Greg Wilson opened up his set with his edit of "Cocaine Blues," an excellent recent addition to a career of classics. Then...the lights when on. I would guess that this is the 2,000th or 3,000th gaffe like this in his career. There would also be some speakers cutting in and out later. It was no big deal, really. No one panicked.
Photo credit: Lillian Nava
While adolescent Latinas celebrate their transformation into womanhood here, we were adults celebrating our transformation into children. Wilson spun the story of our regression through a slew of his own edits like Sugardaddy's "Love Honey," "Voodoo Ray," "Psycho Killer," versions by others, especially Frankie Knuckles' "Ain't Nobody" dub or Soulwax's mix of "You Can't Always Get What You Want," and classics like "Love Is the Message." And thirty other tracks you would recognize. He even brought his trusty reel-to-reel to splice things up, keeping it interesting for him and us.
This familiar, yet amazing, set, was a reminder that Wilson is one of the finest selectors and re-workers of pop music, well, ever. In an age of increasing niche dominance, I can't think of someone who can satisfy a mainstream crowd and pull out the heads in equal measure. You usually have to pick a side. No discredit to his edits by any means, but if I could ever afford to, I would love to hire him to DJ my wedding. What seemed like such a bizarre, unlikely location was in fact a completely appropriate spot, as it ended up feeling more like a house party (not a loft or warehouse, but, rather, a friendly house party) than anything else. More like this, please.