/PLAYLIST/
GREG WILSON - HAÇIENDA FUNK NIGHT SELECTION
Twenty tracks played at The Haçienda during his Friday Funk Night residency, Aug-Dec 1983, plus Saturday night guest appearances, and as part of the Haçienda Review tour of the South in early December, as well as at his regular midweek nights at Legend in Manchester and Wigan Pier.
1. Don't Don't Do It -By Grandmaster & Melle Mel </b>
Huge underground track before it eventually climbed into the UK top 10, the following year. Undoubtedly one of the most distinctive releases of the 1980s, it was almost disturbingly playful with regards to its subject matter. ‘Cavern’ by Liquid Liquid, from which its backing had been pilfered, would also pick up plays as a consequence.
2. Al-Naafiysh (The Soul) -By Hashim
An electro monster that I introduced to The Haçienda towards the end of my time there, and was still being played as a classic oldie in the acid house era. Hashim was teenager, Jerry Calliste Jr., who’d follow-up with further favourites, ‘We’re Rocking This Planet’ (’84) and ‘Primrose Path’ (’86).
3. Bad Times (I Can't Stand It) Pt 1-By Captain Rapp
Larry Earl Glenn, aka Captain Rapp, was, in conjunction with Disco Daddy, responsible for West Coast hip-hop foundation track, ‘Gigalo Rap’, in 1981. The socially conscious ‘Bad Times’ was Glenn’s best-known release – an underground classic, with an early credit for the soon to be massive Jam & Lewis.
4. High Noon - Part 2-By Two Sisters
Produced by Raul A. Rodriguez and Man Parrish, who were responsible for ‘Hip Hop Be Bop (Don’t Stop)’, one of the biggest electro tracks of all – Rodriguez also unleashing C.O.D.’s ‘The Bottle’. Two Sisters were Theresa Pesco and Tracey Houghton, their follow-up, ‘B Boys Be Dubbed’ also big.
5. Let The Music Play-By Shannon
The track that launched the Latin freestyle direction, which took its cue from electro and would become a dance music staple into the ‘90s. ‘Let the Music Play’ became a big hit on both sides of the Atlantic. Quickly following, Xena’s ‘On The Upside’, also on Emergency, would consolidate this new approach.
6. Body Work – Instrumental Dub -By Hot Streak
Starting off with a variation on the US military cadence, ‘I Don’t Know What I’ve Been Told’, the track bursts into full-on floorfiller mode, its electro-funk flavour complete with robotic vocal touches. Mixed by Jellybean Benitez, it was, surprisingly, the group’s only release.
7. The Return of Captain Rock – (Instrumental) -By Captain Rock
Issued by New York’s NIA label and produced by The Fantasic Aleems, who wrote the track with rap duo, Dr Jeckyll & Mr Hyde. Captain Rock was Ronald Wayne Greene, who’d record further electro favourites, ‘Capt. Rock To The Future Shock’ and ‘Cosmic Blast’, in ’84.
8. What I Got Is What You Need – (Dub Mix) -By Unique
New York’s Prelude was an absolutely essential label throughout the early ‘80s – its danceability and consistency seeing it thrive in the post-‘Disco Sucks’ landscape. ‘What I Got Is What You Need’ was one of a handful Nick Martinelli & David Todd mixes, which blew up for me this year – a very underrated duo.
9. Makin' Music - (Dub Mix)-By Gary's Gang
Gary’s Gang are best-known for their disco hits in the late-‘70s. Founder member and producer, Eric Matthew would play a key role in some of the big underground tracks of the early-‘80s, by artists including Dr Jeckyll & Mr Hyde, Electrik Funk, Sinnamon, Toney Lee and Sharon Redd, whose dub of ‘Love How You Feel’, on Prelude, was also a late-‘83 favourite.
10. Play That Beat Mr DJ – (12” Instrumental) -By G.L.O.B.E & Whiz Kid
Rapper, G.L.O.B.E, of the Soul Sonic Force, who’d achieved immortality via ‘Planet Rock’ in ‘82, teamed up with DJ Whiz Kid for a track that would provide the basis for Double Dee & Steinski’s groundbreaking ‘Master Mix’ (aka ‘Lesson 1’/’The Payoff Mix), pressed in January 1984, having won a competition held by Disconet – the NYC DJ only remix service.
11. The Wildstyle – ( Instrumental Mix) -By Time Zone
Granite-hard electro-funk favourite, peppered with ‘Good Times’ cuts and vintage movie dialogue. It transpired that the backing track was the work of key London futurist/new wave DJ, Rusty Egan (credited on US pressings as ‘Music by Wunderverke’) – recorded in Germany, and picked up by Celluloid in France, before Afrika Bambaataa’s Time Zone completed the track for US release.
12. Electric Kingdom -( Instrumental Dub Version) -By Twilight 22
A choice electro cut that would go top 10 on both the US Dance and R&B charts. Twilight 22, led by Gordon Bahary, would release a handful of singles for the Vanguard label before the end of ’84, along with a self-titled album. I’d later sample ‘Electric Kingdom’ on the Ruthless Rap Assassins’ ‘Hard And Direct’ electro homage.
13. Break Dance - (Electric Boogie) -By West Street Mob
Underpinned by Incredible Bongo Band’s ‘Apache’, a classic b boy break dating back to Kool Herc’s Bronx parties a decade earlier. As the title suggests, a favourite with the UK’s breakdance pioneers, Manchester’s Broken Glass included, who would often dance on the Haçienda stage while I played.
14. Just Be Good To Me’ -By S.O.S Band
Atlanta recorded, and the launchpad for producers, Jam & Lewis. This sublimely soulful song, over beatbox backing, influenced (along with The System’s ‘You Are In My System’) the oncoming street soul direction. A slow-burner here, not entering the chart until the following April. Later a #1 for Beats International, led by Norman Cook, who I met in Dec ’83 at a Haçienda tour date in Brighton.
15. Clear (Jose “Animal” Diaz Remix -By Cybotron
Nowadays regarded as a seminal techno track, this Juan Atkins/3070 (Rick Davis) collaboration may have come out of Detroit, but its remixer, Jose ‘Animal’ Diaz, was immersed in New York electro and, as such, this was originally played here as an electro release – the genre term, techno, not coined for some time.
16. Search and Destroy (Instrumental) - By Arkade Funk
Electro-funk meets Washington go-go on this Trouble Funk produced 12”, released on their D.E.T.T label. Go-go would make firm inroads on the black music underground, without ever taking root in the way electro did. Arkade Funk would also pick up specialist plays on their track, ‘Tilt’.
17. Im The Packman (Eat Everything I Can) -By The Packman
Released by Enjoy, one of the foundation hip-hop labels, ‘I’m The Packman’ referenced the popularity of the Pac-Man arcade/video game that was hugely popular around this time. An increasing amount of tracks were being released featuring DJs cutting and scratching, this being prime example. Written and produced by label owner, Bobby Robinson.
18. Two, Three, Break -By The B Boys
A raw, downtempo beatbox workout, with its Chuck Chillout cuts. Big with the early British breakdancers, as was their almost immediate follow-up, ‘Cuttin’ Herbie’/’Rock The House’ – Chillout, audaciously cutting up Herbie Hancock’s electro crossover hit, ‘Rockit’, from the previous summer. I’d work with Vintertainment engineer, Craig Bevan, the following year, on the ‘UK Electro’ remixes.
19.Love How You Feel ( Dub Version ) -By Sharon Redd
Another Eric Matthew production. Sharon Redd had scored major club hits with ‘Can You Handle It’ in ‘81 and ‘Beat The Street’ in ‘82. Along with the likes of Loleatta Holloway, Gwen Guthrie and Jocelyn Brown, Redd was one of the great New York-based divas of the era.
20. Confused Beats (2020 Digital Master) -By New Order
New Order’s ‘Confusion’ video, featuring producer, Arthur Baker, and Jellybean’s club, The Fun House, was first shown on one of my nights at the Hac. I’d play the stripped-down ‘Confused Beats’ with the acapella of another Baker production ‘Walking On Sunshine’ by Rockers Revenge. In his book, ‘The Hacienda: How Not To Run a Club’, Peter Hook pronounced it ‘the first mash-up’.