Greg Wilson: Celebrating 50 Years Behind the Decks

Greg Wilson requires little introduction. As one of the UK’s most pioneering DJs, record label owners, and dance music historians, he now marks an astonishing 50 years behind the decks. A central figure in disco, electro-funk, and soul, Wilson continues to captivate audiences across the world with his unique sound, performing at sold-out festivals and clubs that span generations of music lovers.

Beginning his career at just 15, the youngest working DJ in the UK at the time, Wilson’s influence has been instrumental in shaping the modern disco revival. His groundbreaking sets in the 1980s at legendary venues such as Wigan Pier, Legend, and The Haçienda, as well as his shows on Manchester’s Piccadilly Radio, cemented his status as a tastemaker. Credited as the first DJ to mix live on British television (The Tube, 1983) and widely recognised as the originator of the UK DJ re-edit, Wilson’s legacy is interwoven with the history of British dance culture. Notably, he even taught Norman Cook (Fatboy Slim) how to scratch.

His iconic BBC Radio 1 Essential Mix remains a benchmark moment in electronic music, earning a place in Rolling Stone magazine’s list of the “25 Greatest Internet DJ Mixes of All Time.” With millions of streams across his extensive online catalogue, Wilson’s music continues to transcend time and trend alike.

As he prepares to celebrate half a century behind the decks, Greg will embark on a series of special performances throughout 2025 and 2026, spanning both UK and international stages, to reflect on the evolution of dance music across five decades.

Reflecting on his historic appearance on The Tube in 1983, where he became the first person to mix two records live on British television, Greg recalls how spontaneous the moment was. Following a performance by David Joseph at Legend, Tyne Tees TV producers invited him to demonstrate his mixing technique on air.

“At the time, there wasn’t much reaction from the studio audience, people didn’t really understand what mixing was,” he remembers. “But when I got back to Manchester, I suddenly had this wave of congratulations. DJs were inspired, and it helped elevate the profile of mixing as an art form.”

Despite its lasting impact, Greg admits he found the experience nerve-racking. “The cameraman nearly got in the way, and it reminded me how much I preferred the dance floor over being in front of an audience. Back then, DJs weren’t the focus, the dancers were.”

A hallmark of Greg’s performances is his use of reel-to-reel tape decks, particularly the Revox B77, which he began incorporating into his sets in the early 1980s.

“The reels are stereo, which means I can layer samples and effects over CDJ tracks,” he explains. “It adds a spontaneous, dub-style element that comes from Jamaican studio techniques.”

For Greg, the reel-to-reel bridges the analogue and digital eras, allowing him to merge vintage warmth with modern precision. “It keeps things creative and unpredictable,” he says, “which is what DJing should be.”

Greg is also credited as the pioneer of the DJ re-edit, now a staple in DJ culture. Long before digital tools, he was physically splicing and rearranging tape to craft new versions of tracks.

“In 1984, I was editing on cassette decks and reel-to-reels for Piccadilly Radio,” he recalls. “I’d cut tape, reverse sections, drop in samples and add dub effects. Later, I started pressing my own edits, which became the foundation for the re-edit scene.”

His 2005 compilation Credit to the Edit became a defining moment, introducing his work to a new generation of listeners worldwide. That influence was reaffirmed in 2009 when his BBC Radio 1 Essential Mix gained widespread acclaim from both the BBC and Rolling Stone. “It’s been rewarding to see how those early experiments continue to inspire DJs everywhere,” he reflects.

Half a century on from his first gig, Greg shows no signs of slowing down. He remains as committed as ever to engaging younger audiences while staying true to his roots.

“The music I play, mainly re-edited disco and funk from the ‘70s and ‘80s, still resonates with younger crowds,” he says. “You see that in DJs like Kirollus and the way festival audiences respond. The re-edit scene helped bridge that gap, it made old records feel fresh again.”

With the advent of stem separation technology and AI, Wilson sees even greater potential for DJs to reinterpret the past. “We’re now able to revisit 20th-century music through a 21st-century lens,” he adds. “It’s an exciting time for creativity.”

Beyond the decks, Greg’s label, Super Weird Science, serves as a hub for his many creative ventures, including publishing. Among its releases is James Hamilton’s Disco Pages 1975–82, a tribute to the late Record Mirror journalist who was instrumental in documenting the evolution of British dance music.

“James Hamilton was a huge influence,” says Wilson. “He championed mixing before it was even part of the mainstream and meticulously chronicled the UK scene. Pete Tong can be seen as his natural successor in terms of influence, but Hamilton’s legacy deserves more recognition.”

A forthcoming companion book, James Hamilton’s Dance Pages 1983–1989, complete with an introduction by Pete Tong, aims to highlight that enduring contribution. “Hamilton’s work provides a vital historical record,” Greg adds. “It tells the story of how British DJs helped shape modern club culture.”

As Greg Wilson celebrates 50 years in music, his journey stands as both a testament to dance music’s evolution and a reminder of the DJ’s role as a storyteller, bridging eras, sounds and generations through rhythm and reinvention.

Read the full in-depth interview with Greg Wilson on The Night Bazaar website HERE.