Take us back to that time.

I mean, actually, my first edit, in a sense, was in 1983.

Island Records, I basically did one of these turntable edits on Paul Haig, Heaven Sends.

It went out as a promo.

It was really mad.

Somebody did a compilation of obscure Island Records dance tracks and stuff, and they had this in the compilation, which kind of made me smile because, you know, They'd let me free at the fairground and I'd just like kind of gone mad, you know.

Early 1984, I'd been doing mixes for Piccadilly Radio and my mixes were becoming more and more intricate and more edit-based.

So what made you say that? And do you still think that's the same thoughts you have in 2025? Well, yeah.

[upbeat music] Who's the DJ? Look, what else created the passion for the music in the boy that was Greg Wilson, and I wondered if the Northern Soul movement played any part in your musical past.

Well, the Northern Soul played pretty much next to no part.

I'll fill you in on that.

I mean, the, the music that kind of was around me when I was growing up, I had an older sister and an older brother, and they were bringing into the house all these great seven-inch singles on labels like Tamla Motown, Stax, Atlantic, great soul labels.

You know, artists like Otis Redding, Wilson Pickett, Booker T. & the MGs, you know, all the Motown acts, Stevie Wonder, Marvin Gaye, Four Tops, The Temptations, Diana Ross & The Supremes.

I mean, this is what I was absorbing as a very young kid, you know? I mean, these records I'd eventually pilfer from my older siblings, and they'd become part of my collection.

But also, within the same building, you know, 'cause we lived in a pub, we had two functions rooms.

Uh, what was the club like in 1983, and what effect did it have having you play there?