Credit To The Edit Volume Two: Track By Track

Compiled & Edited By Greg Wilson For Tirk Records 2009


We open up with a truly classic track that was released way back in 1975 when I was plying my trade as a 15 year old mobile DJ, just a few months before I landed my first club slot at New Brighton’s Chelsea Reach. Peaking at number 2 on the UK chart, ‘Love Is The Drug’ was a massive floorfiller, just as popular in the clubs, if not more so, than the out and out Disco hit ‘Angel Eyes’, four years on. As well as the more mainstream venues, it was a staple of the numerous Roxy / Bowie nights that sprung up in the latter half of the 70s, paving the way for the influential Futurist movement. Roxy were an inspiration for so many groups that followed, from Punks to New Romantics – they are certainly one the iconic British bands of the 70s, having burst on the scene with an unforgettable Top Of The Pops performance, unleashing their first hit, ‘Virginia Plain’, in 1973 (complete with original member Brian Eno). Along with ‘This Town Ain’t Big Enough For Both Of Us’, the debut from Sparks, and Bowie’s ‘Starman’, I’ll forever place ‘Virginia Plain’ amongst an elite of ‘did you see that!’ TOTP moments that generated particularly fervent discussion in school the following day.

It wasn’t until 1976 that the 12″ single appeared as a commercial format, so ‘Love Is The Drug’ was only ever issued as a 7″. In editing this track I imagined how an extended 12″ might have sounded had the record been released a little bit later down the line. Taking this approach I’ve added just under two extra club friendly minutes, trying to be as respectful as possible to the original in the process.

I must express big thanks to Isaac Ferry, son of the legendary Roxy front man Bryan Ferry, without whom it’s doubtful that we could have gained permission to include this edit. I met Isaac a few years ago at party I played at in London for the ETA crew and he’s since come along to see me DJ on a number of occasions, hearing this edit for the first time when I featured it at East Village last November to a rousing crowd response.

  • Written by Bryan Ferry and Andy Mackay
  • Produced by Chris Thomas and Roxy Music
  • Published by Universal Music Publishing
  • Island Records 1975
  • Licensed courtesy of EMI


I first came across this track in San Francisco last year. Anthony Mansfield (more later) took me along to Moulton Studios, where a number of the city’s dance producers are based, including New Yorker Corey Black, one of the founder members of 40 Thieves (along with Layne Fox and Jay Williams). As it turns out, I was already in contact with Layne, who had previously approached me to do a mix of a track by late 70s / early 80s funkster Gary Davis for Rong Records via his Smash Hit Music company (again, more to follow).

Corey burned me off a copy of ‘Don’t Turn It Off’. I absolutely loved the track, which features the brilliantly brooding voice of San Fran DJ Qzen. It’s an update of a lesser known Hot Chocolate recording from 1979, which had appeared on the flip of their minor hit ‘Mindless Boogie’. My only complaint was that I felt, with club play in mind, it could have been a good few minutes longer, so I emailed Corey and Layne to ask if they could send me over an instrumental of the track so I could extend accordingly, but, unfortunately, they’d forgotten to run an instro off when they mixed it down. However, they obligingly went back into the studio and did one, sending me an accapella as well, which made it possible for me to put together the edit included here.

There’s also a Brennon Green mix of the track, which is a great option (I included it in a recent mix I did for the Feel Up website), but it’s the original that really pops my cork, so I’m delighted to finally have this extended version to play out (needless to say, to a great response).

  • Written & Produced by 40 Thieves.
  • Published by Copyright Control.
  • Permanent Vacation Records 2008
  • Licensed courtesy Permanent Vacation


‘Voodoo Ray’ is one of the quintessential Manchester records, as well as being one of the key releases of the entire Rave era. It’s hard to believe that it’s now two decades since this unique hybrid groove entered the chart back in 1989, eventually climbing as high as number 12. I say hybrid because, although it’s generally described as a House track, you can clearly hear Gerald’s Electro and Jazz-Funk influences – it’s very much a British take on things, which nods to what was happening in Chicago and Detroit at the time without attempting to copy it. This is why it’s such an enduring classic – sounding like nothing released before or since.

Although I didn’t know him then, Gerald Simpson was one of the kids who attended my weekly nights at Legend in Manchester during 1982 and ’83. He was only fifteen when he first came along, and would wear his ‘Jazz Defektor type coat’ to appear those all important three years older. He’d listen to my mixes on Piccadilly Radio and would later recall; ‘As soon as I heard there was going to be a Greg Wilson mix on the radio I would run over to Shadus, the local electronic shop, and buy a brand new Chrome C90 TDK cassette tape. I would make sure I was in front of the Amstrad with my finger on the pause button when that mix started. It didn’t matter what was playing anywhere else. That mix would be played to death – the tape would be worn out until his next guest appearance on Piccadilly Radio’.

I actually got to meet Gerald through the Ruthless Rap Assassins, who I managed and produced a few years down the line. He was then firmly aligned to the local Hip Hop scene having originally started out as DJ (with MC Tunes rapping) for the Scratchbeat Masters, and would often jam in his attic studio with Carson and Anderson from the Assassins during this period. At the time he recorded ‘Voodoo Ray’ he was living in the fabled Hulme crescents, near to the Assassins, and it was through Kermit that I first heard the track, which was still unsigned. We’d already done our deal with EMI at this time, and I recommended ‘Voodoo Ray’ to our A&R man, but he failed to see its potential and passed on it. Needless to say he was somewhat sickened to see it storm the chart the following year.

What was really bizarre from my point of view was that the recording was eventually signed to an obscure label based, of all places, in my former hometown of New Brighton (I had no idea there were any labels in New Brighton, let alone one with the foresight to pick up on a track like ‘Voodoo Ray’). Madder still was that the guy behind the label, Rham!, was Peter Leay, who I knew from when I played for a local junior football team called Olympic in my early teenage years – Peter coached one of Olympic’s older age groups. Furthermore, tying in neatly with the opening track on this album, I was extremely impressed back then when I discovered that he also ran the Roxy Music fan club!

I wanted to put this edit together in tribute, marking the 20th anniversary of ‘Voodoo Ray’s’ appearance in the charts, a remarkable feat when you consider the circumstances I’ve just mentioned; being issued via a company based in the back of beyond with no track record whatsoever in dance music – from small acorns and all that.

My edit combines the original version with a subsequent remix by the Godfather of House, Frankie Knuckles, to provide a nine minute epic. I started working on it whilst I was in Japan last December, grabbing a few hours following a gig in Fukuoka, before finishing it off on my arrival in Adelaide, Australia, a couple of days later. So far it’s the one and only edit I’ve done on my travels (everything else has been put together at home). A variation, in collaboration with Peter Hook from New Order, has also been prepared for a new Haçienda compilation.

  • Written by A Guy Called Gerald
  • Produced by Gerald & Chapter, Engineered by Lee Monteverde
  • Published by Copyright Control
  • Rham! Records 1988
  • Licensed courtesy of A Guy Called Gerald


Sugardaddy are Tom Findlay (from Groove Armada) and Tim Hutton. I originally met Tom and his GA partner, Andy Cato, at one of David Mancuso’s London Loft Parties back in 2005, before the release of Credit To The Edit. He was working on the Sugardaddy project at the time and told me of his plans to issue their first single on Tirk. This turned out to be ‘Love Honey’, which came in three distinctive flavours (Electro, Funk and Acid), all highly playable for me, making it difficult to fix on my favourite. The track connects back to Man Friday’s ‘Love Honey, Love Heartache’, a 1986 Larry Levan mix, which took its influence from the Funk Masters / TW Funkmasters and ‘Love Money’ from 1980 (original) / 1981 (Champagne version), a seminal UK recording that was big on the Jazz-Funk scene in the early 80s before making waves in the underground dance clubs of New York and Chicago (to round things off, ‘Love Money’ was inspired by the 1979 Reggae hit ‘Money In My Pocket’ by Dennis Brown).

Then, when Puma asked Tirk to contribute a track for their 5×12 vinyl boxed set, which was distributed as a limited edition at the Miami Music Conference in 2006, Sav asked me if I’d be up for editing ‘Love Honey’. This presented the perfect opportunity for me to combine two of the mixes, the Electro and the Acid, providing myself with a version that would become a major track for me in the clubs and was, more recently, included in my Essential Mix. As a consequence, I ended up putting together my own versions of a handful of other Sugardaddy tracks from their vastly underrated album ‘It’s Good To Get High With The Wife’, including ‘State Of Play’, ‘Hypnotise’ and ‘Hate Love Passion’, which all made it onto vinyl. This would lead on to my contribution to Groove Armada’s ‘Soundboy Rock’ album. I’d also mash the Funk version of ‘Love Honey’ with ‘Whatever Happened To The Soul?’ a spoken word release from Detroit’s DJ Bone, which I’d been introduced to when I visited Gerald (A Guy Called) in Berlin, but this remains unreleased to date (although it’s popped up on a couple of my live mixes). The edit here differs the Puma one, which remains exclusive, not to mention expensive – I recently saw the boxed-set selling online for over $100!

  • Written and Produced by Sugardaddy
  • Published by Copyright Control
  • Tirk Records 2005
  • Licensed courtesy of Tirk


This was originally issued back in 2007, and went on to be one of the biggest tracks of the year for me. Although it was credited as ‘Greg Wilson Edit’, going by the definition I gave in the sleevenotes it was very much a ‘version’, as I worked from the individual stems in putting it together. I centred things around the infectious guitar riff that put me in mind of Chic and, as they didn’t quite hit the spot for me, decided not to use any of the vocal. I also built in what we used to call a ‘DJ trap’ back when I started out – this occurs when, around two thirds of the way through, the track appears to abruptly end…….before kicking back in two bars later, just as the people who aren’t familiar with it are thinking the DJ totally has messed up, whilst, at the same time, the DJ, having forgotten all about the drop out, goes into sheer panic having not got around to cuing up another record. All good fun!

After it was finished there was a concern that the label, All Out War, might be beaten to the punch by Columbia Records, who had signed up the vocalist, Ali Love, and recorded their own version, but all was sorted out in the end and both singles were released in 07.

A London based project led by Marcus J Knight and Eon, 1gnition suffered a devastating blow last June when Eon (Ian Loveday) sadly died, following complications with pneumonia – he was 54 years old. Starting out as a producer during the Rave era, Eon recorded under a number of aliases (Ian B, Ian Beta, Eon, Minimal Man and Rio Rhythm Band amongst them). He also deejayed at some key London clubs of the 80s, including the Mud Club, Shoom, Pyramid and Clink Street, before becoming resident for Planet Love at Brixton Fridge. A website has been set up in his memory:

  • Written and Produced by Marcus J Knight and Eon
  • Published by Copyright Control
  • Love Is War Records 2007
  • Licensed courtesy of Love Is War Music

CRAZY P – LADY T (5.22)

Crazy P (formerly Crazy Penis) have built a solid reputation as one of the leading British proponents of this new Disco deviance. Formed by James Baron and Chris Todd (Hot Toddy), the band are based in Nottingham, which has been something of a hotbed of groove-based activity during recent years, with both Secret Stealth (of which James is also a member) and Hot Coins (aka Red Rack’em) releasing tracks that have graced my playlist. I regularly cross paths with the band on the festival circuit, and can testify to their vigorous live performances. As well as the UK and Europe, they have built a particularly strong following in Australia.

I originally came across them in their Penis days, before I started deejaying again, and played the wonderful ‘There’s A Better Place’ at my comeback gig for Music Is Better in Manchester (Dec 03). ‘Lady T’ was from their 2005 album, ‘A Night On Earth’, and would be released as a single. I contacted Jim Baron from the band to see if they’d let me put together an edit for my own purposes, only using part of the vocal – the track has such a strong groove that I wanted to bring that more to the fore. Jim gave the thumbs up, sending me an instrumental version to incorporate with the vocal, and, until now, this has been an exclusive edit that some of you will have heard me play in the clubs or on a few of my live mixes. I frequently receive emails asking whether this is going to be issued, so it’s great to be able to finally get it out there – I always had it earmarked for C2theE2.

  • Written by Rachel Foster, James Baron & Chris Todd
  • Produced by Crazy P.
  • Published by Warner Chappell and Copyright Control
  • Shiva Records 2005
  • Licensed courtesy of Think Espionage


Gary Davis is best known for his 1979 composition, ‘Got To Get Your Love’ (or, as it’s also been titled ‘Gotta Get Your Love’), which became an underground club favourite following the release of Clyde Alexander & Sanction’s cover in 1980, and is now regarded as a Boogie classic. Davis had enjoyed something of a renaissance during recent times, following the release of the ‘Chocolate Star – The Very Best Of Gary Davis’ retrospective in 2006. Two years later a mix album, courtesy of Mr Chinn, called ‘A New Jersey Story’ was made available as a digital download (there was a CD in Japan) via San Francisco’s Smash Hits Music company run by Layne Fox of 40 Thieves. As previously mentioned, Layne approached me to remix one of Davis’s tracks from 1980, ‘The Professor Here’, giving it a more contemporary flavour, but rather than working from the individual stems, I was presented with something of a challenge as the original recording had been made on 4 track tape, giving me no possibility of separating all the various elements. It all managed to work itself out though, and the mix was very well received following its 12″ release on Rong.

Then I came across a contemporary recording by Gary Davis on the Chocolate Star MySpace page, which had a killer groove. It featured a rap vocal, but I knew that something more stripped down would be better suited for me, so I emailed Layne and Gary (who I was in direct contact with by this point) to see if I could get the parts in order to put my own version together. This time, of course, there were individual stems, so I was able to reconstruct without the limitations that ‘The Professor Here’ had put me under. It turned out exactly as I’d hoped it would, the groove taking centre stage, and would debut (as ‘1 Lifetime’) in my ‘Resident Advisor’ mix back in September 2008, which picked up great feedback worldwide, setting the tone for what would follow four months later when my ‘Essential Mix’ received such an overwhelmingly positive response.

My version of ‘One Life Time To Live’ was issued on vinyl last April, as the lead track on Rong’s ‘Chocolate Star EP II’. It hasn’t previously appeared on CD.

  • Written and Produced by Gary Davis
  • Published by Copyright Control / BMI
  • Rong Records 2009
  • Licensed courtesy of Rong Music


Escort are very much a band in the traditional sense; a New York based collective utilising drums, bass, guitar, keyboards (including Rhodes electric piano), percussion, trumpet, saxophones, trombone, french horn, flute, violin, viola and vocals on their recordings to date. ‘Starlight’ was their debut release in 2006, and quickly became popular with the DJs who are geared more towards Disco / Boogie. Once again, as with Crazy P and ‘Lady T’, I thought a version that only featured the vocal hook, rather than the full song, would work best for me, so I emailed Dan Balis to see if he was up for sending me the stems.

Having talked about stripping a number of tracks of their vocals, I must point out that this isn’t always the case (for example, 40 Thieves) and I obviously feature lots of full vocal versions when playing out. However, I’m very much inspired by the early 80s and remixers like Tee Scott, Larry Levan, Shep Pettibone, François Kevorkian etc, when, more often than not, the more experimental dub or instrumental mixes, that they and their contemporaries put together, were the versions that really took off in the clubs in which I then worked. So, with this in mind, my approach generally references this period, trying to capture a similar vibe, which often equates to less is more when it comes to vocals, providing, in the process, an alternative to the versions that already exist.

Since the release of ‘Starlight’, Escort have issued two further singles on their own label, with their debut album in the pipeline, whilst their live appearances, where they pack a stage like few others, have earned them acclaim as ‘Brooklyn’s Disco Phenomena’.

  • Written and Produced by Dan Balis, Eugene Cho and Darius Maghen
  • Published by Bird Of Prey Publishing (ASCAP)
  • Escort Records 2006
  • Licensed courtesy of Escort Records


Issued in 2008 on the Hector Works label, my version of ‘Oh Snap!’ proved to be a big underground success and, along with 1gnition’s ‘Secret Sunday Lover’ perhaps my best received re-working of a contemporary track during recent years.

It came about via an email approach from DJ Anthony Mansfield, who I later met in San Francisco, resulting, as previously mentioned in the subsequent meeting with Corey Black of 40 Thieves at Moulton Studios, where they’re both based (Moulton Studios is named in honour of the Disco icon, Tom Moulton, pioneer of the remix and 12″ single). Although I haven’t met Nick Chacona, who’s over on the East Coast in Brooklyn, I included one of his earlier tracks, ‘Through The Door’, on my 2020 Vision mix CD, also from 2008. I did get to meet Fred Everything though, who also works out of Moulton (I featured two of Fred’s tracks on the 2020 album). That building is certainly a hot bed of creativity!

I must thank Anthony for showing me around San Francisco whilst I was there. Being a 60s obsessive it was a massive buzz for me to visit Haight-Ashbury. I was also blown away with the view, from over the other side of the Golden Gate bridge, of the Pacific gloriously blanketed by a eerie layer of thick fog that stretched out into the distance as far as the eye could see, making me feel like I was standing right on the edge of the world. It was an awe-inspiring image that I’ll always carry with me

  • Written & Produced by Nick Chacona and Anthony Mansfield
  • Published by Copyright Control
  • Hector Works Records 2008
  • Licensed courtesy of Anthony Mansfield & Hector Works


‘Dirty Talk’ is a track with a bit of history, going back to my time at Legend and Wigan Pier during the early 80s. I bought it in from Spin Inn in Manchester, the North’s main import suppliers back then (the essential shop outside London for DJs like myself, who specialized in upfront black music) – it was on an Italian label called Zanza. This was a track that I could quite easily have missed, as it had been ordered in by Harry Taylor, who looked after the DJs who were playing in the regions gay clubs, where they went for a more European sound (the overwhelming majority of tracks played in the black clubs were imported from the US). However, aware of the Electro-Funk direction I was pursuing (at a time when pretty much everyone else on the scene had dismissed this new musical development), Harry brought the track to my attention, knowing that, although I wouldn’t have touched the vocal version with a bargepole, the instrumental ‘USA Connection’ would be right up my street.

There was no such term as Italo Disco at the time, this wasn’t coined until the following year (by German label ZYX), so ‘Dirty Talk’ was, and will always remain, full-blooded Electro in my eyes. The upshot was that it became one of the biggest tracks of 1982 within the black clubs up North, having perfectly fitted into what I was playing at my venues, then the most popular nights on the scene. It wasn’t the first Italian 12″ to go big with the black crowd (although most people would have been completely oblivious as to the European origins of these tracks) – others included Harry Thumann’s ‘Underwater’, Firefly’s ‘Love Is Gonna Be On Your Side’ and Electra’s ‘Feels Good’.

However, this record’s influence would be felt far beyond the black scene. Hewan Clarke, a DJ I knew as a Jazz specialist who appeared on the same bill as me at numerous All-Dayers, had become the resident at a new Manchester club that had opened a few months earlier, in May ’82 – this was The Haçienda. Although their clientele mainly consisted of students and Indie kids, Hewan, obviously clued-up to what was happening in the black clubs, picked up on ‘Dirty Talk’s’ success and began to play it himself. One night whilst it was on, a couple of the guys from New Order came into the DJ booth and asked what the record was and if they could borrow it from him as they were working on some new stuff in the studio and wanted to take it in as a reference. As things turned out, it became a key influence on their next single, the record that would bridge the gap between Indie and dance, taking them high into the charts and breaking them big style commercially – the mighty ‘Blue Monday’ (which became the best selling 12″ of all-time).

It was something of a ‘what goes around’ moment when I was approached in 2007, a quarter of a century on from when I first played ‘Dirty Talk’, to put together a new edit for Flexx, a Belgian label, who’d acquired a license for the track from Tony Carrasco, who co-wrote and co-produced it. I added a few overdubs and incorporated a loop from the follow-up single, ‘Wonderful’ (which was also a big black tune), for my version, included here for the first time on CD.

  • Written & Produced by Mario Boncaldo & Tony Carrasco
  • Published by SIAE / Copyright Control & Universal Music Publishing
  • Zanza Records 1982
  • Licensed courtesy of Tony Carrasco


Once again, an early-80s single, but this time from the other side of the tracks. OMD weren’t a band you’d hear on the black scene, but before I began to specialise purely in black music in 1982, I was the 4 night per week resident at Wigan Pier, playing to a more mainstream audience on Thursday, Friday and Saturday. The music I’d feature on these nights consisted of the biggest tracks from the Tuesday Jazz-Funk sessions (as they were then known), the more commercial dance stuff that I wouldn’t play to an upfront crowd (Michael Jackson, Shalamar, Imagination etc), and the Futurist / New Romantic stuff that was big at the time – Human League, Depeche Mode, Soft Cell etc, and, of course OMD.

Both 1980s ‘Messages’, their breakthrough hit (reaching number 13), and ‘Electricity’, their debut single, were firm Pier favourites before things blew up big time for OMD after they cracked the top 10 with ‘Enola Gay’. They then went on to enjoy a prolific run on the UK chart entries throughout the 80s and on into the 90s.

The duo behind OMD, Andy McCluskey and Paul Humphries, were from my side of the River Mersey, just up the Wirral peninsula from New Brighton, in a place called Meols. I later got to know Andy via the Motor Museum Studio (previously Pink) just off Lark Lane in Liverpool, which he owns.

Some of you will already know this as one of my Ruff Edits, which I often used as a climatic end of night tune. I hardly touched the main body, the point of the edit was more about building up the intro to add further tension ahead of the euphoric entry of the additional elements that make up the overall track – it’s a big moment and I wanted to milk it for all it was worth, complete with the krafty count. I also reprise the intro bass synth at the end, bringing things back down to round proceedings off (and also providing a mix out point if DJs want to continue into another track). As I’ve said before, it’s often more about what you don’t do than what you do do – there must be a point to why you’re editing something in the first place, and with this it was purely to enhance the dynamic that was already there.

  • Written by Andy McCluskey and Paul Humphreys
  • Produced and Engineered by Paul Collister and OMD
  • Published by Dinsong / EMI Music Publishing
  • Dindisc Records 1980
  • Licensed courtesy of EMI Music


When I received an email from my agent asking if I could send some of my edits to the designer Wayne Hemingway, who was going to be covering for Craig Charles on his BBC6 Funk show, I went online to listen to the previous show to see what was being played. This was how I got to hear ‘Mercy’ by The Third Degree, a cover of the 2008 Duffy hit, recorded in the style of a 60s Soul track, which cleverly made it appear to many that this was the original and Duffy’s was the cover. It wouldn’t have worked if the execution of the idea hadn’t been spot on, but it is, all topped off with an inspired vocal performance from Jon Allen.

I set about locating a copy for myself and found that it had been pressed as a limited 7″ single on Acid Jazz. I emailed the labels legendary co-founder, Eddie Piller, and he sent me a copy of the record. On receiving it I was delighted to discover that there was an instrumental version on the flip – it was an invitation I could hardly refuse, so I wasted no time in putting together an extended edit, unleashing it as an end of night special at many of my gigs. It’s now been given a full release on the Tri-Sound label (my edit misleadingly credited ‘extended mix’).

Back to Wayne Hemingway, who ended up playing my ‘Groovin’ With Mr Bloe’ edit when he sat in for Craig Charles. This was, of course, the closing track on Credit To The Edit, and with Volume 2 already in the planning stages I was particularly concerned about coming up with a similar upbeat conclusion for the new album, something that, like Mr Bloe, reached back further than the other tracks included, but at the same time fitted into the overall vibe of what I’m about. This version of ‘Mercy’ was perfect – providing an unexpected twist on that past / present balance I’m always looking for.

Further to this, I’ve since been invited by Wayne to contribute a mix for the Silent Disco that’s been created as part of the exhibition he and his son, Jack, have curated at the Tate Gallery in Liverpool – a job I’m going to get onto as soon as I manage to finally complete these sleevenotes!

There’s also another local angle here – moving along the Wirral coastline in the opposite direction to Meols, you’ll come to Rock Ferry, which inspired the title of Duffy’s hugely successful debut album ‘Rockferry’ (it’s where her father is from). So, given my own grounding in Soul, dating back to my formative years growing up in New Brighton, this edit of a new take on the old (or should that be an old take on the new), rounds things off very nicely indeed.

  • Produced by Sir Tristan Longworth
  • Written by Duffy and Stephen Bookerman
  • Published by Universal Music Publishing / EMI Music Publishing
  • Acid Jazz Records 2009
  • Licensed Courtesy of Bonnier Amigo Group

(C) 2009 Tirk
Catalog Number: TIRK050

© Greg Wilson, 2010

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