#GREEN GORILLA POOLS SOFTWARE#

Thus the hugely influential edit scene was born, paving the way for a spectrum of club remixes from genius and egregious. Record pool culture opened the doors for innumerable disco and funk edits: DJs wanted to sound unique, so they mixed (or had someone else mix) their own versions of hits, stamping them with an individual sonic imprint. ( which pipelined many hard-to-find American dance releases to British crowds, and he came of age in a world of DJ record pools - strategic vinyl-sharing cabals that hooked cash-strapped DJs up with record companies eager to get their releases heard. Wilson made his name in the вЂ™70s and вЂ™80s by birthing the electro-funk movement in the U.K. For me, music - no matter how old it might be - is always alive and evolving, so IвЂ™m all for bringing it into a new context.вЂќ I like the way younger people, who didnвЂ™t directly experience the original disco era, are drawing influence from it, reshaping it from their own perspective here and now. But great as they were, I donвЂ™t like to dwell on the past too much in a nostalgic way, but use it to inform the future. вЂњI think itвЂ™s an exciting time,вЂќ he e-mailed me from Australia, in the midst of a bonkers world tour to support his latest compilation of rejiggers, Credit to the Edit, Vol.

#GREEN GORILLA POOLS SOFTWARE#

Wilson, who spent his decks hiatus pursuing his production career, may still keep one hand on the vintage - that Revox B77 still travels with him - but heвЂ™s made no secret of his enthusiasm for new fad gadgets, and felt that with the simultaneous rise of disco re-fever and software hijinks, a comeback was due. Plastic and silicon moving in tandem - itвЂ™s a real mishmash. Despite all the retro nostalgia, DJs need the Internet to get their mixes out and research rare tunes. Every technology carves out an implicit niche for its own backlashes. Two of the big nightlife media hooks of the past few years have been the disco revival and the vinyl resurgence - twinned digital-reactionary movements that recall the late-1990s hip-hop and soul crate-digging of hometown heroes like DJ Shadow and Ren the Vinyl Archeologist, a fruitful response to the CD reissue mania of that time. ItвЂ™s a wondrous bit of analog theater that I imagine, in this вЂњdigital ageвЂќ I keep hearing about, would cause the same kind of pop-culture rupture if played out on American Idol today. Then he takes it to a whole other level by revving up his trademark, Steampunk-prophesying Revox B77 reel-to-reel effects machine, real-time sampling David JosephвЂ™s Jheri curl-slick classic вЂњYou CanвЂ™t Hide (Your Love From Me),вЂќ filling out the back-end with sly loops and layering on psychedelic dub echoes. Wilson goes on to blow post-punk minds by phasing on two - two - tables at once.

And thatвЂ™s why I kind of вЂ¦ play about with them a bit.вЂќ вЂњBut when a recordвЂ™s been played in the club for a long time, people get a bit fed up hearing it, and itвЂ™s nice to hear it in a different way.

вЂњWell, thatвЂ™s it, thatвЂ™s the danger,вЂќ Wilson replies to Holland, poker-faced, his soft brown Afro unshaken. HeвЂ™s merely cueing up the record, a simple act that draws gasps. The scratching bitвЂ™s a hoot because Wilson - who recently emerged from an 18-year retirement and will be performing at Triple Crown on Friday - isnвЂ™t scratching at all. IвЂ™m snickering at a jaw-droppingly antiquated - yet actually quite relevant - video from 1983 titled вЂњ1st UK DJ to Mix Live on TV.вЂќ It features famous, fresh-faced turntablist Greg Wilson, gracefully fending off tin-eared questions from Tube program host Jools Holland while demonstrating to an antsy, angular-haired audience what this whole вЂњmixing recordsвЂќ thing is about. EGO вЂњDonвЂ™t you think that scratching records might annoy the people who spent a long time in the studio making them?вЂќ

Green gorilla pools