Credit To The Edit Volume One: Track by Track

Compiled & Edited By Greg Wilson For Tirk Records 2005


Edited from mastermixer Shep Pettibone’s brilliant 1983 remix. Pettibone has never really had the same type of acclaim as his contemporaries, Larry Levan and François Kevorkian, but he was a huge inspiration for me, especially his work on the Prelude compilation, “Kiss FM Mastemixes Vol 1”. This was one of two Vincent Montana Jr productions that topped my floorfillers lists during this period, the other being his Montana Sextet release, “Heavy Vibes”, the previous year. I originally edited this as an instrumental ‘sketch’ inspired by Spiller’s “Groove Jet” (the pre Sophie Ellis-Bextor version). However, more recently, following the release of “The Salsoul Acappellas”, I added the vocal sections. The resulting version immediately felt like it should be the opening track, perfectly setting the tone for this album and its summer release.

  • Written, Produced and Arranged by Vincent Montana Jr
  • Salsoul Records 1983
  • Licensed courtesy of Suss’d


Back in the summer of 1982, “Walking On Sunshine”, Arthur Baker’s Electro-Funk masterpiece, arrived on import and instantly went massive on the black scene, before going on to become a major UK chart hit and one of the biggest dance releases of the year within mainstream clubland. The edit here is built around two lesser known versions, issued back-to-back a few months later, “Sunshine, Partytime (Rap)” and “Dubbing In Sunshine”, which I was playing at Legend and Wigan Pier, whilst the main mix was climbing up the pop charts. Elements of both these mixes (as with the original version, courtesy of ‘Jellybean’ Benitez and Baker), including the rap section that namechecks some of the great New York clubs of the era, are combined, along with additional vocal parts from a third source, “Acappella Sunshine”, to create a unique version for 2005.

  • Edited from “Sunshine, Partytime (Rap)”, “Dubbing In Sunshine” and “Acappella Sunshine”
  • Written by E. Grant
  • Produced and Arranged by Arthur Baker
  • Marco Music / Shakin’ Baker Music
  • Streetwise Records 1982
  • Licensed courtesy of London / WEA

3. RAW DMX – “DO IT TO THE FUNK” (4.51)

The first thing I played on my return to deejaying was a ‘mash-up’ I put together especially for the occasion, which I called ”Do It To The Funk” by Raw DMX (the acappella section of “Do It To The Music” by Raw Silk over an instrumental edit I’d done of DMX Krew’s “Who Got The Funk”). “Do It To The Music”, being a classic Wigan Pier / Legend tune, linked back to my past, whilst “Who Got The Funk”, a more contemporary recording, reflected my intention not to simply trade on my reputation of two decades earlier. This perfectly symbolized the direction I wanted to take, which would be based around my direct experience of the early 80s, a greatly overlooked era in the evolution of UK dance culture, but without it being a purely retrospective exercise. Having gained a reputation back then for being forward-looking in my approach to deejaying, it was important for me to remain true to this principle now. It was with this in mind that I opted to use a laptop while I worked, so that I could prepare and play my own edits. As a by-product of this decision, I brought the Revox out of retirement, along with my reels of ‘spins’, to provide the ideal balance between past and future.

  • Raw Silk “Do It To The Music”:
  • Written by Ron Dean Miller & Bert Reid
  • Produced by Ron Dean Miller
  • Master recordings courtesy of West End Records
  • P&C West End 1982
  • Licensed by special arrangement with Bug
  • DMX Krew “Who Got The Funk”:
  • Written and Produced by Ed DMX
  • Published by copyright control
  • P&C Rephlex 1997
  • Licensed courtesy of


Originally issued on a small Washington based label called After Hour, but quickly picked up by New York’s essential West End label. As with Raw Silk (another West End release), “You Can’t Have Your Cake And Eat It Too” was mixed by Nick Martinelli and David Todd, becoming a big underground favourite during 1982. My decision to edit this was because the excellent instrumental version contains different, more dynamic, elements, which aren’t included as part of the indispensable vocal mix. With this in mind, I wanted to bring the best of both mixes together, to form a new hybrid version. This was the final edit I did for the project and quite tricky in a sense, demanding some lateral thinking, due to the edit points being more difficult to negotiate than on most of the other tracks. However, on finishing it, I was more than happy with the result and felt that, with its inclusion, the album was finally complete.

  • Written by R. Cobb, C. Dyson, S. Sanford
  • Produced for Luck Corp by C. Dyson and D. Clayton
  • Gigi Music Publishing / Ahead Music
  • West End Records 1982
  • Licensed courtesy of West End / Bug


Issued in 1979 on TK, the classic Miami Disco label, but never released in the UK. This is a track I’ll always connect with my hometown club, the Golden Guinea in New Brighton, where I enjoyed three wonderful years as a big fish DJ in a small club pond, developing a vibrant local scene between 1977-1980 (following on from my main early residencies in 75/76 at the Chelsea Reach and the Penny Farthing). I remember buying this from a guy called Bernie Golding, a well-known name in Northern Soul circles back then, who, having begun dealing in Disco and Funk imports, had brought an armful of vinyl across to Merseyside for me to listen to. It was subsequently listed in Blues & Soul as one of the records I played when Frank Elson, who reported on the scene in the North and Midlands, visited the Guinea to write a piece about the club for the magazine (which was then regarded as an absolutely essential purchase for any self-respecting DJ). It was indeed a proud moment to read that my little backwater club had received a glowing review and was recommended as somewhere to go if you wanted a night of quality black music.

  • Written by F. Knight, M. Ward
  • Produced by Frederick Knight
  • Knight-After-Knight Music / Every Knight Music
  • TK Disco 1979
  • Licensed courtesy of Right Recordings


One of my ‘turntable edits’ from 21 years ago, copied from the original tape master. Scritti Politti made their breakthrough in 1984, scoring top 20 hits with both “Wood Beez (Pray Like Aretha Franklin)” and “Absolute”, the tracks I use here. Produced by the great Arif Mardin, who’d worked on Aretha Franklin’s 1968 standard, “I Say A Little Prayer”, the very song referred to in the sub-title of “Wood Beez”, these 2 singles would later appear on Scritti’s highly acclaimed (and commercially successful) album, “Cupid And Psyche 85”. Another of Mardin’s memorable productions of the period was Chaka Khan’s “I Feel For You”, which also appears on Credit To The Edit as an original ‘turntable edit’ from way back when.Around 2 minutes into this edit there’s a section that runs for about 45 seconds, which took me a number of hours to put together – at the time, I remember it being the most complex thing I’d attempted with regards to cutting up tape.

  • Edited from “Absolute” and “Wood Beez (Pray Like Aretha Franklin)”
  • Written by Green
  • Produced by Arif Mardin
  • Chrysalis Music Ltd / Warner Bros Music Ltd
  • Virgin Records 1984
  • Licensed courtesy of Virgin


Before the term Hi-Energy came into common usage, the Boystown Gang were firmly categorized as ‘Gay Disco’. Spin Inn, the North’s main import specialists, in Manchester, wasn’t just the place to buy the latest black music, but was also an important shop for DJs on the Gay scene, selling both US and European releases. Harry Taylor, sadly no longer with us, looked after this side of the shops business, and, when I was still the 4 nights-a-week resident at Wigan Pier, I’d buy the odd Gay Disco tune from Harry to play on the more commercial weekend nights. It would have been in this way that I came across “Cruisin’ The Streets” in 1981, a record that made you feel proud to be gay, even though you weren’t! Harry would turn me on to a lot of tracks the other DJs on the black scene weren’t listening to, and it was in this way I came across some real gems, not least Klien & MBO’s “Dirty Talk”, an Italian import that slotted straight into the Electro vibe I was cultivating in my clubs (and later one of the records that provided the inspiration for New Order’s seminal “Blue Monday”). I always loved the groove and build-up on “Cruisin’ The Streets”, the edit working around these instrumental elements.

  • Written and Produced by Bill Motley
  • P&C Moby Dick 1981
  • Copyright owners were untraceable at time of pressing
  • If you have a claim regarding rights ownership contact


First released in 1976, but best-known for its inclusion on the “Saturday Night Fever” soundtrack the following year, for which it won a Grammy. It’s an edit I actually did a number of years ago, when I got my computer and started cutting stuff up, more to get used to the program I was using than anything else. So, when I started deejaying again, this, along with a few other things I’d done at the same time, provided me with some ready made exclusives to play out. It’s a very dynamic edit, based around just a few sections, rather than being a re-arrangement of the whole track. My working title for it was “Sesame Seed”.

  • Written by Ronald Bell & Kool & The Gang
  • Produced by K.G. Productions
  • P&C De-Lite Records 1976
  • Licensed courtesy of Universal

9. YELLO – “LOST AGAIN” (5.29)

Yello scored a big club hit in New York with “Bostich” in the early 80s, having been championed by DJ Afrika Bambaataa, but this pretty much passed us by in the UK at the time, only picking up plays at the more futurist type nights. I really got into Yello as a result of their album, “You Gotta Say Yes To Another Excess”, which was released in 1983, when they were right at the top of their game, and included “Lost Again”. Although they would go on to taste commercial success later down the line, this album and the follow-up, “Stella”, marks their golden era for me.The vocal was a bit too quirky for the black scene at the time, although I did manage to slip the mainly instrumental 12” mix of “Pumping Velvet” in there, so the first time I played “Lost Again” in a club environment was only recently. However, it was at home where I really got into this awesome album, especially after I’d stopped deejaying and, aided by copious amounts of hashish and marijuana, was beginning to listen to music from a whole new perspective, without the distraction of considering how it would work in a club. Anyone who visited me in Wigan around this time was “excessed” good and proper, having first smoked themselves irie! God knows what my neighbours thought of me at the time, with music often played full blast right throughout the night.

  • Music composed and arranged by Boris Blank, lyrics by Dieter Meier
  • Produced and engineered by Yello and Ursli Weber
  • Warner Brothers Music (Neue Welt Musikverlag GMBH Germany)
  • P&C Vertigo Records 1983
  • Licensed courtesy of Universal

10. CHICKEN LIPS – “HE NOT IN” (4.55)

Following on from their success as Bizarre Inc in the Rave era, Dean Meredith and Andy Meecher would eventually go back to their early 80s dance roots when forming Chicken Lips. As things transpire, the main influence behind the project is a cassette from Piccadilly Radio in 1982, featuring my earliest mixes. This is a tape Dean first started listening to when he was a young b-boy in Stafford, having made a copy via a friend who knew somebody who used to attend my nights (being far too young to go clubbing himself back then). The appreciation is mutual; Chicken Lips were way ahead of the game in anticipating a return to a pre-House approach. “He Not In” is something of a modern dance classic and I thought that, given the history between us, it would be fitting to put my own spin on it, in order to bring things full circle, so to speak.

  • Written & Produced by Andrew Meecham and Dean Meredith
  • P&C Kingsize 2002
  • Licensed courtesy of Azuli


This is an edit that came about completely by accident. Having dug out the 12” to record into the computer, I found that it was jumping at the intro, so, given that I wanted to play it the following weekend, I began to edit it around. I was really happy with the outcome, preferring it to the original arrangement, and it’s since received great feedback. I called the edit “T’s On The Mike”. Back in 1981, this was a massive track for me at Legend and the Pier, one of the biggest underground black tunes of the year (although pretty much unknown outside of the specialist scene), so it’s good to be able to bring this hidden gem to peoples attention almost a quarter of a century on.

  • Written and Produced by Mike T
  • P&C Golden Pyramid 1981
  • Copyright owners were untraceable at time of pressing
  • If you have a claim regarding rights ownership contact


Another big record from my Golden Guinea days and, like The Controllers, a TK 12” that was never released in the UK. Many people are under the false assumption that Northern Soul was played pretty much everywhere in the North during the 70s, but this simply wasn’t the case. For a start, the Northern Soul scene never took off at all in Liverpool, where the DJs I looked up to when I was starting out, Les Spaine and Terry Lennaine, were local legends, playing the latest US Funk, Soul and Disco. As a consequence, clubbers on Merseyside had grown used to a funkier groove and “Full-Tilt Boogie” fit the bill perfectly.Walter Murphy, the guy behind this track, is best known for “A Fifth Of Beethoven” (by Walter Murphy & The Big Apple Band), a novelty Disco single that became a US Number 1 in 1976. It would also turn up later down the line, as with “Open Sesame”, on the “Saturday Night Fever” soundtrack.

  • Written by W. Murphy / G. Pistilli
  • Produced and Arranged by Walter Murphy for Crabapple Enterprises
  • Finurphy Music / Hi Falutin Music
  • TK Disco Records 1979
  • Licensed courtesy of Right Recordings

13. CHAKA KHAN – “I FEEL FOR YOU” (3.08)

Following the inclusion of my Chaka Khan ‘turntable edit‘ on a compilation of old mixes (which I put together initially for just a few friends) the response was so positive that I decided to feature this version on my return to the clubs. It was a big surprise when, no sooner had I done this, people began to request it and ask me if they could get hold of a copy. So, as a direct consequence, Credit To The Edit includes this now vintage edit of “I Feel For You”, a Prince composition that reached the top of the UK chart in 1984 and provided one of my all-time favourite female vocalists with her biggest British hit.

  • Written by Prince
  • Rap by Melle Mel
  • Produced by Arif Mardin
  • P&C Warner Bros 1984
  • Licensed courtesy of Warner Music


The debut hit from the seminal Disco-Funk collective, Chic, led, of course, by rhythm guitarist Nile Rodgers and the late great bassist Bernard Edwards – a track I first played at the Golden Guinea in 1977, as a 7” import. This is an instrumental alternative I put together, once again, as a sketch idea a little while ago, adding overdubs more recently, once I’d been given the nod that I could include it as part of the project.The period leading up to “Saturday Night Fever”, in which “Dance Dance Dance” was released, marked a great time for Disco music, peoples associations being closer to the Soul and Funk grooves, from which it evolved, rather than the iconic white suited Travolta image, which would, unfortunately, come to symbolize the Disco era for many.

  • Written by B. Edwards, N. Rodgers, K. Lehman
  • Produced by Nile Rodgers and Bernard Edwards for the Chic Organization Ltd
  • Chic Music Inc / Warner Chappell Music Ltd
  • Atlantic Records 1977
  • Licensed courtesy of WEA


Finally, it’s one of my ultimate feelgood tunes, taking me back to carefree days growing up in New Brighton, which was then still a bustling a seaside resort on the opposite side of the River Mersey to Liverpool. In the summer of 1970, “Groovin’ With Mr Bloe” was a massive chart hit, only kept off the top spot by Mungo Jerry’s “In The Summertime”, which was the biggest selling single of the year. A British recording, featuring the unforgettable Harmonica playing of Harry Pitch (whose session credits also include Frank Ifield’s 1962 million seller, “I Remember You” and the theme music to the TV series “Last Of The Summer Wine”), “Groovin’ With Mr Bloe” is a record I’ll always associate with fairgrounds, alongside hits like Len Barry’s “1-2-3” and “Mony Mony” by Tommy James And The Shondells (plus, of course, countless Soul classics), which provided a vibrant and vital soundtrack for the various rides.During the latter part of the 70s, the track was revived at Mr M’s, the oldies room at Wigan Casino, and is nowadays often described as a Northern Soul classic. However, when Casino resident, Russ Winstanley, began to play it in the main room, it wasn’t at all well received by the purists, who weren’t happy about a former Pop hit being played within its hallowed walls.Mr Bloe’s version was actually a cover, the original being the flip side of a 1969 US single by Wind called “Make Believe”, a Bubblegum recording featuring Tony Orlando (who’s go on to become a huge star in the 70s with Dawn, via syrupy Pop singles like “Knock Three Times” and “Tie A Yellow Ribbon Round The Old Oak Tree”). The UK recording was arranged by pianist Zack Laurence, but Harry Pitch, brought in as a session musician, will forever be regarded as Mr Bloe.Having played the 7” last year at Aficionado in Manchester, to a wonderful response, I decided to extend the track for a subsequent appearance in the city, at the Electric Chair in February, where it was once again greeted like a long lost friend. No doubt I’ll be playing it a fair few times throughout this summer, 35 years on from its UK release.I’d like to thank both Harry Pitch and the legendary Northern Soul DJ, Richard Searling, for sharing their Mr Bloe memories. The edit itself stays close to the original, but in a pl’ayful sort of way. It’s an absolute pleasure to be able to include it here as the perfect closing track for this album.

  • Written by Bo Gentry, P. Naumann, K. Laguna
  • Produced by Stephen James
  • Dick James Music Ltd
  • DJM Records 1970
  • Licensed courtesy of Universal

© Greg Wilson, 2005

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