually hard wired into the database of this website. I, however, knew next to nothing when I started to use it for finding out about labels, tracks, producers, compilations - everything. Its a database so vast and precise that I bet even the people who made the tracks themselves didn’t know half the stuff about their own music. If you want to see what the engineer for a track has worked on, no problem - click his name and off you go. There is also the added bonus of the discogs marketplace, where you can buy the track you have searched for as long as someone has it for sale (or even sell it, if you have it). Better than buying off eBay were you invariably get completely ripped off, as I found to my detriment.

Disco Tracks

You might notice that until now, I really haven’t actually mentioned any individual tracks or labels (apart from the Salsoul Compilations). Bit stupid that, you are probably thinking - as disco isn’t theory - its music. The reason is that its not really up to me to dictate what you should listen to when you delve into the world of disco. I can, however, list some tracks that I like (love, in fact) and some that show that disco isn’t all high pitched Mancunian’s and Italian Americans. Here are some great tracks, with relevant information bits. You don’t have to like them all but I think its a reasonable spread, and although many of them fit into other sub-genres, they are all disco to me. Note - these might not be obscure oddities or treats, but then that would kind of defeat the idea of writing an article about “Discovering Disco”. Walking before running, I think the expression is. Note 2 - It took me hours to think about what to include or not include, so I know I have missed out a million things, and yes, it hurts. Note 3 - I toyed around with adding soundclips with each track, but you know - as this article is all about discovering it for yourself - maybe it would mean more if you tracked them down yourself.

Aquarian Dream / Phoenix
http://www.discogs.com/release/1064027

This crossed over into Northern Soul clubs (especially The Mecca in Blackpool - it was a Levine favourite). Great up tempo early disco track, easy to find on loads of disco / northern soul compilations.

Al Hudson / Spread Love
http://www.discogs.com/release/579578

A track I know as it was re-made as a drum and bass track by nu:tone (http://www.youtube.com/watch?v=iPCcnlEaRxc). Another uplifting slice of early disco funk.

Eumir Deodato / Space Dust - Sherlock
http://www.discogs.com/release/502967

Straight dance-floor stuff from Eumir Deodato - a superb musician who has released many great tracks over the years (and still does).

Disco Drum - The Cats ‘N’ Jammer Kids
http://www.discogs.com/release/312985

The only more obscure one here - even a search of GOD doesn’t show me much about who Cats N Jammer Kids are. Great slower percussion heavy disco track.

Five Letters / Tha Kee Tha Tha
http://www.discogs.com/release/1221494

Italo Disco - recently released on the Italo Disco compilation. I wont go into the whole sub genre of italo disco here, but this track could be a good starter for you.

Jean Carn / Was That All It Was
http://www.discogs.com/release/790602

Paradise Garage classic - very camp (IMO), brilliant - great structure. Really good disco and relatively easy to find on compilations (CD or vinyl).

Love Unlimited Orchestra / Strange Games & Things
http://www.discogs.com/release/472823

Barry whites backing orchestra (40 piece orchestra according to discog’s) go solo on quite a few albums and this one is a real good bubbling disco, very laid back, showing another string.

Liquid Liquid / Optimo
http://www.discogs.com/release/95988

Disco not Disco - sub genre alert - this doesn’t probably sound like disco per say, and that’s because it isn’t. But it was played in the disco clubs of the time, and still is today - disco influenced, if nothing else.

Montana Sextet / Heavy Vibes
http://www.discogs.com/release/196601

A masterpiece. Vince Montana had his hand in everything. No words I could put here could sum it up, so just have a listen yourself.

Tata Vega / Get It Up for Love
http://www.discogs.com/release/361477

Great up tempo disco track released on Motown records. Dancefloor stuff again, great lyrics.

The Salsoul Orchestra / Magic Bird of Fire
http://www.discogs.com/release/7329

Salsoul - inspirational. This might not be the best of the Salsoul, or Salsoul Orchetra tracks, but its certainly individual and shows disco’s live roots in a great light.

Womack & Womack / Baby I’m Scared of You
http://www.discogs.com/release/865095

Another Paradise Garage classic. Another hands in the air, camp anthem.

And…

Well - I am still learning at a reasonable pace. I have just finished a book by Peter Shapiro called “Turn the Beat Around” which I didn’t enjoy one bit sadly, and would struggle to recommend. I also recently finished a few other books about hip hop which has really interesting links to disco culture as one helped to progress the other (and vice-versa). Really though, the only way to learn more about the music is to keep searching, and keep listening. And I intend to do that until I shuffle from this coil. At the risk of sounding cliche’d, I am still discovering what disco is every time I read something new about it, or hear a new track.

Actually that sounded really, really cliche’d. Great ending.

In 2004, during Suss’d’s tenure of the classic Salsoul label, Ian Dewhirst approached me about the possibility of putting together a Salsoul ‘Flavas’ compilation, reflecting the more electronic side of the labels output during the early 80’s – the type of stuff I would have been playing on the black scene during the Electro-Funk era.

Focusing on Aug ‘81 – Dec ’83, the period I was at Legend in Manchester, I went through my old record lists and came up with the following:

Full Tracklisting

Aurra / Such A Feeling (pt 2&3) / Shep Pettibone Mix
Rafael Cameron / Boogie’s Gonna Get Ya (Instrumental) / François Kevorkian Mix
Weeks & Co / If You’re Looking For Fun (Dub) / Shep Pettibone Mix
Vaughan Mason / You Can Do It (Instrumental)
Sly Cabell / Feelin’ Fine (Club Version) / Shep Pettibone Mix
Leroy Burgess / Heartbreaker / Shep Pettibone Mix
Instant Funk / (Just Because) You’ll Be Mine (Extended) / Shep Pettibone Mix
Edwin Birdsong / She’s Wrapped Up Tight (Extended)
The Jammers / And You Know That (dub) / Shep Pettibone Mix
Aurra / Baby love (Instrumental) / Shep Pettibone Mix

(unmixed continuos stream of compliation is available at the bottom of this post)

I liked the fact that the album would also serve as a tribute to one of the great remixers of the period, Shep Pettibone, who worked his magic on no less than 7 of the tracks I selected. It was a solid groove packed compilation that documented not only the Salsoul tracks that I was playing back then, but the precise mixes. Often, with retrospective dance compilations, a vocal mix will be used, whereas it might have been the dub or instrumental that was the club choice. In this way some comps fall short of being as definitive as they could be, which is always an important consideration in my book. With the exception of ‘Heartbreaker’ by Leroy Burgess, none of the selections were the lead versions of the tracks. This was reflective of the way things were back then, with the more interesting / creative mixes often appearing as secondary versions. It was a wonderful time for the remix, with people like Pettibone, Tee Scott, Larry Levan, Jellybean Benitez and François Kevorkian experimenting with a dubbier approach, which perfectly suited the audience I was playing to. With this in mind, the title was to be ‘Electrophonic Beats, Dubby Mixes & Black Underground Flavas’.

However, the fact that the majority of these tracks (although not these mixes) had appeared on previous Suss’d Salsoul compilations, made the company nervous. Concerned that they might be accused of repetition, they decided to switch their attention to another, untapped, section of the back catalogue, coming up with ‘Disco Trance & Cosmic Flavas’, which was released instead. Although I had nothing to do with the selection of tracks for this album, I re-edited 2 of them – ‘War Dance’ by Kebekelektrik and MC Lane Explosion’s ‘Oxygene’.

This would turn out to be the final release in the ‘Flavas’ series, the licensing agreement between Suss’d and Salsoul coming to an end soon after. So, sadly for me, ‘Electrophonic Beats’ never got to see the light of day’.

More recently I copied off the demo CD of this unreleased comp for Cosmic Boogie’s Stu Robinson. It was right up his street, as they say, and he asked if I minded him uploading onto the site, to sit alongside my ‘Renaissance Mixes’, which are also hosted there.

So here it is, just as I put it together at the time (apologies for the crackles on some of the tracks, we never got to the stage where we try to locate clean copies for mastering). Hopefully it’ll help illustrate this other, lesser-known side of Salsoul, which is often overshadowed by the label’s earlier years and its pioneering mixes by Tom Moulton, Walter Gibbons and Larry Levan. It would have been nice to see this as a proper compilation, available in the shops, but sharing it online provides some level of consolation. Hope you enjoy.

This review (of the later part of the night) was kindly sent to us by Adam Wilson. You can find a guest mix from him here on the site as well. Much appreciated Adam…

I’ve been looking forward to this night for some time, billed as “the story of Manchester’s early ‘80s Electro-Funk scene,” not just because there’s likely to be some great music on offer, but because the organisers have taken the time to augment this with film, discussion and art to try and dig deeper into the story of this era, which for reasons unknown seems to have been totally overlooked following the House music explosion in 1988.

For the uninitiated, Islington Mill is a warehouse in Salford, just far enough to walk to from the city and just far enough away to keep out the “fly-by-nights” and those who like to be “seen to be seen” back at their trendy bars around Deansgate and the like. Bought by Bill Campbell as a building shell in 1994, the place has been regenerated and the areas and spaces that have been created within the building are now a haven of creativity for artists and musicians alike.

My arrival is late due to another commitment but first impressions are good. The warehouse venue space is a small intimate dancefloor area for around 300 people, low arch-brick ceilings and minimum décor, save for some makeshift podiums and some fantastic wall-art for the occasion by Gecko. The minimal facilities also add to the authenticity, there’s just enough to satisfy health & safety (that’ll be a bar and a toilet then) but little else apart from the sound system. The “Radio 1 Big Weekend” this certainly isn’t and I’m already impressed.

The crowd is growing rapidly and it’s clear that this event has attracted all the right kind of people; there’s little pretence, the emphasis is purely on the “older clubber” and everyone is keen that they are going to have a great night – they won’t be disappointed. I’ve already seen a number of “heads” I haven’t seen out for years and it’s still early days yet.

An area of lino has been laid out to one side of the dancefloor space and here we are first treated to some great moves by dance crews “Broken Glass” and “Street Machine”. Some of these guys are getting a little long in the tooth now (I hope they’ll forgive me for mentioning that) but they certainly still have the moves in them. They begin by warming up and teasing each other with their own little speciality moves at each visit to the floor, and within half an hour each and everyone of them is making some unbelievable gymnastic type spins. The crowd are huddled round them in a semi-circle, cheering every move that these guys throw in as the ante is well and truly upped. What’s really strange here is that the punters are so focused on the dancers, they seem oblivious to the fact that up the decks, Chad Jackson is playing a terrific set. He’s doubling up, cutting, scratching and mixing tune after tune, every single one of them instantly recognisable from back in the day. Memories come flooding back to me, most of these tunes just aren’t played out anymore and it’s refreshing to hear, especially in this environment. As the dancers finally run out of steam, the action reverts back to the dancefloor and the crowd now concentrates on the tunes. Chad keeps up the pace and finishes his set to an enthusiastic round of applause.

Next on is Mike Shaft, and armed with just a laptop and a microphone he’s going to have to do well to follow Chad’s set. This is a real trip back to “old-style” clubbing where the DJ introduces all the records, there’s no mixing and it’s all about the quality of the song. We are treated some absolute classics, all with a distinctive soul leaning, and Mike’s genuine love  and enthusiasm for these records is such that the crowd is whipped into a frenzy within half an hour whilst the record speeds have still barely nudged 110bpm. The temperature in the place has now almost reached boiling point (this is a “real” warehouse, no fancy luxuries such as air-con) so I decide to head upstairs to cool down and watch the film element of the proceedings by Tim “Bones” Forde.

Here, upstairs, in what modern clubs might call “the chill-out zone” the documentary “The Birth Of The British B-Boys” is being shown, featuring members of the dance crews participating downstairs and other notables from the scene around that time, giving us insights into the influences, the moves, the practice required and most importantly, the attitude surrounding this movement. One of the best parts of the film is about one of the guys who teaches breakdance lessons at schools and community centres and the like, and there’s some great footage of the youngsters dancing. Chad Jackson and Greg Wilson sit amongst the watching crowd engaged in deep discussion as the film progresses. What becomes apparent is that although slipping off the mainstream radar, the music and dancing of this genre has well and truly embedded itself into urban culture and from what I can gather here, appears to be well and truly thriving, and that’s got to be a good thing. I draw immediate comparisons with what happened to skateboarding in the eighties, back then there were no more than a couple of hundred people in the UK participating in the sport, it went truly underground and it was this network of people that kept it going until by fate or chance it began to thrive again. Look at it now, it’s mainstream and it’s everywhere, even on the BBC’s credit sequence. Could this happen here I wonder? Anything is possible. Back downstairs Mike Shaft brings his set to a close and the crowd want more.

Next on the decks is Colin Curtis, much respected Northern Soul and Jazz-Funk DJ, who starts off on an afro-cuban type jazz-funk tip and proceeds to progress through to more soul-y type offerings while keeping the pace up throughout. Still with his trademark long-hair, though graying out a little these days, it’s sign of his somewhat advancing years that he has to put his reading glasses on to get the track orders off his CD covers but doesn’t deter him from playing another quality set of tunes. As the pace is maintained I retire once more from the heat of the dancefloor to chat in the courtyard, where Mike Shaft is busy taking photos of those gathered here, to record for posterity.

I return to the main room for the end of Colin Curtis’ set and in time to see Hewan Clarke take to the decks to finish off the night. Greg Wilson has already informed me he won’t be finishing off as they are behind schedule, which I’m a little disappointed with. However, Hewan more than makes up for this with a sterling end-of-night set , covering pretty much all the bases touched on earlier and throwing in a couple of nice surprises too. I’m delighted to hear him play T-Ski Valley’s early 80’s disco rap “Catch The Beat”. Great stuff.

As 3am approaches my feet have given up on me and reluctantly it’s time to leave. It’s been a fantastic night and everyone concerned with the organising of this event should be congratulated on what we have been given tonight. As I leave the building I’m approached by a lone promoter offering flyers for, ironically, the Warehouse Project, which begins across town in October. As I stuff the information into my back pocket and head off into the cool night air, I wager to myself that there won’t be one night on that line-up that will be able to match the enjoyment or inspiration that I’ve experienced over the last several hours. A truly memorable night out.

Adam Wilson.

Adam Wilson is part of the collective of Djs that play at the Pure Space night in Manchester and he sent us this mix over which was recorded live at the night back in April of this year. He started playing disco, funk and soul as a direct result of attending Dave Haslam’s Yellow night in Manchester in the late 90’s, and has never looked back. Hopefully this will be the first contribution of many from the lad, which we are delighted with seeing as he is the most interesting DJ to come out of St Helens since Chad “hear the drummer get wicked” Jackson. Super stuff.

Full Tracklisting

Maxine Singleton / Don’t You Love It
Octet / Euros vs Dollars
Unknown / You Got It
Ron Legend / A Little Jazz (Re-Edit)
Rocker’s Revenge / Walking On Sunshine
Change / The Glow Of Love (Re-edit)
Ashford & Simpson / Found A Cure
COMBi / I Found Morning
Nick Straker Band / Straight Ahead (Francois K Mix)
Space / Carry On Turn Me On
Man/Boy / It’s Only Perfect
UB’s / Too Much Love
C.J. & Co. / Devil’s Gun

The blog has now been running since around Christmas time (early December if I remember rightly) and earlier this month we broke the 10000 unique visitors mark. Also, we’ve had around 13000 mix downloads or listens in this time, that’s…erm…around 1200 a month or so. This might be nothing to some of the more established sites around, but to us it means a great deal. So thank you because everyone who reads this, listens to the music, and emails or comments is adding to the site making it all worthwhile to carry on. Which we assure you we will. Yes.

In light of this I’m throwing out to the net for content provided by you. Mixes mostly, I suppose - that’s what we concentrate on here, but also articles about long forgotten nights in the North West, what the music means to you, anything really as long as it (cliche at the ready) comes from the heart. Next week will see a very good guest mix sent in from a reader, and this is hopefully just the start. As long as the mix is good, and in the right spirit, it has a home here.

If you cannot supply a mix, edit or article, its OK - just mail in and let me know what you would like to see or hear more of. This might be the site for the Cosmic Boogie Collective, but really, it belongs to all of us. Now please excuse me why I go and vomit.

The second guest mix we have hosted from our partners in crime, the Disco Outcasts over in Manchester. A late night deep and dirty mix of disco, which should surely be played after you have just finished a bottle of jack Daniels, and are wondering what the fuck is going on. This mix was broadcast on David Dunne’s new cool show (on Galaxy) a few weeks ago and now its broadcast right here, on Cosmic Boogie. Synthetic Love.

Full Tracklisting

Samos / Alpha Storm (An-2 Remix)
Magnus International / Kosmetisk
Diskjokke / Cearadactylus
Sternklang / Satmara (Prins Thomas Disko Mix)
Strangelets / Riot On Planet 10 (Blitz Gramsci Mix)
Soulwax / Another Excuse (Da Funk Town Mix)
Modern Sound Corporation / Safari (Greg Wilson Ruff Edit)
Tori Amos / Professional Widow (SDC Edit)
Lullabies In The Dark / Song For Marie (Aeroplane Mix)

Howdy Partners.

The Cosmic Boogie Rodeo Show is broadcast on myhouse-yourhouse.net web radio, and will be fitting into a timescale of every other Monday night, or maybe once a month depending on the busy schedule of the station. This is an archive and further information of the first show broadcast on Monday the 11th August from 8 - 10. That’s 2 hours of me playing music and talking shite. Joy. Sadly, for the first show, I managed to cocks it up totally and forget to record it. Still, im going to put this post up about it anyway as it took me ages to write the thing, and its still got some useful bits.

The format of the show is going to be similar each week. 10 or so tunes, some new, some old, some maybe undiscovered with a little bit of info, a Juno Download DJ Chart, a new “exclusive” track, an hour long mix and a classic favourite to end the show. At some point there might be interviews and the like, but this all came about rather quickly so I just haven’t had the time to get that ball rolling yet.

Tracks on the show

Aurra / Such A Feeling (parts 2 & 3)
1982 | Salsoul Records | http://www.discogs.com/release/7472

A Shep pettibone mastermix of an already great track from Aurra - this is a 14 minute electrofunk disco dub monster. its been sampled a million times, most notably to anyone from the rave era who ever heard Bizarre Inc’s “Such a Feeling”.

Felix / Tigerstripes
1984 | Sleeping Bag Records | http://www.discogs.com/release/608689

Arthur Russel produced this (although is not credited in anything other than owning the label). An odd slice of disco (no disco) that can be found on the excellent New York Noise 2 compilation on Soul Jazz records.

Ginger Does Em All / Afro Fiction Remains
2008 | Blunstone japan

Second track from the often bizarre album “Fever in Rhythm” from Japanese Hip Hop/Scratch/Electronic maestro Ginger Does Em All. The rest of the album is as strange but just as funky as this clash of disco and wonk.

Charles Jackson / Ooh Child (Cosmic Boogie Extend Yourself Edit)
1978 | Capitol Records | http://www.discogs.com/release/444303

Charles Jackson? Chuck Jackson? Seems to be some confusion with anything I can find about this track. They were the same person, by all accounts, and its accredited to each in different compilations. This is the Cosmic Boogie extend yourself edit of the track in question - a simple edit to stretch it out from the original 3 and a half minute version I had taken from a Capitol Records CD. Its Cosmic Gospel, and hugely uplifting for it.

Plastic Mode /  Baja Imperial
1985 | Discomagic Records | http://www.discogs.com/release/192751

Can’t find much out about Plastic Mode other than what discogs tell me. Don’t have anything else by them, but this doesnt need much introduction its just pure italo cosmputer game stupidity, with early techno, electro, house and disco influences. Only in Italy…

The Futures / Aint No Time Fo’ Nuthin
1978 | Philadelphia International Records | http://www.discogs.com/release/1313258

Brilliant soul-funk from The Futures, taken from the Past, Present and The Futures album. This is a pure philadelphia laid back groove, not for the dance floor but definitely for the ears.

Fatback / Is This The Future
1982 | Spring Records | http://www.discogs.com/release/178146

1982 electrofunk on Polygram offshoot Spring Records. This, like the also excellent Ray-Gun-Omics from Project Future, paints a bleak world view of life under President Reagan. No matter what the underlying message, the music shines. Fatback released so many good tracks over the years its hard to keep up…

Cosmic DJ Delight / GW Edit

Its top secret this. Can’t say anything more other than watch this space…

The Juno Download Chart

It says chart, but this is hardly in any order really - just ten tracks that are currently being loved. You can buy all the tracks from the chart by going to Juno Download here:

http://www.junodownload.com/charts/dj/486902-Cosmic_Boogie/53737-Chart/

1.   40 Thieves / Theme From Nutrider
2.   Padded Cell / Savage Skulls
3.   Vulcans / Star Trek
4.   Thierry Durbet & Harry Williams Verschu / System 80
5.   Allez Allez / Wrap Your Legs (Around Your Head)
6.   The Deal Seal / Bored Of The Future (40 Thieves Remix)
7.   Selection / Rebel On The Run (Remix)
8.   Ajello / Over The Sky (Remix)
9.   Padded Cell / Word Of Mouth
10. Denny Almonde / Pub Girl

The Mix

The mix for this show is a mix that’s already on the Cosmic Boogie site - this is for two reasons. Firstly, its a good introduction to what Cosmic Boogie is about, and secondly, I had little time to prepare and therefore had to get what I could with no guests being able to send a mix on such a short space of time. Usually right here would be an exclusive Cosmic Boogie mix or a super guest mix. Watch this space…

Cosmic Boogie Mix #12

Al Usher / Here Today
Gepy & Gepy / Body to Body (Intro Disco Dub)
The Popular Peoples Front / Showtime
Quiet Villiage / Can’t be Beat
Will Powers / Adventures In Success
John Tropea / Living in the Jungle
Mad Dog Fire Department / Cosmic Funk
Indigo Country / Ultra Funk
Kwanzaa Posse / Wicked Funk
Stevie Wonder / Living for the City

You can download the original mix seperately here:

http://www.cosmicboogie.co.uk/2008/05/cosmic-boogie-mix-12/

The Goodbye Track

Every week the last tune will be included for  download, and will always be some kind of classic track - sometimes what might be considered a guilty pleasure (so, cheese then), and other times sometimes thats something so damn good, it needs to be included (yep, cheese again). This weeks disco duck…

The O Jays - Put Your Heads Together
Download Track - 320 mp3 / 16mb (right click, save as to download)

The Next Show

The next show will be on bank holiday Monday night (25th of August). Ill hopefully not cock up this time and get it recorded…see you then!