The Polish duo Jazxing, formed by Jakub Sautycz and Mateusz Filipiuk, is, as we like to say in English, "Something else". I asked them a few questions; let's dive deep! Jazxin g songs have been featured on mixes crafted by The Balearic Ultras and played both on Balearic Breakfast and on Balearic brunch . When Colleen features an artist more than once, you'd better beware: this is a very good sign. Laughs! Being myself Polish, I could not resist the temptation. I asked Jazxing if they'd share their story with me here on the Balearic Breakfast Blog. And they accepted! I'm over the moon to have them here; turn the lights off and the sound as loud as you can; we're drifting away immediately. 1) Hello to you, Jazxing! Thank you so much for joining me here on the Balearic Breakfast blog! Can you tell us how your shared musical journey started? Hiya! Thank you for the invitation, Artur! Kuba and I met at the local club in Gdańsk – La Dolce Vita years back (circa 2010). We were playing as DJs on regular club nights at this small but legendary place and got along with each other straight away. Since day one, we noticed that we share a lot of similar influences and musical likings, so we knew that we should make music together. Luckily, it turned out that our intuition was right, and we started to develop our own sounds. 2) I read on your Bandcamp page that " Jazxing is part of a growing group of colourful Polish artists, clubs, and labels who want to share and inspire people with their passion for these sounds." Could you please share your musical plans with us? We are constantly writing new ideas for compositions and trying to put them in the right places - right now, we are starting two side projects along with working on the new Jazxing material. The first one – Nagar for more dark, EBM, new beat, post-punk, slowed down chugger grooves – it will be a live act mainly by just the two of us, more synthetic than organic. The second one is Fahrlust – a 5-piece band with some of the greatest local musicians, for more kraut, afro cosmic, Balearic vibes based on a pulsating trance. 3) Colleen featured Your music on Balearic Breakfast and on Balearic Brunch, clearly showing that you have a musical "Balearic Touch". According to you, is this peculiar style of music harder to work on? How do you approach the remix process? Making remixes for other artists is something that we both love to do. There is something special and fun about twisting somebody's material, transforming the compositions as you hear them in your mind or using specific parts of the song that bring new ideas. So I would say that for us, this is the first, most important step in doing remixes – to find the element that gives you a perspective of adding new sounds, thus creating a whole new picture. 4) Your brand new album, Pearls of the Baltic Sea , has been issued on "Higher Love Recordings". What was the most challenging part when working on the album? Could you share with us your fondest memories while working on it? I think that the best moments of working on the Pearls Of The Baltic Sea were each of the recording sessions with our brilliant guests. To name them – Tati Vaitovich with her unique timbre; Paweł Nowicki on vibraphone (Kobiety, Kwartludium); Michał Jan Ciesielski (Immortal Onion, ńoko, Quantum Trio) laying the spacious saxophone parts; Kamil Kozłowski – a voice of W Uścisku ; Krzysztof Filipiuk – Mateusz brother that was invited to record guitars on Vijnana and Vojto Monteur with his amazing ambient guitar work in Hyacinth! The release is called Pearls Of The Baltic Sea to honour the talent of these great musicians. The most challenging thing was mixing and combining the sounds in the way we wanted.  5) Which part of your musical journey brings you the most pleasure? Is playing live for an audience as great as working in the studio? We love both working in the studio and playing live, but not many things are as rewarding as having a chance to share emotions performing our compositions for an audience! It can be really moving when we see people reacting to our music the way we wanted it to affect them and hear the sound we wanted to achieve. These inspiring moments reward all the effort we put into the live band and motivate us to work further on evolving the sound and mastering the arrangements of the songs! Thank you so much, Jazxing!

Colleen ‘Cosmo’ Murphy breathes new life into Crazy P’s Stop Space Return with a pair of cosmic, acid-tinged reworks. We spoke to her about the remix, her connection to acid house, and honouring the spirit of Danielle Moore. E. Note: This interview has been originally published on Knights Of The Turntable's website and is reproduced here with their permission. Colleen ‘Cosmo’ Murphy is a true steward of the dancefloor. A lifelong music obsessive, her journey began as a teenage radio host in Massachusetts, before moving through the undercurrents of New York’s club scene and into the inner circle of Loft legend David Mancuso. Few selectors today carry the same gravitas, technical fidelity, and spiritual connection to sound. Now, in a powerful moment of alignment, she returns with a pair of extraordinary remixes for Crazy P’s ‘Stop Space Return’, a package that lands via 20/20 Vision as part of the label’s 30th anniversary celebrations. Originally released in 2008, ‘Stop Space Return’ has long been a centrepiece in Crazy P’s storied catalogue: a cosmic, rolling slice of UK nu-disco that still hits with emotional force. Yet, these latest versions arrive with added weight. Danielle Moore, the band’s radiant vocalist and magnetic heart, sadly passed away in 2024. Though this release was not designed as a tribute, Colleen’s remixes now feel like a deeply resonant offering, vibrant with life but dialled into a higher frequency. Her Cosmodelica Remix reimagines the track as a slow-burning acid house ritual. Built on trippy percussion, warped 303 lines and filtered disco euphoria, it brings Danielle’s vocal into a new light: ethereal, untethered, almost devotional. The accompanying dub takes things deeper, twisting the TB-303 into wilder shapes and letting the rhythm breathe and spasm in signature Cosmo fashion. It’s a bold, beautiful trip, part sonic séance, part dancefloor sermon. Colleen is no stranger to the deeper philosophies of sound. Through her long-standing radio work, Classic Album Sundays and years spent as Mancuso’s protégé, she’s been a fierce advocate for intentional listening and the transformative power of music. But she’s also remained grounded in the visceral joy of dancing, the pure, physical energy that makes acid house, disco and soulful grooves such enduring forces. With this remix, Colleen doesn’t just rework a classic. She reframes it, allowing both grief and celebration to coexist in a shimmering, slow-release dancefloor moment. It’s a reminder that the best DJs are not just technicians or tastemakers, but emotional translators. In her hands, ‘Stop Space Return’ becomes an ode to legacy, to love, and to the alchemy of sound. You can purchase the release here. We caught up with Colleen to talk early inspirations, the legacy of acid house, her remix process for ‘Stop Space Return’, and how she continues to navigate the intersection of fidelity, feeling and the fierce joy of dancing together. THE INTERVIEW Career & Early Influences 1. You began DJing and hosting radio shows at just 14 years old like “Punk, Funk and Junk”. What was your earliest memory of falling in love with music? I was in love with music from the get-go,but hearing David Essex’s ‘Rock On’ pulse from the transistor radio whilst sitting alone in a dark room with an illuminated ultraviolet ‘Easy Rider’ poster at the age of five is forever etched in my memory. That bassline! 2. How did your time in New York’s underground scene shape your outlook as a selector and curator? New York is one of the world’s greatest music cities and there is so much on offer all day every day after I moved there in 1986 partially because its many musical subcultures were beckoning. I was heavily into the indie and hip hop scenes and went to loads of live gigs including The Butthole Surfers, The Sugarcubes and Tackhead at the Ritz in the East Village, The Residents and Diamanda Galas at Lincoln Center, The Reverb Mutherfuckers at CBGB’s, Public Enemy at the Harlem Apollo and hundreds of others. I also partied with the Queens at The Pyramid in the East Village, discovered house music at clubs like Tracks (where I saw Adeva), got sweaty on the dancefloor at the Shelter and Louie Vega’s Underground Network Party, grooved to acid jazz with Groove Collective at Giant Steps, experienced the city’s undercurrent at murky afterhours spots like Save the Robots and of course, got into the psychedelic family vibe at The Loft parties held by my friend David Mancuso at his home on East 3rd Street. These bands, DJs and venues greatly inspired me but then nearly everything influences me and not just music but also art, film, books and nature. 3. You’ve worked in both radio and live club environments. How do you approach each format? Everything is about context – time, place, atmosphere and what is expected of you. Hosting a morning radio show (such as my Tuesday morning Balearic Breakfast) requires a completely different tone to a Cosmodelica dance programme hosted on a Friday night; broadcasting to 100,000 people in Japan (as I did in 1989) required a voice different to the one I used on the syndicated indie music magazine shows I hosted in the early 90’s. Similarly, playing an opening set in a club is different to doing a peak set, a closing set or playing from beginning to end. The type of space influences the selections as a big dancefloor and a festival set on the other side of the spectrum to a small intimate party. DJ-ing on a Saturday night is different to DJ-ing on a Sunday afternoon. The main thing is to take in your surroundings and know the audience: Who is listening to the radio and what are they doing right now? Who is on the dance floor and what’s their vibe? How one delivers is down to intuition and experience. 4. You’ve often spoken about your love for vinyl. How has that passion evolved over the years, especially in the face of digital culture? Digital culture gave me a greater appreciation for vinyl but that isn’t because I feel either format is ‘better’ quality than the other. Digital formats and hardware are getting better all the time. But many moons ago, when I embarked upon my radio & DJ journey, everything I played was on vinyl as there wasn’t another option. CDs then came in and were great as I could play unreleased tracks gifted from other DJs. USB sticks and hard drives have allowed me greater choice as I could never pack that many tunes into a record bag. But I think these formats have also further endeared me to vinyl as it’s become more ‘special’. I feel a tangible and visceral connection with a record I have played for decades; I’m not only in love with the music, but also the object held in my hand. I have never felt that way about a series of ones and zeros. Playing vinyl also requires more skill in terms of setup, optimum playback and mixing (which is much more fun on turntables as CDJs display the BPM). Vinyl requires investment and not only monetarily although that is a hefty consideration. It requires time and personal investment and practice and the skills that are well earnt are the ones that are most significant. Acid House & Underground Culture 1. Acid house rarely gets mentioned in your interviews. Can you tell us about your personal connection to it? When acid house culture exploded in the UK, I was living in New York but connected with it via osmosis. Between 1991 and 1994 I interviewed dozens of British artists for Music View, a weekly nationally syndicated radio show I produced and hosted at the time. I interviewed Aphex Twin, Orbital and The Orb, and also crossover bands like Primal Scream (for Screamadelica), New Fast Automatic Daffodils and The Shamen. Hearing these albums, reading NME and Melody Maker articles and chinwagging with the artists gave me a good insight into what was happening in fields, festivals and clubs in Britain. At the same time, I was going out to clubs in NYC, but the places I truly connected with were more populated by Black and Latin American DJs, dancers and music. There are many records that were big on the British acid house scene that didn’t really make it over onto those dancefloors. But there were a lot of crossovers and in fact, the first time I heard the still fresh sounding ‘Plastic Dreams’ by Jaydee was at the Shelter and Timmy Regisford played it twice! I spent all day Sunday locating a copy and got the last import pressing in the city at Eightball Records. Acid house resonated with me because it unified the indie rock world with the dance world and at that time, I had one foot firmly planted in each. 2. What were some of the first acid house tracks or nights that really made an impact on you? Mr Fingers Introduction is still one of my favourite albums of all time. In fact, all of Larry Heard’s work – ‘Can You Feel It’, ‘Moonglow’, ‘Washing Machine’ – hugely impacted me. The aforementioned ‘Plastic Dreams’ by Jaydee still rocks a floor and is so darn funky. David Mancuso turned me onto Psychotropic’s ‘Hipnosis’ and ‘Only for the Headstrong’ and I fell in love with its deep psychedelia. And the italo-house tunes that really resonated with me was Soft House Company’s ‘A Little Piano’ and K Tronics Ensemble ‘Calypso of House’. 3. How do you think acid house aligned or clashed with the ethos of The Loft and David Mancuso’s musical philosophy? They both align on social values. I read Dreaming In Yellow, The Story of the DiY Sound System and felt the free party early rave scene certainly matched with David’s ideal hippie values and its quest for egalitarianism. Probably best not to compare the sound systems 😉 4. What’s your take on the resurgence of interest in acid house sounds among newer DJs and producers? It’s kind of like the resurgence of disco when I started DJ-ing in clubs and the resurgence of 60’s acts like Velvet Underground when I was on college radio. I longingly looked back to those eras and wished I had been part of their blossoming music scenes. It’s funny because now younger audiences and my 20 year-old daughter are getting into 90’s house and I actually not only experienced it while it was in play, but was part of it as I was DJ-ing in New York and beyond, worked at the legendary record shop Dance Tracks and I also hosted a weekly two and a half hour live mix show called Club 89 on 89.1FM. Recently I started listening back to some of these shows including one in which my guest was Romanthony and our excitement about the unifying aspect of house music really shone through. I’m glad younger audiences are discovering it and am proud to have played a small part. 5. Your new remix & dub of “Stop Space Return” by Crazy P is a real Acid-tinged affair, can you talk us through your remix process for this release? It’s definitely acid-tinged but I was also inspired by electro, freestyle and broken beat. Crazy P are some of the best nu-disco producers out there. They are geniuses at crafting a slinky sexy 4-to-the-floor groove. My philosophy when doing a remix is to offer something different. Crazy P’s original version of ‘Stop Space Return’ is the definitive disco-house version (and their recorded live version is incendiary). It’s still one of my favourites so rather than reinvent the wheel, I just took it into another direction that would give the dancers a funky rhythm that’s different but fun. I also like to challenge myself and don’t have a cookie-cutter production style. In the last few months, I’ve remixed The Cure (indie-dance), The Street People for the Spring Revisited series (uptempo disco-house), Saint Etienne (downtempo samba vibes) and Santino Surfers (mid-tempo Balearic chugger). My Cosmodelica remixes are varied and reflect my multi-faceted musical styles. 6. The world lost an icon and a true visionary in Danielle’s passing, you’ve spoken before on your own grief, nearly a year later, how have you channelled or dealt with the loss of Danielle? I’ve lost a few more friends since Danielle’s tragic passing and it has taught me not to take anything or anyone for granted. Danielle was one of a small group of women from my generation who are still spinning and performing in the disco-house arena and she was an ally. We shared many festival stages, and I had enormous respect for her – she just wowed me with her presence. The last time I saw her perform live was at Gala Festival and she floored me with her cartwheels and the audience adored her! We also DJ-ed on the same bills and she was a great DJ, too. She was on top of her game, but you never know what somebody is dealing with internally and that goes for all of us. We lost a great one and I miss her talent, compassion, and humour. Sound, Legacy & Philosophy 1. As someone who prioritises high-fidelity audio, how do you approach more raw or lo-fi genres like acid house? Good question as once I got into high fidelity audio, some of my old records didn’t sound so great! In the 90’s, many dance 12-inches were cut very loud, often distorted and had too much bass. We only had vinyl and record labels and mastering engineers wanted the records to sound bigger and louder for the dance floor. However, once you have a great system and train your ears accordingly, very annoyingly you hear the sonic flaws. Sometimes I prefer playing an AIFF of an old house track if I feel it doesn’t sound great on vinyl. But I also try not to be snobby about high-fidelity as I know sometimes lo-fi is a sonic choice and I came up through the indie scene. 2. David Mancuso once said you were one of the only people he trusted with both the music and the equipment. What did that trust mean to you? It meant the world to me and still does. I started playing records back-to-back with David in my early twenties and not only did he trust me with the music and dancers but he also entrusted me with his incredibly fragile and expensive Koetsu moving coil cartridges which at the time, over 3 decades ago, were $2,000 each. If I broke one, he would have to do the party with one turntable. Decades later I asked him why he trusted me at such a young age to musically host at The Loft and he replied, ‘It starts with a vibe long before one hits the turntable.’ 3. How does your experience at The Loft influence the way you build a dancefloor journey, especially when playing something like acid house? I draw from all of my experiences when DJ-ing for a dance floor and although I may play songs I wouldn’t necessarily play at The Loft, the one thread that runs through everything I do is tapping into the healing force of music and how it can elevate people’s life energy and vibration. That’s what I endeavour to do with every club set, radio show and Classic Album Sundays event. I want to lift people’s spirits. 4. Do you think contemporary club culture has lost some of the values of intentional listening and sonic quality that pioneers like Mancuso and yourself championed? Honestly, I feel things are getting better as I feel David’s philosophy that ‘good sound is a human right’ is becoming more widespread. In 2003 when we started the Loft parties in London together, it was the only audiophile dance party in the UK and most likely Europe. It then inspired other sound systems like Rotation in Staffordshire, Bonsai Hi-Fi in Liverpool and Cosmic Slop in Leeds. Now there are travelling audiophile-club sound systems like our Love Dancin’ system we use at We Out Here and Floating Point’s new sound system. And British clubs of all sizes are focussing more on the sound, improving various elements and doing the best they can with whatever their budget and space allows. Good sound has become a goal and I’m very happy to see modern club culture evolve in this way. 5. Are there any modern artists or collectives who you feel are carrying the torch of acid house in a meaningful way? Acid house for me is an older term so I just say house as it encompasses more. I love what I call the new sound of New York: musclecars, Lovie and Toribio are all part of that gang and I like featuring up and coming DJs at our Love Dancin’ tent at We Out Here. In the UK we have fresh young collectives like Brighter Days and some of them come to my gigs, as well. These younger DJs inspire me with their fresh sounds and perspectives, and I try to champion them the way people like David and Francois K championed me when I was coming up. Classic Album Sundays & Broader Impact 1. Classic Album Sundays has become a global phenomenon. Did you ever imagine it would resonate so widely? I felt it was something that had to be done but I had no idea it would have the impact it has had. When I started the event and content platform 15 years ago, the vinyl renaissance and the listening bar trend hadn’t yet happened. Classic Album Sundays brought the threads of my entire musical vocation all together – music journalism, DJ-ing, event hosting and my knowledge of sound which I gained through my mentorship with David and my university studies. In 2010, I felt that listening habits had changed and not for the better as people were ‘consuming’ music via MP3s which reduces the original audio by 75-95%. Shuffle culture was in, and album listening was out. We also weren’t listening communally but isolated from others on our headphones. As I had a great audiophile sound system, an extensive record collection and the musical knowledge gained from over a quarter of a century working in music, I felt it was a duty. I wanted to allow people to fully immerse themselves in an entire album, gain a new experience and hear details in the recording they had never heard before. The BBC Arts Editor David Sillito came to the third Classic Album Sundays session at the Hanbury Arms and featured it on BBC Breakfast and loads of other platforms and then my phone didn’t stop ringing for two weeks. I then knew it had legs. 2. You’ve hosted some incredible sessions with artists like Nick Mason, Laura Mvula and John Grant. What have been some personal highlights? After every interview I feel that particular one has been the highlight, so it is difficult to answer. When I interviewed Nick Mason of Pink Floyd that was a real moment as for those of us who grew up in the 70’s, Dark Side of the Moon was ubiquitous – you heard it everywhere and it sounded amazing (it was engineered by Alan Parsons). Having the opportunity to explore the album with Nick Mason for a surround sound event at the V&A Museum as part of Pink Floyd’s ‘Their Mortal Remains’ exhibition was a true pinch-me moment. Nick enjoyed it so much he asked if we could do another session, so we went up to Suffolk and hosted a CAS session featuring his personal favourite Pink Floyd album, Saucerful of Secrets, at the John Peel Archive. It was so lovely as Nick hadn’t seen John’s wife Sheila in decades and they had been good friends. Another memorable CAS was also held at the JPA in which I interviewed Julian Cope about Teardrop Explodes – probably one of my most wild interviews as it was a real feat keeping up with his fast-moving and expansive mind. His wife said I handled him well. 3. You’ve worn many hats including DJ, producer, radio host and curator. Which role feels most “you” at this stage of your journey? Musical curator and educator ticks the box of everything I do whether it is Classic Album Sundays, my remixes, my radio shows and/or my club sets. I want to turn people onto music both from the past and the future. It’s what keeps me going.

Hearing Jona's edit of Peter Green's Proud Pinto during Balearic Breakfast brought a big Smile on my face. I decided to contact him to have a chat! 1) Hi Jona! Thank you so much for joining us here on the Balearic Breakfast blog! Can you present yourself to us and share the musical journey that led you to become a DJ? I was born in ’82 & emerged from the DIY skate & graffiti culture with punk & hiphop   but turned into electronics after hearing Ken Ishii’s “extra” in ’95 via my nephew Jo.  Around the same time, Natacha, who worked with my father, introduced me to nightlife. I was still a young kid but started working at the infamous Kozzmozz parties here &  got to hang out with living legends like Jeff Mills, Juan Atkins, Carl Craig, DJ Hell, Green Velvet... inspirational to say the least! My hometown, Ghent, has been quite influential for electronic music: the Boccacio club with new beat & house, R&S records (no introduction needed) and, with parties like I<3 Techno, 10 Days Off or even Kozzmozz & Eskimo I was spoiled and got a proper education. At the age of 18, I was living in the Kuiperskaai, and my neighbours on the left side were Stephen & David (soulxwax, 2manydjs) and on the right side there was Mo & Benoelie (aka the glimmers)! So yeah.. Nuff said i guess? 😂 Fun fact: it happened more than once that I would find some vinyl records just in the middle of the street early in the morning 😍 Crazy years Indeed! 2) How did you start editing songs, remixing them? What was the first song you ever worked on? Coming from the hiphop culture, I have a deep & profound love for both mixtapes & heavy beatmixing, and I always loved the extended 12” versions. So, around the end of the 2000s, with the downfall of vinyl sales due to the rise of serato & digital mixing, I’ve made my first edit. I remember doing it simply because I wanted to mix the song into my set, but the intro was too short… The track was “I’m so happy now” by Willy Wright from Mississippi, and I think it’s still somewhere on soundcloud! Around the same time I started The Eclectic Ladyland Liveshow overhere on local radio. It was an sunday afternoon 2-hour show and, as the name suggests, I would play just anything that i liked – which has always been my nr 1 rule as a dj:  i play it if i like it (and vice versa) – from jazz to techno, psychedelic rock to cumbia, via trip hop to greek Miroloi songs… In the past 15 years i had made tons of edits, solely for my own show and my sets, but I never did anything else with them, and had no other plans whatsoever. Then, this year, in February, I broke my 2 heels (don’t ask me about it) and I was stuck to my couch 24/7 for 3 months. During the first week I managed to create about 27 mixtapes but I just got bored, so I started flipping thru old boxes of photos & loveletters & hard drives which were full of music, and I decided to send the edits I dug up to some musical friends worldwide. One of them told me: “Why don’t you put them on bandcamp?” Honestly, I had no clue, but, like often, I answered “Sure, why not” and while doing that, I realised making some more edits would be a perfect way to kill the seas of time that I had ahead of me! Making edits is fun, of course, but it may also become very boring, repetitive & time consuming, depending on how you work. The first 2 edits I’ve made this year were actually more kinda mash-ups (Bicep’s ‘glue’ vs Sono ‘keep control’ (2 tracks that I loved to mix while dj’ing peak time) & Kelis ‘caught out there’ vocals over my all time fav song Quantic ‘cumbia sobre el mar’)! Another fun fact while we’re at it: I finished the last one after approx 200 hours of non-stop funking around, and had send it in all my enthousiasm to let’s say the A-list of funkateers: Gilles, Lefto, Questlove, etc just to find out, after sending, that I had sent the wrong file! I kid you not 😂 I had also posted the Bicep / Sono track to the Amazing facebook group Balearic Burger (Follow them if you don't already & thank me later). Then, A little later, the Balearic Burger headhoncho John C Bawcombe reached out to me (S/O JOHN! LOVE YOU LONGTIME!!) and told me: "Listen, you got something here, do something with it..." He really pushed me to next level... John will never acknowledge it, but without him we wouldn’t be talking right now!! He connected me with so many key players in the balearic world, and really pushed things further! 3) Speaking of edits, Colleen played your Proud Pinto edit from Peter Green. How did that remix happen? Why did you chose this track? What did you want to achieve with it? I was over the moon when I heard Colleen had played my track! When it comes to editing, my only purpose is to make it dj-friendly. Generaly speaking, I don’t overdo things, because the songs I pick are all favs of mine & I respect the artists so much that I simply extend the tunes, nothing more. As for the songs, well, again, they've been in my bags for 25 years & I would often say to myself ‘Why is this song so short?’ or ‘This could use a longer intro!’. With todays technical possibilities, I’m simply able to answer these two questions! So yeah, i just do it i guess 😉 By the way, my biggest inspiration has always been Greg Wilson, the don of edits! Since hearing Credit To The Edit vol.1, a milestone and true testimony of the art of editing & DIY culture in general, I knew I wanted to edit songs! Jona's Bandcamp:   https://telledits.bandcamp.com Jona's Mixcloud: https://www.mixcloud.com/eclectic-ladyland/ 4) What's next for you musicaly speaking? Both my imagination & songs "to do lists" are endless, so we’ll see where it ends! For now, I’ve got my first official remix coming up and I’m working with the legend Trevor Fung on some things, you’ll hear about those later! TELL#50 was released this week with edits from Jaqueline Taieb, Glass Beams, Venus Gang, Los Pekenikes, Scott Lavene & Pat Metheny & that’s what Tell Edits is all about: from Yé Yé to Outernational Sounds, via Psychedelica to Tropicalia over Rock to Jazz & back. No limits. No gods. No Masters! Make edits, Not war ✌🏻

Balearic Breakfast allows its listeners to discover brand new music. When I heard "Mud People" by Torn Sail, I simply fell off my chair. I had to meet Huw again... Order Torn Sail's New Album on Bandcamp More about the band 1- Far away from today’s musical trends, your new album puts music close to the lyrics, inviting it to tell its own part of the story. Was this a way to reflect Steady weather’s soul or would you rather say that it’s the band’s DNA? This album certainly has more time, space, and music surrounding the lyrics. I listen to a lot of instrumental music and it can say a lot just without words, just like a cry, a sigh, or a laugh. Also, I tend to write sparely so there is time for the undercurrents to unfold. Perhaps I am making space for myself in a fast life. 2- We also feel that sonically speaking, and compared to the other albums Torn Sail recorded previously, Steady Weather is more open, almost reaching to an ethereal nature, if that makes sense. How did you work on that aspect of the album? I like to make space for improvisation in our performances – whether live or recorded.  That way we can really express ourselves in the moment we are in and in the environment we are in. It's a way to commune with our audience and it's a magical, physical, mystical happening. I also like to bring the outside world into our music, the spaces let in the unplanned world-sounds – traffic, ice-machines, glasses, coughs. It feels like we hold the time for an indefinite tiny infinite moment.   3- Although a main positive journey, Steady Weather also has its dark, plunging and frightening moments, I’m thinking here about the incredible track that “Mud People” is… Can you take us through the song and tell us its story, how it evolved and maybe what it means? I imagine there are many songs that are for Alan Kurdi, the child washed up on the shore, when the boat he was on sunk during a desperate attempt to flee violence, and not just for Alan but the thousands of men, women and other children who've died or been brutally treated trying to escape war and poverty. It's shameful the way we treat people on the run from the hell we in the western world have done so much to create.  History shows our borders are ephemeral, that common people are pawns pit against each other in the interests of tyrants and psychopaths. It's becoming increasingly clear that as our capitalist society turns our natural world to concrete and gold there are less and less resources to fight over, and so the fighting is getting more desperate and the powerful build bigger and bigger ivory towers.  We need to lay down our borders and brace for a great levelling. Or maybe our leaders try and do good. 4- Steady Weather acts as an invitation to travel. From the title of the album to the songs, beautifully developed and showcasing a breathtaking mixture of sonic layers. Can you share a few memories from the studio with us? Steady Weather has come from more than a decade of recording. When I listen I feel nostalgia. I remember carrying my children through the Sherwood Forest as babies, I remember my Step-father dying in hospital, I remember losing my job and signing on, I remember being 40, then 50.  Friends and Nutshell were recorded live in concert at Peggy's Skylight – a Jazz club in Nottingham where we're based.  We were all incredibly nervous in the lead up to the show – for weeks – and we only shared the feeling back stage before the gig. It was just as clubs were allowed to open again in the UK after the Covid Pandemic, and I think there was a residual fear that came to the surface. We played such a beautiful set – John, Henry, Jim, Jeff & I – one of the highlights of my musical life – the relief of being amongst people and around music was tangible – the nerves turned to elation. It was a night I'll never forget and I'm so glad it was recorded.   Consider Your Position is from when the pubs first opened again, and my partner Caroline and I met up with John, Torn Sail's bass player, in the garden of the Lion. I think it was a sunny April day. I got very drunk and wrote the evening as it happened.  5- Will you take the album on tour? What can we expect from Torn Sail in the near future? The band would love to. I don't know if we can afford to. I'm starting to ask around... but we're very under the radar. We've started making another album! Thank you from the bottom of my heart Huw, and all the best on your musical journey to you and to the ones accompanying you!

Colleen 'Cosmo' Murphy broadcast the 229th episode of Balearic Breakfast on her Mixcloud on July 01st 2025. About this episode. – After playing at Pikes in Ibiza, and despite what seems to be a sinus infection blocking her right ear, Colleen managed to air a brand new episode of our favourite show today! This episode was very refreshing knowing the curent state of the thermometers in Europe (we reached 38°C here in Paris while 34°C have been reached in London) as it had a viby, cool, slowly evolving rhythmic pace, letting the listener feel a "letting go' vibration for most of the songs played, of course enhanced by Colleen's incredibly perfect mixes! Without the shadow of a doubt, the first two songs of today's episode are a Wow Moment! Of couse, as often, today's show resonnated with me as I felt that if you're not being appreciated somewhere, and If all you could give was never enough to someone, be it at work or in your private life, one of the solution was to adapt your thinking mind and let things go. We should never force things, let alone allow anybody to pressure our personality to meet their expectations... Try listening to today's show with that in mind, and you should be able to meet me quite quickly somewhere along the musical and Balearic Way... Listen back to the 229th episode of Balearic Breakfast: This morning’s Balearic Breakfast is now up on my Mixcloud and for the most part is all new tunes, including several coming out later this summer by Soul 2 Soul, Ron Trent, Sven Wunder, Sons of Sevilla, Feel Fly, Turbotito, Lou Hayter, Black Science Orchestra, Hot Toddy, Space Grapes and much more. Each weeks leading up to the release of Balearic Breakfast Volume 4, I’m spinning one of the compilation’s tracks e and the choice for today’s show was by Claremont 56 outfit Paqua. You can pre-order the comp on the Heavenly Recordings bandcamp and independent record shops and thanks to all who have already done so. I’m also hosting another Balearic Breakfast party at NTs Loft in London this Friday – this time a soirée from 7pm to 2:30 am – maybe more like a Balearic Breakfast Supper. I’m joined by Virginia Tzioti from Athens and Daisybelle whose productions I have been spinning as of late. Tickets are available presale on Resident Advisor and on the door. I hope you can make it. And thank you to everyone who joined me at Freddy’s at Pike’s on Sunday night – that was an amazing party! I’ll be back one more time before the season’s end – celebrating the release of Balearic Breakfast Volume 4 on Sunday, the 28th September. It has been a real pleasure hanging with the Pike’s team too. Well aside from a raging sinus infection and blocked ear canals, that’s what’s happening in my musical world this week. If you see me on Friday with my heading hanging to the side, please know it’s the only way I can hear with both ears at the moment. Baffled. Thanks for listening. THE PLAYLIST (2024) Infradisco – Beyond the Caduca (Hear & Now Remix) (2025) Torn Sail – Mud People (2025) Sven Wunder – Scenic Byway (2025) Mama Terra – A Mind Supreme (Joel Hamilton Remix) (2025) Potatohead People & Slippery Elm ft Bahamadia – Up Close (TBR) Sons of Sevilla – Butterfly (2025) Paqua – Akaliko (from Balearic Breakfast Vol 4) (2025) Lou Hayter – Wish You Were Mine (Black Science Orchestra Vocal) (2025) Jéroboam – See The Light (Space Grapes Vocal) (2025) Francis Bebey – Sanza Tristesse (Josh Ludlow Remix) (2025) The Cool Notes – You're Never Too Young (Moplen Remix) (2025) Peter Green – Proud Pinto (Jona’s Mac Fleetwood Edit) (2025) Turbotito – Time Starts Moving Slow (2025) Fatback Band – Chillin Out (Kons Cool Out Remix) (2025) Jazxing – Memories (2025) Feel Fly – Sole (Radiomarc Remix) (2025) Lakeshouse – Renate’s Dans (Hot Toddy Remix) (2025) Tubbs & Burns – Drums Are Dangerous (Todd Modes Full Moon Mix) (2025) Soul 2 Soul – A Dream's A Dream (Ron Trent Mix) (2025) SHAF, Ahmed Saad & Ya Man – Hawah COLLEEN'S PRESENTATION Beyond the Kaduka by InfraDisco, a project by DJ Mark B and musician producer Alberto Benatti. And the original is from their debut album Aqua Capta, released last year on Archaeo Recordings. But we just heard the very chilled out remix by Perugia-Italy duo, Hear & Now. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast until high noon on my MixCloud Live, and streaming live from a very hot record room. It's beautiful out. It's very, very hot, but it's sunny here in London. I think it's one of the hottest days of the year so far. Greetings to the family gathered over on my MixCloud Live and thanks for joining me as always. I just got back from Ibiza where I played at Pikes and we had a great shindig in Freddie Mercury's bedroom on Sunday night. And thanks to all who joined us. And I'm back at Pikes on one more date this summer at the very, very end of summer, the 28th of September. And I'm really looking forward to it. I've had such a great time there, not only spinning, but also hanging out with the Pikes crew. They've been so lovely to me. Now, sadly, you can probably hear it. My sinus infection still hasn't improved. And because of the flights, my right ear is blocked. That's really irritating. Hopefully it will repair itself soon. I mean, if I tilt my head to the right, it seems to clear it up to look a bit strange. So thankfully, you can't see me, but I'm really hoping it clears up by Friday as I'm back at N.T.'s Loft in London, this time for an evening party with Balearic Breakfast family member Virginia Tsiotti and also guest DJ Daisy Bell, whose tracks I've been playing a lot as of late. N.T.'s is in East London and tickets are really cheap, which is really nice on the pocket. So you can head over to Resident Advisor to secure them. And I'm sure there'll be some on the door as well. I'm also playing at some festivals this summer, Homestead in Bristol and We Are Love Festival in Brighton in July. In August, I'm heading to Helsinki for Flow Festival and then I'm back for Houghton, this time playing on a Sunday for the first time in the Stallions tent. Of course, I'll be hosting the Love Dancing tent at We Out Here with the Cosmodelica takeover on Saturday. Then I'm back to Ireland for the second year in a row on the eve of my birthday, strangely, this time for the If You Know, You Know Festival. And then I'm heading to Italy for Jazz Refound at the end of August. So I have lots to look forward to and I hope to see some of you when I'm playing at those festivals. Please say hi. I'm also looking forward to sharing a load of new music with you on today's show. Nottingham producer, musician and songwriter Huw Costin has a band called Torn Sail and they've been releasing music for nearly 15 years. Their debut single was on Paul Mudd Murphy's Claremont 56 label. They also have released two studio albums and their third, Steady Weather, was released last week on Costin's label Delia Recordings. And it's an ambitious offering, a double album beautifully packaged with a booklet. And the whole album demands attentive listening as the songs reflect on how the positive nature of humanity has the power to transcend all kinds of borders. The connection between landscape, memory and family, the passage of time, aging and the beauty found in simple domestic moments. This is Torn Sail with Mud People. Butterfly by the Sons of Sevilla, who are actually two blood brothers from the north of England, Henry and Reuben Smith. They started making their double debut album Lullabies for a Wildcat during the pandemic and it was released on Ubiquity last year. It was a great album, great album. And they have a new one on the horizon called Street Light Moon and Butterfly is the third single. And also Sons of Sevilla will be touring in the U.S. throughout the autumn. I really love their debut. I hope they come over to the U.K. sometime soon. Ahead of that, Up Close by Potatohead People, which is Canadian hip hop electronic production duo Astrological and Nick Wisdom, along with MC and singer Slippery Elm. And that track also featured special guest, the Philadelphian ledge Bahamadia. It's from their forthcoming album Emerald Tablet, which will be released on the 11th of July on Mystery Box Records. And you can preorder it on Bandcamp. Ahead of that, we heard Mama Terra, the jazz soul ensemble led by Glaswegian pianist and composer Marco Cafola. And they've just released a remix of a track from their 2023 debut, The Summoned. We heard A Mind Supreme, given the remix treatment by the Grammy-nominated Brooklyn-based producer, engineer and musician Joel Hamilton, which came out just a few days ago on Acid Jazz. Before that, Swedish musician and composer Sven Vunder with Scenic Byway. It's the second single from Sven Vunder's upcoming fifth full-length album, Daybreak, which is coming out at the end of September. And Vunder is, I should say, it's his first, it's his fifth full-length album. Sorry, my ear is really bothering me. I feel so unbalanced. And that seamlessly continues the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night, and embarking on a lush journey through the early hours of the day and far beyond. And I'm really looking forward to that. And we started it all off with Torn Sail with Mud People. Now, as you probably know by now, the next release in the Balearic Breakfast compilation series, Volume 4, will be released on the 29th of August, alongside a double CD of both Volumes 3 and 4. And you can pre-order via the Heavenly Recordings Bandcamp. And pre-orders are also available at many independent record shops. You can find out more via my linktree on Instagram. And thanks to all those who have pre-ordered already. This comp features recent tunes from contemporary artists making a vinyl outing for the first time, along with some of my favorite classics that are quite pricey to get on vinyl. As is the custom, I'll feature a tune from the comp each week until it's released at the end of August. And this is the first one, an old favorite of mine from the Claremont 56 label by Paqua. This is the title track of their album Akaliko, which came out over a decade ago. And it's quite expensive to find secondhand on vinyl. So it's coming out on Balearic Breakfast, Volume 4. Danish Yugoslavian musician Turbotito with Time Starts Moving Slow from the forthcoming The Sunset Manifesto, Volume 2 by DJ Supermarkt. And Supermarkt's guiding logic for this second edition of contemporary mid-paced magic is a house blend of adult-orientated sunset beats with a little, we could all use a little joy right now on the side. And that's certainly true. And along with Turbo Tito, the compilation features some of my other favorite artists, Wolfie vs. Projections, Poolside, and Young Gun Silver Fox. So look out for that. Ahead of that, a lovely edit of Peter Green's Proud Pinto. And that original track is from the Fleetwood Mac founder's incredible solo album, 1979's In The Skies, a longtime favorite of mine. The edit is called Jona's Mac Fleetwood Edit, and it just arrived in my inbox this morning. So thank you, Jona. I'm not quite sure who it was. Ahead of that, Brit soul-funk outfit The Cool Notes with a Luca Moplin rework of their single, You're Never Too Young, from their 1985 LP, Have a Good Forever. The Cool Notes had a reggae number one back in 1978 with My Tune. And with this single, You're Never Too Young, they cracked the UK charts as well. I'm a big fan of Moplin's reworks and remixes. Great sense of arrangement. I've really also been getting into Josh Ludlow's remixes and productions more and more. Featured his mix of Pigeon on The Last Balearic Breakfast Vol. 3 comp. We heard a remix of Sansa Tristesse by the late Cameroonian singer, musician, composer, musicologist, sculptor, and writer, and all-around talent, Francis Bebe. Look him up. Africa 7 released a vinyl comp of remixes of Bebe's work. And along with Ludlow, there are reworks by Psych Magic, Turbo Tito, Voila!, and Red Axes. And you can order the vinyl. It's a vinyl-only release on Bandcamp. Ahead of that, See the Light, the forthcoming single by French live outfit Jéroboam, coming out on the 11th of July. A lot of records coming out on the 11th of July. This one on Space Grapes. And it's a loose-limbed, synth-splashed, boogie burner that builds on their Cult 2022 debut on the same label. We heard the Space Grapes vocal by label heads Danilo Pleso, a.k.a. Motor City Drum Ensemble, and Bobby Van Putten. And it's another analog transmission, beamed straight from the jam room. And you can pre-order that now. And starting it all off with Lou Hayter, the Black Science Orchestra vocal mix of Wish You Were Mine. Okay, I was really honored to be part of the Spring Revisited project with my remix of The Street People. The project was put together by Sweden's Cosmos Music and Acid Jazz and includes remixes from the 70s New York City label Spring Records by artists like Joe Clausell, Dave Lee, Dimitri from Paris, DJ Spina, The Reflex, Opolopo, of artists like Fatback Band, Garland Green, and Millie Jackson. This is a beautiful, jazzy, summer-sounding remix of Fatback Band's Chillin' Out by Boston native Khan on Balearic Breakfast. This sounded really good at Pike's on Sunday night. Soul to Soul, A Dream's a Dream, the Ron Trent remix. And the original features Victoria Wilson James. The original's from Soul to Soul's sophomore album, Volume 2, 1990, A New Decade. And Ron's remixes are coming out in August, and you can pre-order the vinyl on Soul to Soul's Bandcamp. I already have. And it was great seeing Ron Trent bust some moves to his own tune, Street Wave, at the London Loft Party a couple of weeks ago, too. So great to see him. I had to add a little something-something from yesterday's inbox from New Zealand duo Tubbs and Burns, my old friend Chris Tubbs and Eden Burns. You may remember the single I played of theirs, Where Were You in 92. Well, their forthcoming EP features a new remix of that by Colter Carson, which is great. And it also features the new tune that I played, the Todd Modes Full Moon mix of Tubbs and Burns, Drums Are Dangerous. Ahead of that, Scandinavian outfit Lakeshouse with their forthcoming single Renate's Dans out next week on paper recordings. And it was given the remix treatment by Hot Toddy, which is Chris Todd from Crazy P. Ahead of that, we had Feel Fly, who is the Italian DJ and producer Daniele Tomassini, also from Perugia, like here and now. And Manu from Archeo Recordings has just sent me that release, which is coming out in mid-July. The Radio Marc remix of Feel Fly's Sole, which means sun in Italian. And we had the forthcoming single from Jazxing on Higher Love called Memories. And it's a progression from the Polish duo's already great debut LP, Pearls of the Baltic Sea. And it's musicians, producers and DJs Jakub Sautycz and Mateusz Filipiuk. I hope I got that right. I probably didn't. They formed Jazxing in their hometown of Gdansk, Poland, and they integrated with the wider Balearic music scene. And they're part of a growing group of colorful Polish artists, clubs and labels who want to share and inspire music with their passion for these sounds. Well, I certainly love sharing my passion for sounds and songs with all of you people. And thanks for joining me again for Balearic Breakfast. I will be back next week streaming live and I think we should do another request line. So I'll aim to do that this weekend on my socials where you can request tunes for next Tuesday's show. I hope to see some of you at N.T.'s Loft this Friday where I'm DJing another Balearic Breakfast party. This time a night party, this time with Virginia Tsioti and Daisy Bell. I'm going to leave you with something very interesting that I also received yesterday. It's by Middle Eastern DJ and producer and Billboard hitmaker Hassan El-Shafei returning under a new alias, SHAF. And this is a collaboration with Egyptian singer and actor Ahmed Saad titled Ya Man Hawa, on which they joined the dots between North African and Middle Eastern sounds and Afro tech. And it's a love song that translates as my love for her elevates her while it humbles me. Thank you so much for listening. Have a great week and I'll see you next Tuesday.

When I heard Opolopo's take on Millie Jackson's "We got to hit it off", I knew I had to meet the man behind the music! Let's find out how Peter works his charms on Classics... 1) Hi Opolopo, and thank you so much for joining us here on the Balearic Breakfast Blog! Your remix of Millie Jackson's 'We got to hit it off' has been played during the 220th episode of the series and it took us all by storm. Can you tell us how you got involved in these remixes first of all? I was approached quite a while ago by the Swedish label Cosmos Music. Their subsidiary label, Ace Music, focuses on acquiring catalogues of older recordings. In this case, it was the catalogue of Spring Records, who released artists like Fatback and Millie Jackson. They asked me if I'd be interested in remixing one of Millie Jackson's tracks (and later also Fatback). I jumped at the opportunity as it's such a treat to get to do an official remix for a legendary artist, while also having access to the original multitrack recordings. At that point, I don't think the concept was fully formed but this turned into a wonderful remix project, "Spring Revisited", where a whole bunch of producers were invited to rework the Spring catalogue. 2) How was the song chosen for this project? Millie Jackson's original version is slower with a groovier approach. How do you approach the song's you're working on, what do you pay attention to, and, more importantly, how do you know if a song "fits" you? I got to choose the track I wanted to rework. In this case, I picked one I really like - but that’s not always necessary. The most important thing is that it has the potential to be turned into something interesting. I'm not that interested in merely re-editing a track, I want to get in there and reharmonize, add new musical parts and mess things up. So I listen for tracks that allow me to do those things. The challenge then is to do it while still being respectful of the original. 3) Were there any drawbacks or difficulties when working on this specific song, your remix seems so "easily done", it sounds just so natural and so assertive! I can't say there were any specific difficulties with this particular track. There are always some hurdles and obstacles but that is what makes it fun and creatively satisfying. In general, I'm striving for a remix to sound like it could be an original. So if it sounds "natural", my mission was hopefully accomplished. 4) You actually did two versions for this release, I must admit the Deeper remix has such a beautiful balance between the original light the song initially has and that attractive darker force you put it in! How do you work when putting songs in a new context? What is something you'd never do when making a song take a new path? So the second version, the "Deeper Mix",  was where I left the idea of making it sound like an original behind... Millie Jackson has such a powerful voice, so I thought, after having done a more soulful and boogie-tinged version, I'll aim for a slightly later slot in a DJ set: when the lights are dimmed and things are a bit darker and sweatier. I like contrasting the 70s flavors of the strings, guitars and vocal delivery with more modern elements, like a clubby and moody synth bass and chunkier drums. It's a fine balance, and it's of course subjective, but it still has to all gel together. And in the spirit of contrast, tension and release, I had the lighter and more uplifting chorus from the first version appear in a 16-bar bridge towards the end. Shifting the vibe from swinging hips to waving hands, reminding people where the track came from. Something I wouldn't do: auto tune the crap out of the vocals... 5) Can you share with us what's next for you in the Near future? Next up is a remix EP for Z Records. I had the pleasure of remixing three tracks from Dave Lee's  AC Soul Symphony album "Metamorphosis”. The 12" is coming out on July 28 ! Thank you so much Peter for this interview and of course for the music!

Colleen 'Cosmo' Murphy broadcast the 228th episode of Balearic Breakfast on her Mixcloud on June 24th 2025. About this episode. – A friend recently asked me: "You spend so much time on the blog, why?" And I answered: "Because Colleen is a Friend, she's my Musical friend" And my friend went on "But you don't know her personally, you met her briefly only once, how can she be a Musical friend?" I answered "Some things can not be explained. They don't need to. Maybe I'm making things up in my mind, but I'd rather have a musical friendship with her than have a real friendship with other persons I know..." My friend looked at me and said "Yeah, I think I understand where you're going with that..." And if something was to be proven here, today's show is another great example... I initially requested Queen's "Innuendo" and my friend Ana said to me "Colleen is never going to play that, it's too harsh", and she was right as our dear Captain wrote me and asked if I had another request, suiting a morning show better. I answered, saying, "sadly no, I don't. But don't worry, it will be for the next time!". What hapenned was my initial request was perfectly hitting the chaos we see in the world today, it is a Grand Track but it did not meet the mood our dear Captain felt was the right one for today's episode. And it's totaly okay! Requesting songs is a Game, really, and the beauty of it is that Colleen is making the final decisions, letting her musical soul speak. So I wasn't expecting anything from my musical friend on today's episode... Yet, then came the live show and the second song... And when I heard what Colleen said, I simply burst into tears. Once again, Colleen took the Lioncub in her arms, and gave him a musical hug. These moments, and I know a lot of other members of the family experienced them too, these moments are absolutely Priceless and Wonderful because Colleen lets her Spirit meet everyone of us. And this kindness is the reason why we love her the way we do... Of course, the link with today's post title is absolutely easy to make... We're all about Love here at Balearic Breakfast, we're sharing the music, we're not sharing our egos, we're sharing our unity, with one another, without paying attention to race, color, sexual or political orientations... If you respect me, if you Love me, I'll always be your brother, and my heart and my arms will always be openned wide... Be You, Be Proud, Join the Family, we're waiting for you... Love is a Rainbow... (Click here for last year's celebration) Listen back to the 228th episode of Balearic Breakfast: Recycling an old photo from Wigstock in the early 90’s in New York’s Tompkins Square Park with my old friend Rich Renaldi for today’s Balearic Breakfast Pride Special! Thank you to all who contributed songs by the LGBTQ+ community for this morning’s 4.5 hour music marathon and thanks to all who kept me company on my Mixcloud Live during the stream. That was a true celebration and HAPPY PRIDE to our friends in the LGBTQ+ community. I also want to thank all of those who have pre-order the next instalment in my Balearic breakfast compilation series on HEAVENLY RECORDINGS. Last week we announced the Balearic Breakfast volume 4 is coming out on the 29th August and its another limited double vinyl album with gorgeous artwork from Ardneks. It features some older songs that are quite expensive to get on vinyl along with cuts from contemporary artists that have never before been released on vinyl and I’m really proud of it. Also being released on the same date is the double CD compiling both volumes 3 and 4 of the Balearic Breakfast series. You can order it via the links in the comments. Enjoy today’s Pride Celebration! THE PLAYLIST (2012) George Michael – Song to the Siren (1984) Queen – Is This the World We Created (2024) Ganavya – Forgive me my (2020) Pet Shop Boys – Love Comes Quickly' (Blank & Jones Remix) (1997) k.d. lang – The Air That I Breath (1973) Johnny Mathis – Foolish (2008) George Michael – Edith and the Kingpin (Live) (1972) Labi Siffre – Crying Laughing Loving Lying (1989) Dusty Springfield – Nothing Has Been Proved (1981) Sylvester & Jeanie Tracy – Here is My Love (2018) Sylvester – I Need Somebody to Love Tonight (Psychemagik Remix) (2020) Arca – Time (2016) Arthur Russell – Make 1, 2 (Gem Spa Dub) (2024) kitti – Everything You Wanted (2024) Reinel Bakole – God Complex (2024) Jessica Lauren – Alefela (2022) HANAH – Solo (2023) Janelle Monae – Only Have Eyes 42 (1989) Adeva – Beautiful Love (Frankie Knuckles Classic Club Mix) (1990) George Michael – Freedom 90 (Back to Reality Mix) (1986) George Michael – A Different Corner (A Tribute Mix by Dave Oren) (1978) Bionic Boogie ft Luther Vandross – Hot Butterfly (Disco Remix) (1976) Luther Vandross – Funky Music (Is a Part of Me) (1984) Frankie Goes to Hollywood – War (2000) Frankie Goes to Hollywood – Maximum Joy (1990) Kitchens of Distinction – Quick as Rainbows (2025) HAAI – Can't Stand to Lose (1981) Pete Shelley – Homosapien Dub (2022) Karen Nyame KG – Taboo (xx) Boy George / Jesus Loves You – Generations of Love (2025) Ghost Assembly – I Keep On Making the Same Mistake (2014) Kaytranada ft Shay Lia – Leave Me Alone (1981) Patrick Cowley – Sea Hunt (2024) Queen Latifah – Hard Times (Queen's Extended House ReTouch) (1989) Frankie Knuckles & Satoshi Tomiie ft Robert Owens – Tears (2019) Sylvester – I Need You (Opolopo Rework) (1993) The Look – Glammer Girl (Bochine Prelude/ Ballroom Mix/ Moog Reprise) (2024) Wallace ft. Love Letters – Cravings (2008) Hercules & Love Affair – Blind (Frankie Knuckles Mix) (1992) Erasure – Take a Chance on Me (Philip Kelsey Take a Trance on Me Mix) (2007) T-Empo ft Juliet Roberts – Saturday Night, Sunday Morning (T-Empo Mix) (NOL) Gloria Gaynor – Never Can Say Goodbye (Butch Le Butch Rework) COLLEEN'S PRENSENTATION The gorgeous, gorgeous voice of George Michael with a cover of Tim Buckley's Song to the Siren, the b-side to Michael's 2012 single White Light. And that was his last hit before his untimely passing four years later. Song to the Siren is such a gorgeous song. It first came onto my radar via the 4AD collective, This Mortal Coil, with vocals by Elizabeth Fraser. And I had never heard George Michael's own beautiful take on this song. And thank you to Baker's Hill for that request. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast. And today is our annual Pride special. So it's going to be a long show, I think coming up to about five hours, which is about the same as last year's Pride special. Hello to the Balearic Breakfast family over on my Mixcloud Live. I hope you could stick around as long as possible, as it really will be a marathon. Before we tuck in, I just want to thank all of those who have pre-ordered the next installment in my Balearic Breakfast compilation series on Heavenly Recordings. Last week, we announced the Balearic Breakfast Vol. 4. It's coming out on the 29th of August, and it's another limited double vinyl album with gorgeous artwork from Ardnyx. It features some older songs that are quite expensive to get on vinyl, along with cuts from contemporary artists that have never before been released on vinyl. And I'm very proud of it. Also being released on the same date is the double CD compiling both Volumes 3 and 4 of the Balearic Breakfast series. And you can order it via the Heavenly Bandcamp or from selected independent record stores. And I'll also host some record release parties in September at NT's Loft in London and Pike's in Ibiza. Okay, today is a special show as we are featuring music by artists from the LGBTQ plus community. And I really look forward to this one as I discover new artists, new tunes, and I always learn something new. Thank you to all who contributed to today's show. So many great tunes, and there were multiple requests for certain artists. But because they're so good, I've tried to get on as much as possible. From the legends to the newbies, from jazz to pop to dance to indie, today's show runs the gamut so there's something for everyone. We're going to stay on the more meditative tip for a bit. And this next song is appropriate on a few levels, not only because it's led by Freddie Mercury, but also because the lyrics seem especially poignant and apt right now. We're going to keep the show as positive a celebration as possible. But this next song does acknowledge what is going on around us. This one is going out to Artur in Paris, from their 1984 album, The Works. This is Queen with Is This the World We Created. We had two requests for British singer, songwriter and poet Labi Sifre. And thank you to Jen Ferguson and Rick Van Veen for that request. That was the title track to Sifre's third studio album, 1972's Crying, Laughing, Loving, Lying. A fantastic album from beginning to end. And he has such an interesting story. There was a great doc on the BBC, which you may be able to find somewhere, called This Is My Song, and I urge you to watch it. Ahead of that, George Michael with a version of Joni Mitchell's Edith and the Kingpin, recorded live at Abbey Road and released as a b-side to Michael's 2008 Christmas single. And the original is from Mitchell's album, Hissing of the Summer Lawns. And yes, Baker still got two requests, as I couldn't choose between the two George Michael covers, as whatever he sings just has me absolutely melting. So I just had to pick myself up off the floor. Actually, also for Joni Mathis. I mean, what a voice. Bert Francois requested that song Foolish, which was produced and written by Tom Bell and Linda Creed. And it's from the Texan-born crooner's 1973 LP, I'm Coming Home. Ahead of that, a request from Thanos Katronis for Canadian singer-songwriter and activist and icon, Katie Lang. That's a cover of The Air That I Breathe. The Hollies had a big hit with it in the early 1970s. Lang's version of The Air That I Breathe is from her 1997 LP, Drag, which is a bit of a concept album, a cover album in which most of the songs are related to smoking or dependence and addiction. Ahead of that, a Blank and Jones ambient chill-out mix of the Pet Shop Boys' 1986 single, Love Comes Quickly. I absolutely love that song. That's from their album, Please. The song had a load of great remixes, including one by Shep Pettibone, but the one we heard came out much later, I think 2003, on Blank and Jones' Relax series. And thanks to Dominic Mesmer for putting that one on our radar. And ahead of that, we had the New York City-born and Tamil Nadu-raised vocalist, multi-instrumentalist, and sonic shapeshifter, Ganavya with Forgive Me My from her 2024 LP, Like the Sky, I've Been Too Quiet. This song was produced by Chewbacca Hutchings, and Ganavya composed Forgive Me My from Nigerian writer Teju Coles' words, Forgive me my forgetfulness, no one can forget gentleness. And thanks to Rick Van Veen again in the Netherlands for that request. Okay, you're tuned into the Balearic Breakfast Pride marathon special. And this next one is from another icon whose life took many twists and turns and who often doesn't get credit for all that she achieved, Dusty Springfield. Karen Bartlett wrote a fascinating book about her, Dusty, an Intimate Portrait of a Musical Legend. And I interviewed the author for a podcast called What I'd Say, Woman of Atlantic, if you want to check it out. This is a request from Paul Fitz for a song written and produced by the Pet Shop Boys for the 1989 film Scandal, Dusty Springfield with Nothing Has Been Proved. Arthur Russell with Make One Two, the gem spa dub and sending that one out too. Herbie King and Terry Fincham. Russell was a fascinating musician who sadly passed away due to AIDS over 30 years ago ago. He crossed and melded so many different musical boundaries from folk to new music to avant-garde to dance. And he definitely made a splash in that arena under monikers like Loose Joints and Dinosaur L. And he was a singer, songwriter, producer, and cellist. And Richard King, the author, excuse me, you can hear I have a bad cold and sinus infection. Richard King wrote the book, put together I should say the book, Travels Over Feeling Arthur Russell, A Life, which was published last year on Faber. Beautiful book, best book on Arthur Russell, just incredible. And if you want to know what Gem Spa is or was, it was a newspaper stand, also a candy store that had the best egg creams on 2nd Avenue and St. Mark's in the East Village in New York, a total institution. Okay, this next one, this next set I should say is from Queer Jazz, a group founded by award-winning jazz musician Aroah and my friend, DJ, curator, and presenter Tina Edwards. And their mission is to celebrate queer jazz artists. They host gigs around the UK, including a residency at the Vortex Jazz Club in London. And you can find out more at queerjazz.org. They suggested a few songs for today's Breakfast Pride special, and I thought, why not play all of them? We're doing a five-hour show. So here is the Queer Jazz segment, kicking off with Glaswegian artist Kitty with Everything You Wanted from her debut album, Something in the Water, released last year on Rebecca Vazmont's label, Rebecca Records. A beautiful song called Solo by Hannah, a singer, songwriter, and producer who rides the gap between experimental R&B, ambient, and folk, and who certainly has a unique sound. Solo is from her debut 2022 EP, Colors of Now and Then. Ahead of that, British keyboardist, extraordinaire, Jessica Lauren, with Alefela from her album, Film, released last year on Impressive Collective and BBE Music. Lauren has been a fixture on the jazz and soul scene in the UK for decades, and she's a true pioneer. She's also performed with loads of legends like Gene Karn, Tom Brown, Dexter Wanzel, and is a member of Nick Wimbenzy's Space Jazz Outfit, Eminitive. Ahead of that, Belgian singer, composer, dancer, and performer, Rainel Bacole, with God Complex. She's a rising star on the avant-garde soul scene and released her debut album, Healing Exhaustion, last year. We heard God Complex. Thank you to Queer Jazz for suggesting those four songs. You can check them out at queerjazz.org. You're tuned in to the Balearic Breakfast Annual Pride Special. We're about an hour and a half in, probably three more hours to go at least. This next one was suggested by Kieran McCann in Glasgow for one of the most exciting contemporary artists and actors, Janelle Monae. It's from her third studio album, The Age of Pleasure, which she dedicates to the pan-African diaspora. It blends Afrobeat, soul, and also reggae like this one, Only Have Eyes 42. Oh my gosh, I don't know if you're tearing up, but I certainly am. A Different Corner, a tribute mixed by Dave Oren. Of course, that's George Michael. We had a doubleheader that was requested by Barry Baranitz in Washington, D.C. who says, all of his music is incredibly important to me and I miss his voice and presence terribly. He also dedicates that to his husband, Kevin. I also want to wish them once again a very happy wedding. They got married a few months ago. There was a George doubleheaders before that. We heard the back to reality mix of Freedom 90, a soul to soul kind of remix. That's also a request from Barry. I know we've had quite a lot of George Michael in the first part of the show, but I just love his voice and he resonates with so many of us. I'm happy to feature him quite a bit. Ahead of that, we had a request from Konstantinos Folias in Athens for some classic Frankie Knuckles. We heard his classic club mix of another house pioneer, A Diva, her 1989 single Beautiful Love from her debut album, A Diva. We'll have more from the late dance music icon, Frankie Knuckles, later in the show. As I'm not feeling 100%, I forgot to back announce some of the other songs that we played earlier. There was another doubleheader from Sylvester. We had Sylvester and Jeannie Tracy with Here Is My Love requested by Eddie Sanchez. It's a 1981 single from Sylvester, singing in a very different register, not in his usual falsetto, which is what so many people recognize him by. I don't think one can overstate how talented Sylvester was. He could do it all, blues, funk, soul, rock, jazz, an incredibly talented singer and songwriter who was signed to the jazz label, Fantasy. He was openly gay and cross-dressing as a black man from the late 1960s. That's before Stonewall. He was a renegade and an iconoclast. We'll have more from Sylvester later in the show. We also played the psych magic remix of I Need Somebody to Love Tonight. Definitely a whole different flavor to Here Is My Love. That was requested by Virginia Ciotti, Andy Dyer, who said it's an absolute summer vibe, quite slinky and sexy, and Sylvester being way ahead of his time. And also to Susan Chan, who said she'd like to dedicate that song to all of the LGBTQ plus family, but most especially to my brother-in-law, Wilson. He's the best companion to parties and vacations. I can definitely attest to that. He's been at many of my parties and he's also an awesome roller skater. Yes, he definitely is. And the best uncle to both of our daughters, forever grateful for you and love you. And I have to say I've seen him in action with his nieces, teaching them how to roller skate at Rockefeller Plaza once when I was DJing there. And that was also requested by Eddie Sanchez, who also points out to the fact that it was produced by another gay icon who was sadly lost to AIDS like Sylvester, Patrick Cowley. Two unbelievably talented and forward-facing artists. We also heard from Venezuelan musician and producer Arca, born Alejandro Garcia Rodriguez with time from their fourth studio album, 2020's Kick One, as requested by DJ Corbian. And that album marked a departure from the artist's previous ambient work and is self-described as an anti-pop album and touches on themes of gender and cultural identity. And the following year, Arca released four more Kick albums, four in one year. Okay. This next artist is also getting a double header today, Luther Vandross. You may have seen the documentary Luther Never Too Much. And if you haven't, please make a point of doing so. I learned so much. He was on so many more records than I had initially thought. I also didn't know he identified as gay as he felt he had to keep it under wraps, which must have been incredibly difficult. He was on so many recordings on records by David Bowie, Roberta Flack, Diana Ross, Donny Hathaway, Bette Midler, Todd Rundgren of more. And of course, he had an illustrious solo career. Here he is with Greg Diamond's outfit, Bionic Boogie with Hot Butterfly as requested by Kevin Fleming. Maximum Joy from Frankie goes to Hollywood's second album, Liverpool and sadly the final album. And that was requested by Luca Ospitone in Sardinia. And we had a Frankie goes to Hollywood double header. Earlier, we just heard a cover of the Norman Whitfield, Edwin Starr classic War. And that was very pro pro for these challenging times. It's from the Liverpudlian band's debut album, Welcome to the Pleasure Dome, which came out in 1984 on ZTT. And I absolutely adore this album. I asked for it for Christmas that year and I got it for my grandfather. He probably wasn't aware of some of the LP's themes. Thank you to Siobhan Murphy for that request. Ahead of that, we heard a request from David Stoddard for another Luther Vandross song, Funky Music. And yes, it sounds like the song Fascination found on David Bowie's Young Americans. And that's because it sort of is. Vandross sang on that album and Bowie loved that song and refashioned it. And Vandross is rightly credited as co-writer as well. Funky Music was released on Vandross' solo debut, Luther, released a year after Young Americans. You are tuned into the Balearic Breakfast annual Pride celebration special going probably for another two hours, maybe more. I can't remember. I think it's another two hours at least because I'm trying to get to every request or nearly every request. And this we're going to go into a little bit of an indie thing here. And I love this one. British indie band Kitchens of Distinction. And it was a name that caught my eye and a sound that caught my ear when I was hosting shows on college radio in the 1980s. Then I had the chance to interview the band for their second album, Strange Free World, which came out in 1991 and was produced by Echo and the Bunnymen producer Hugh Jones. It's been regarded as one of the best shoegazing albums of all time. Carl Banitoff and Canada requested Quick as Rainbows. Former Buzzcock turned solo artist, the late Pete Shelley, with a great Martin Rushant dub of his classic single Homo Sapien. And I love Martin Rushant's dub mixes of Human League. So thank you to Phil Thornton and Paul Tarpey for landing that Homo Sapien dub on my radar. Ahead of that, a request from Steve Clark for Can't Stand to Love by Hai, an Australian electronic musician who moved to the UK as part of the duo Dark Bells. After their split, she started DJing and released her debut EP and then an album. And her sophomore effort is coming out later this year. It's called Humanize and Can't Stand to Lose is one of the singles. Okay, this next one is by London based DJ producer Karen Yame NG, who has released a few singles over the last few years. This is her second single called Taboo, and which DJ Corbian describes as Corbian describes as a blissful record talking about the taboo of female on female love. And DJ Corbian also says much respects for representing our community. This is from high energy, pioneer producer Patrick Cowley with Sea Hunt from his second album Megatron Man. The New York state native moved to San Francisco in 1971, where he studied music, especially synths. And his future changed when he met Sylvester in 1978. And the two collaborated on so much great music together as we heard earlier. And thank you to Eddie Sanchez for that song suggestion. Ahead of that Haitian Canadian producer Kay Trinata, part of the hip hop duo The Celestics and also Celestine, the first black producer and the first openly gay artist to win the award for Best Dance Electronic Album at the Grammy Awards in 2021 for his work on his sophomore album Bubba. We heard Leave Me Alone featuring Shea Leah and thanks to Bert Francois in Brooklyn for that request. Ahead of that Ghost Assembly, I keep on making the same mistake and Ghost Assembly is Abigail Ward, who wrote the liner notes for the next Balearic Breakfast compilation volume four plug in that right now you can preorder it. And Abigail is also a great DJ, producer and writer. Abby will be coming up, Abigail will be coming up on the show this summer for an interview and a mix. And thanks to Chris Morgan for requesting that. Ahead of that Boy George going under Jesus Loves You, Generations of Love and that's from the Martyr Mantras. The only studio album by Jesus Loves You and the fourth LP by Boy George released in 1990. And that song still holds so much meaning today. It was requested by both Michael Karm and Rina Lady Beige who says I can't stop listening to this. The lyrics feel especially powerful right now and big love to all the LGBTQ plus community. You're tuned into the Balearic Breakfast Pride special featuring artists from the LGBTQ plus community. And I was overjoyed when Sue Forrest suggested this next one. It's by Queen Latifah who wowed us when she debuted as a rapper in the 1980s and then as an actress. And she's just an incredible talent. She's won a Grammy Award, a Primetime Emmy Award, a Golden Globe Award, three Screen Actors Guild Awards, two NAACP Image Awards, a nomination for an Academy Award. And she was the first hip hop artist to receive a star on the Hollywood Walk of Fame. Two decades ago she released the Dana Owens album in which she sings soul jazz and R&B covers including this song Hard Times originally performed by Dr. Buzzard's original Savannah band. Latifah's original version is sublime but then I found this extended house retouch by Midas Touch and just had to play it for you. An absolutely killer rework by Abolobo of Sylvester's I Need You. The original the title track to Sylvester's 1980 LP Sell My Soul originally produced by Sylvester and Harvey Fuqua. And I've been playing this rework out a lot of my sets. I actually have to stop myself. Thank you to Tomohiro Yamada and David Stoddard for that request. I had about one of my favorite house songs of all time and I'm not even joking. It's a winning combo of Frankie Knuckle, Satoshi Tomiye and Robert Owens. Tears released in 1989 on FFRR and thank you to Danny Broderick for that request. And starting it off with Queen Latifah, Hard Times, the Queen's extended house retouch and that was requested by Sue Forrest. Still going maybe another hour or just about an hour maybe just under on the Balearic Breakfast Pride special. Thank you all for joining me over on my Mixcod Live. It's a true marathon and I absolutely love, love, love this show. Okay, well, this next one is a true journey and thanks to Rob Calcut the Urban Healer or Bunker Sessions as he's known on the Mixcod Live for this request. It's by Danny Tenaglia. Here going under the moniker The Look along with his longtime collaborator Peter Dow. It came out over three decades ago and whatever time you're listening to this and wherever you may be, try to place yourself into a dark club at 5am right now. It will make even more sense. The Look with Glamour Girl, the Bochinche Prelude, Ballroom Mix and Moog Reprise. An eternal favorite, I never get sick of this one. The Frankie Knuckles mix of Hercules and Love Affair, Blind featuring Anoni on vocals and thanks to DJ Corbian, AJ Elliott and Sue Forrest for suggesting it. Ahead of that UK based DJ and producer Wallace with his Fantasy Sound debut featuring the evocative vocals of Love Letters. We heard Cravings, a celebration of desire, risk and release and it came out a few months ago and thank you to Matt Raistrick for that request. Okay, you probably know I'm not a DJ who is noted for playing high energy tracks or for remixes with the word trance in them. That is today is a pride celebration. I'm making an exception as all these sound great and are truly uplifting and high energy is a form of dance music that pervaded the gay clubs and should be recognized. Plus, I love Erasure and I love Andy Bell's voice. This is a request from David Lucas for a 1992 ABBA cover by Erasure, Take a Chance on Me, the Philip Kelsey Take a Trance on Me mix. For this Pride special, we just heard Tempo featuring Juliet Roberts. Saturday night, Sunday morning, the Tempo mix requested by Rachel Blackman, who is Robot Florian on the chat. She says it reminds me of finding a home at Paradise Factory, a gay club in Manchester around 1993 to 96. Three floors of great dance music. I used to go on a Friday night when the loft was women only, but I'd certainly explore the other floors to New Year's Eve. Ninety four was memorable that the whole club was taken over by the women's space. One thousand women dancing. Plus, I didn't know that track was based on Thelma Houston from 1978 until you played a lot of discotheque in Manchester. Happy Pride, everyone. And I want to say a happy pride to our LGBTQ Balearic Breakfast family members. Thank you so much. One last reminder that preorders for Balearic Breakfast Vol. 4 Double Vinyl and Balearic Breakfast Vol. 3 and 4 CD are now up. The release date is at the end of August. And if you aren't in Glastonbury this weekend but are in Ibiza, I'm playing at Pike's on Sunday night, all night long in Freddie Mercury's bedroom. And the following Friday, the 4th of July, Virginia C.O.T. and Daisy Bell are joining me at N.T.'s Loft in London for an evening party. Leaving you with one last song, the title track to Gloria Gaynor's 1975 album, Never Can Say Goodbye. This song was requested by Atul Joshi, who said this song was my husband and my send off music at our, still back then, illegal same-sex wedding. And we left through an archway of 200 arms raised as a gateway to a happy new life. Thanks to all for joining me on the Balearic Breakfast Annual Pride Special. Happy Pride to our LGBTQ plus family members. Wishing you a wonderful month, a wonderful year, a wonderful life. This is the Butchler Butch remix of Gloria Gaynor going out to Atul Joshi. Thanks for listening.

Colleen 'Cosmo' Murphy broadcast the 227th episode of Balearic Breakfast on her Mixcloud on June 17th 2025. About this episode. – After celebrating the 22nd anniversary of the London Loft with all of her friends and members of the Loft Family (thank you so much dear Marcia for sharing your pictures and videos here with us!), Colleen, although ill and medicated, embarked on a new edition of our beloved show, joined by the Balearic Breakfast Family as usual 😊 And, as often, there were a lot of reasons to rejoice ourselves: of course sharing memories from the loft is always great because you feel the love on the chat, but, this time around, our time, the one we've waited for so long, had at last arrived: the Balearic Breakfast vol. 4 pre-order campaign had debuted! And, icing on the cake, we were going also to enjoy an interview with Payfone's Phil Passera, including a mix he crafted for us, not forgetting the one Colleen did for us in the first hour (nor her latest releases which are all off the hook)! Did someone here started singing monday, tuesday happy days? I believe we should change the lyrics of the songs, like: "Tuesdays tuesdays happy days"... Well, you know what I mean right? Wow! Thank you to The London Loft family for bringing boundless positive energy to our 22nd anniversary party yesterday. It was uplifting, poignant and cathartic - a beacon of joy much needed in these troubled times. We are privileged to be able to share these moments together. Thank you to David Mancuso for starting The Loft in London with us and for all those who have joined the friendship train in a spirit of love and inclusivity. Happy Anniversary and Happy Pride (Colleen, 16/06/25) Colleen, Marcia Carr with DJ Ron Trent and Jacqueline Thompson Listen back to the 227th episode of Balearic Breakfast: This morning’s Balearic Breakfast is now up on my Mixcloud and it features new tunes, new re-edits and reworks and an interview with and mix from Phil Passera of Payfone. They just released their new album ‘Lunch’ last week – it’s only available on vinyl and cassette and you can order it on their Bandcamp. And another album announcement: my next compilation ‘Balearic Breakfast Volume 4’ is coming out on the 29th August on @heavenlyrecordings . It features fresh tunes that haven’t been released on vinyl by artists like @santinosurfers @ilyasantana and @tar_blanche along with hard to find vinyl cuts by New Zealand’s Troy Kingi and @claremont56 outfit Paqua and a couple of classic cuts from spiritual jazz band Paz and soul singer Gloria Ann Taylor. ‘Balearic Breakfast Volume 4’ also includes the first vinyl outings of two of my Cosmodelica remixes of @saintetienneofficial ‘Alone Together’ and @bryonyjarmanpinto ‘Moving Forward’. Also coming out on that date is the second CD edition of the series this one featuring Balearic Breakfast Volumes 3 & 4. And once again, it has gorgeous artwork from @ardneks . It’s a limited release with no digital downloads (that’s why it says £999!) and is available to pre-order at 11am on the Heavenly Recordings Bandcamp and from record shops around the world. I’ll also be hosting record release parties at NTs Loft in London and Pike’s in Ibiza in September. Thanks for your support of the series so far – I just checked this morning and Volume 1 is going for £200 and up on Discogs which is crazy. You can pre-order via my linktree. Next week is the Balearic Breakfast Pride Special and the request line goes up on Saturday. I look forward to your requests for music by LGBT+ artists. You can listen back to last year’s Pride special on my Mixcloud and please give me a follow and consider subscribing monthly while you’re over there. Thanks for listening. THE PLAYLIST (1963) Beach Boys – In My Room (2025) Visions of Light – The Last Domino (2025) Taggy Matcher ft John Milk – Stayin' Alive (2020) Mark Farina & Homero Espinosa – The Story (TBR) Psychemagik Edit – Do It (2025) Loose Ends – Hangin on a String (Random House Rework) (TBR) Lou Rawls – You'll Never Find Another Love Like Mine (The Reflex Revision) (2025) The Circling Sun – Constellation 7:30 Payfone Interview & Mix: (1979) Cherry Laine – I'm Hot *(1978) Le Pamplemousse – Sweet Magic (2023) Addmoro – Rock & Roll Skate (Sax Version) (1979) Sweet Clover – You're What I Need (1984) Fresh Band – Come Back Lover (Dub) (2005) Joe Mensah – Africa is Soul (1979) Taana Gardner – Work That Body * Thank you to David Stoddard for identifying the song! COLLEEN'S PRESENTATION The Beach Boys with In My Room, penned and sung by the late pop pioneer Brian Wilson, who sadly departed planet Earth last week. But what an illustrious life he led, helping weave the fabric of pop music with the groundbreaking album, Pet Sounds, one of the most classic albums of all time, and which inspired the Beatles to up the ante with their own game changer, Sgt. Pepper. And I wrote about the album on the Classic Album Sundays website, so you can find out more there. But I didn't start the show with the obvious God only knows, but with a single from the Beach Boys' third album, Surfer Girl, because this was the first Beach Boys song that truly floored me. My parents didn't have many records at all, but this was one of them. And I played that song over and over and over. And I think it really reflects Brian Wilson's personality and musicality. May Brian Wilson rest in paradise. Editor's note: Fun fact, although Brian Wilson described the song as about being “somewhere where you could lock out the world, go to a secret little place, think, be, do whatever you have to do”, Charles Manson claimed that the Beach Boys stole the song from him 😂 Good morning, Balearicans. I'm Colleen Cosmo Murphy, and welcome to another weekly Balearic Breakfast Showdown, taking you until high noon on my MixCloud Live. And greetings to the fam gathered in the chat. And thank you again for joining me. And thanks to all those who joined us at the London Loft Party this past Sunday, celebrating 22 years since we started the loft in London with Dave and Mancuso. Wonderful vibes all around. And also a huge heartfelt thank you to the London Loft team, who put so much effort into these parties. I deeply, deeply appreciate you. Colleen and her friend, Kay Now last week, I announced a couple of releases. The Cosmodelica Electric Eden remix of The Cure came out on Friday. And if you're a Cure fan, you can find out more on their website. I listened to the entire album, all four sides of the vinyl on Friday. And there's so many great remixes, Orbital, Daniel Avery, Paul Oakenfold, Ame, Mira, and many more. Profits are being donated to War Child UK. So ordering the physical copy will be helping one of the best charities in the world. And my Cosmodelica remix of The Street People came out on the Spring Revisited series by Cosmos Music and Acid Jazz. And that's also now available on vinyl. And a bit later in the show, I have another announcement for you. Also later in the show, we have an interview with and a mix from Phil Passera of Payfone. Their album Lunch came out last Friday, and it's a physical release only. It's not streaming anywhere. So if you want to hear it, you'll have to head on over to the Payfone Bandcamp and order it. Support the artists, support indie labels, and support independent record shops. Get it on. Get on it, fam. Okay, until then, you can hear I have a bit of a cold, so I'm going to keep talking to a minimum. Until then, I'm spending some new re-edits and new releases, such as this next one by Visions of Light, who is Simon Sheldon, who also produces Solaris, and then drum and bass outfit Spree. He also heads the Free Booter Lounge label, which houses his bandmates, Belfast DJ Musca, and Belfast producer and musician Dan, who got his start in rock bands, and then migrated to a more chill-out, ambient, down-tempo house feel. Visions of Light showcases the trio's spacey dub-infused sound, and this next one is from their forthcoming album, The Mandala Vortex, being released on New Northern Soul on the 11th of July. Here is Visions of Light with The Last Domino. Well, isn't that song resonating with us right now? A groove-heavy statement piece by Mark Farina of Mushroom Jazz fame, along with Homero Espinosa, with a song called The Story, released back in 2020, and sadly, still a reflection on what is happening in the United States right now. The man who stole America is not in jail. I'm truly horrified at what's happening in my native land. I mean, watching mothers being pulled out of cars in front of their children, a state senator being handcuffed on the ground, thrown to the ground for just wanting to ask a question. I mean, the list goes on and on and on, and I feel angry, depressed, and also helpless, you know, being over here. But one thing that's really inspired me is the 10 million people who protested across America this past weekend. No kings. And I want to thank Jeff Peltzner from Christchurch, New Zealand, for that request. And the fact that he's on the other side of the planet of America demonstrates that what happens in the USA has great influence on the rest of the world. The story is on San Francisco label Ohm, and you can get that on Bandcamp. Ahead of that, Taggy Mitch featuring John Milk with a different perspective of the Bee Gees classic, Stayin' Alive. Truly heard that in a different way this time. And that's from the Disco Reggae Vol. 6 compilation coming out on Favorite Recordings on the 11th of July, and it's a great comp. Taggy Mitch also does a great cover of The Seeds 1966 classic, Pushin' Too Hard. And there's also covers of songs by Ramsey Lewis and the Isley Brothers by Soul Sugar, Mystic Jungle, and Mato. Okay, Danny Skyrager sent me over some new psych magic edits, and he's also joining me in our love dancing tent on my Saturday Cosmodelica takeover at We Out Here. I'm looking forward to hearing his deep and obscure psychedelic offerings. It's going to be cosmodelic and deep. Here's the new Psychemagic rework of an artist whom I don't know despite multiple shazams, but it's a great cover of Do It by BT Express. His voice is just so spectacular. Lou Rawls, The Late Baritone, with You'll Never Find Another Love Like Mine, written by Gamblin' Huff and given a revision by The Reflex. It's such an amazing song, and what a life he led, getting his start in the 1950s alongside Sam Cooke. Then he served in the U.S. Army as a paratrooper, and then he nearly passed away, nearly died in a car crash. He was in a coma for nearly a week. But then in the late 1950s, he launched his solo career with highlights, including winning Grammy Awards, performing at the Monterey Pop Festival, and then after siding with Philly International, he had this, his biggest hit, You'll Never Find, which topped the R&B, adult contemporary, and pop charts. And in 1980, Rawls started the Lou Rawls Parade of Stars telethon, which benefited the United Negro College Fund, and by the time of his passing in 2006, the charity had raised $250 million. Okay, I said there'd be a big announcement, and I'm supposed to announce this at 11 o'clock in the morning, so we're eight minutes off, but you'll hear it first. My next Balearic Breakfast compilation, Volume 4, is coming out on the 29th of August. It features newer tunes that haven't been released on vinyl by artists like Santino Surfers, Ilya Santana, and Tar Blanche, hard-to-find vinyl cuts by New Zealand's Troy Kingy and Claremont 56 outfit Pacwa, a couple of classic cuts from spiritual jazz band Paz and soul singer Gloria Ann Taylor, and the first vinyl outings of two Cosmodelica remixes, my remixes of Saint Etienne and Bryony Jarman Pinto. And also coming out on that date is the second CD edition of my Balearic Breakfast compilation series on Heavenly, this one compiling Volumes 3 and 4. And once again, it has gorgeous artwork from Ardnex. It's a limited release with no digital downloads. You'll see it on the bandcamp. It'll say £999. It's a joke, people. There's no digital download. You have to order the physical copy. It's going to be available to pre-order at 11am on the Heavenly Recordings Bandcamp and also pre-orders from record shops around the world. And I'll also be hosting record release parties at NT's Loft in London and Pike's in Ibiza in September. Thanks for your support of this series so far. I just checked this morning and Volume 1 is now going for £200 on Discogs and up, so that's a bit crazy. Also another announcement, next week is our Pride special on Balearic Breakfast, and the request line will go up on Saturday. So please suggest songs by LGBTQ artists. I'm really looking forward to your requests. Now, before we get to the interview with and mix by Phil of Payfone, I'm going to spin one more new tune. This one from New Zealand, Aotearoa. I always have a hard time saying that. Aotearoa's spiritual jazz outfit, The Circling Sun, a song from their forthcoming album, Orbit, coming out on the 11th of July. Lots of new releases on that day. The band's sophomore LP channels the cosmic energy of 1970s spiritual jazz filtered through synths, layered percussion, and ethereal choirs, and the collective expand their sonic universe with nods to Rahsaan, Roland Kirk, Azimuth, and ambient jazz. And you can pre-order it from their bandcamp, The Circling Sun with Constellation. PHIL PASSERA'S INTERVIEW WITH COLLEEN [Colleen] I am in the studio now with Phil Passera from Payphone, and their album Lunch just came out last Friday. Hey, Phil, how you doing? [Phil Passera] I'm doing well, thanks. Doing well, doing well. [Colleen] Good. Now, I hear you had an eventful weekend last weekend in Paris. Do you want to share any of the details? [Phil Passera] We did. I mean, we were playing in Paris. We were playing a live show on a Saturday, daytime at a festival called Prairie du Canal. And then I was DJing late at a club called Sacre from about 2 a.m. to 4, I think, in Paris. We flew to Paris in the taxi on the way to the festival. The festival was canceled due to bad weather. And then the evening kind of went into chaos. It's a pretty dangerous place where we were playing in the area. It was pretty rough. A few things happened, ending up with three police officers in our hotel room at 4 in the morning. We weren't guilty of anything, but we just got caught up in something. And also, I had to get on the mic and give the bouncers a real dressing down in the venue because they were being so aggressive with the young punters who were there. I'd been in the DJ booth for 10 minutes, and I'm seeing this big guy behind me just going around intimidating all the young crowd just because they were too close to the DJ booth. They weren't doing anything wrong. And I had to stop the music. I got on the microphone, and I said, I said, whoever's running this club, I said, get this bouncer out of my DJ booth now, otherwise there's going to be no more music. And the crowd gave a big cheer because, you know, it was the guy, I don't know who this guy was. I spoke to the venue, and they said, we're really sorry. We're going to make sure this guy never works there again. You know, it was awful, like, you know, watching this guy going just face to face, intimidating these young girls, who were simply trying to have a good time. They weren't doing anything wrong. You know, it's just outrageous behavior. Who does he think he was? Yeah. [Colleen] Yeah, well, sorry to hear that. But it sounds like a very interesting story for the hotel room at four in the morning, I have to say. But, you know, the party does start with, you know, the venue staff. And this is one of the things I've always said. There's one venue I just stopped working at because the staff were so aggressive here in London. And it wasn't a surprise that a few years after that, they closed down because there was a stabbing. And, you know, these are the stories of being on the road that, you know, sometimes it looks all great on Instagram. But, you know, honestly, sometimes it has some little bumps and challenges, you know. But there you go. Anyways, thank you for joining us here. I just wanted to kind of rewind back to the start of Payphone, just to kind of give a little encapsulated history for listeners who may be new to your music, because you started in 2013. You had a really cool single called International Smark, which came out. And it did really well. I mean, you did vinyl pressing, it sold out. You started this project with Jimmy Day. Can you tell us how the two of you hooked up? [Phil Passera] So it started with a previous project, a bit of a failure. And I had been asked to do a remix for Lowe Records, I think it was, for a song by a French, amazing French electronic pioneer called Bernard Ferveur from his album Black Devil Disco Club. And in Brighton, I've just met Jimmy, who he's like, he's a producer, musician based there, has a great studio. And I was like, oh, do you want to collaborate and maybe do this remix? Which we did. And then the remix never came out. And then I said to him, if you're not doing anything with it, we'll do something with it. And it was a track we did called Subconscious Lamentation, which has actually got about like 2% of the original song in it. And the rest of it, we made ourselves. And we were both really happy with it. So at that point, we were like, let's work together. Let's start a new project together. That was 13 years ago. And since then, I think we've had 12 releases. And then now the first album, which has taken us over a decade to make this record. But I think it's because we always said we wanted to make an album that was an album, not just a collection of songs, but like a listening experience from start to finish, how it was in the old days. So much so that we were actually just releasing it on vinyl and cassette only. It's not going to be streamed, maybe in a year's time, we'll put it online. But, you know, we want to do something that's a little bit unique, especially in the face of, I mean, we do quite well on Spotify numbers wise. But, you know, with everything these days being focused on, on this thing called the algorithm, which I hate when it comes up in conversation. You know, please don't bring up the algorithm. It's a bit like, you know, 20 years ago, people just wouldn't shut up talking about brands and branding, you know, now it's the algorithm. So, you know, we have good support from good record shops. And I thought, I think we could do this just on vinyl and now cassette, which has been a lot of fun. [Colleen] I mean, it's interesting with the vinyl thing as well, in terms of, you know, people like Joe Clossel, he releases most of his remixes and his stuff on vinyl only and doesn't stream it. And there's no digital download copy. And I think having that kind of a physical kind of analog manifestation of something, it really is for the uberfan because people are going to have to go and seek it out and, you know, look for it to find it. Does that worry you at all that you may not capture new fans just because they may not look into it? [Phil Passera] No, not at all. I mean, you know, we've got, you know, over a decade, we've got the Music Cup online. And that's enough to go around. I think people are finding it through, you know, their own channels. But I just think that you've got to create demand for a release. And this is I think from a few releases back, we started to do the same way. And it's quite common where you put it on vinyl three months ahead of it coming out digital. So it gives the disco beards and the tastemakers, you know, a kind of exclusive. I think that's a good idea. I think that's the way it eventually goes up online and people can access it. [Colleen] Reward the true music now. Well, it's a really great album. I've been like following your career now for the past, I guess it's been like 12 years. You've been doing a release every single year religiously on labels like your own label, Otis, Lang, Golf Channel. And this album has taken quite a while to make. From what I understand, you've been working on it for about a year and a half. What was your intention with the album in terms of you've had all these singles, you've progressed your sound, your sound has evolved. But did you have a different headspace going into saying, okay, we're actually making a record? I know you said you want to be, you know, great beginning to end. But in terms of the music itself, was there any kind of remit that you had in your head? [Phil Passera] I think it was just that it had to flow. It was going to be like a mid-tempo experience. It wasn't, you know, I don't think a collection of club tracks ever works as an album. So, and it was just about doing something. I think we've always tried to do something that's a bit different. It fits in the disco world, but it's a bit different. And I think from, like, San Selonio onwards, we started to write more or less real songs, as it were, you know. And that's something that we pushed more. And we're pushing more still, actually, because we have a new element who's a girl from Brooklyn who lives in Barcelona called April Pittman, who she's a singer, songwriter, she's very versatile, brilliant voice and good writer. And she came in about halfway through the project. She's the front of the live show now. And the stuff we've been writing in the last six months going forward for the next record is really exciting. So lots of great stuff to come from there. And yeah, I think it was, our remit was mid-tempo, had to be song-based. You know, you're making a record, you've got 45 minutes, really. How are you going to split it up? And, you know, our songs are long, they're always long. So we got three songs per side, you know, but it's 45 minutes of music. So that's the important thing, like, the old days. [Colleen] I think 44 or 45 minutes for an album is perfect. And I, you know, and the whole CD kind of revolution really took off in the 90s. People started making albums for the CD length of over 60 minutes. It's just too much, there's so much filler, you know, I mean, there's rarely any good, great double albums. In terms of the writing process, so you're writing with the vocalists, you know, April Pittman's on the song Paper Man, you have loads of other great artists, you have Willis Earl Beale, you have Zara Kian, Ludmilla Rodriguez, Colette Tibbetts, Carmella the Balls, Barbara Alcindor, who's also you've worked with before. Do they also, do you write the lyrics together? Or do they write the lyrics? [Phil Passera] I mean, I write the lyrics, but now with April, that's becoming more of a shared thing. Barbara Alcindor, who was originally sang on Sofyan, and the track Confession of a Queen, she now has a, she's now appearing on a new song on the album called Pamela. And her story is quite mad, because she used to be the voice and the face of an act called French Affair, which you probably might remember, like a 90s, noughties, sort of big Parisian house thing, ooh la la kind of thing. So this is very different for her, for what she's done in the past. But she's a character, and has a brilliant, deep French voice. And we always tend to try and find the right voice to suit the song. We might go through two or three or four singers per song to find the right one that suits that. And yeah, she's, they're all interesting characters, all of them, and all great voices. And working with Willis L. Beale was a joy, because me, both me and Jimmy were hooked on him. He appeared out of nowhere on the Jools Holland show. And it blew, you know, we were both like, wow, this guy's amazing. And then years, years later, Jimmy suggested that maybe we should try and contact him. And I was thinking, we're never going to get hold of him, never. He seems to fall under the radar in a sense, musically. But we did, we reached out to him and we got him. And he was incredible. We had these amazing phone calls. I wish I'd recorded them, because he's an extreme character. Real, really interesting guy, talks a lot. And we sent him the track, and he came back with it. And it was perfect. And actually, the first time we sent it back, I edited it a bit, rearranged it a bit, and he called me up and he was like, did I ever give you permission to rearrange my track? And I was like, okay, well, there's no problem. Let's keep your track as it was originally, and let's rearrange the track to suit your vocal, which we did. Because his vocal on that first song is one continuous take. It's amazing. It's really brilliant. You know, collaborations don't usually work out as well as this one has. In my opinion, I think it's worked really well. And that's why it starts the record. [Colleen] It sounds great. I mean, I like all the different voices on there, because especially I love hearing male voices and female voices, especially together, because the duet is a lost art. I mean, it was such a huge thing decades ago. And when you hear those two types of textures together, it sounds great, because you do have a song. [Phil Passera] I was a big fan. I mean, I've been to all sorts of music. Growing up, one of the biggest fans I had was a rock group out of Virginia called Royal Trucks. We never came across them. [Colleen] I remember them. Back in the 80s, I want to say? [Phil Passera] No, no, it was actually mid, early 90s, mid 90s, about 93, 92, 93, late 80s. And they are an amazing, crazy group. I saw them so many times. And I love the way that they offer on every song, it should be the two of them talking or singing at the same time, two voices, male and female. And then years later, I worked with a group called Joy Zipper, if you remember them, from New York, Long Island. And again, their harmonies are beautiful. It's always a male and female vocal together. And I always like that. [Colleen] Well, one of my favorite songs on the album is Pony Bar. Is that you singing? [Phil Passera] I can't say. I can't confirm. [Colleen] If it is, Phil, I think it's freaking great. [Phil Passera] Thank you. [Colleen] I have to say. I know you're not confirming or denying. I know, I know. We can't go out of spite, but I think that song is really great. I love the production on it as well. [Phil Passera] What's the song about? There's two bars that we frequent a lot. One is the Pony Bar, and the other is Van Van Bar. And sadly, Van Van Bar is gone already. The song is, before the song even comes out, the bar is gone. But yeah, you know, meet me at the Van Van, meet me at the Pony Bar with your hangout bar. I'm quite, at Wunderbar, quite happy with that. [Colleen] It's really good. It's really good. One thing I love about your music, it's so significant. It has a very kind of signature sound in that they're, the arrangements are quite minimal, quite restrained. Like you don't throw in too much to the mix. There's nothing there that shouldn't be there. You're focusing on the actual sounds. Reminds me of like Francois K's productions in a sense, where he just put in what was needed rather than embellishing. I think some of my own personal early productions I over embellished and I had to learn to take out, take out, take out. You know, and also the chord structures are quite minimal too. It doesn't, a lot of key changes. Are you a fan of minimal music? Is that something that inspires you? [Phil Passera] Yeah, very much. Really. I don't like stuff that's too overcooked or too many ideas. Me and Jimmy, we do kind of spend a long time, too long on these productions. You know, like going into this album, we thought it would take six months. It ended up taking a year and six months. And we've got, we have probably had like 20, 30 versions of a track before we settle. And things come in and we take them out, we replace them. It's a constant sort of patch up job. And yeah, I think we're both very strict. If one of us doesn't like something, it gets taken out, you know, no matter how much one of us might fight for it. You know, so it's kind of like a working process that we have. And our goal from the very start with Playphone was that it would all be original music, no samples at all. I think that was for me because I was previously in a, you know, that was all samples. We just were like two young guys with samplers and, you know, a stack of records. And, you know, I was originally a bass player and Jimmy is a keys player. And from the start, we were like, let's do something that has zero samples. [Colleen] I think that's so refreshing, because I mean, I've never really kind of understood the whole, you know, ripping off a sample or maybe even an entire record of putting a house kick drum underneath it and calling it your own. It always kind of really drove me up the wall. And I don't sample either. I just feel like it's a little bit cheating, a little bit in a way. Well, it is, especially when you rip off an entire song and put a kick drum underneath it, then it definitely is cheating. There's no line there. And this album is fantastic. And you said before that you have a live unit together. You have April Pittman doing vocals. Who else is joining you in the live unit? [Phil Passera] So we have a keys player called John Lander. We have a bass player called Joe Harris. And we were joined in Brighton, we were joined by Jimmy on keys and another guitar player called Jay Felix. I think we've got it down to a three piece now, because it's kind of easier to travel with. And yeah, the shows have been going really well, actually. We just played in Oslo, Norway, and then London. We performed at Manchester, Paris this weekend, where the live show didn't take place due to the cancellation. But next one up is Ibiza. We're playing in Bitter Box on the 29th of June. [Colleen] I'll be there. [Phil Passera] Oh, really? You're going to Ibiza? [Colleen] I'm playing at Pikes that night. [Phil Passera] Yeah, it's a Sunday. It's a Sunday. [Colleen] You should come by after. [Phil Passera] Absolutely. Yeah, and then we're doing, I think we're playing We Love Festival in Brighton in late July. [Colleen] Before we get to your mix, I just wanted to also ask you, aside from Payphone, what else are you up to? [Phil Passera] Well, to be honest, this takes up all of my time. I'm kind of wearing all the hats at the moment in this project. And apart from that, honestly, it's been a very busy week. We just had to move out of our studio in Barcelona. We're looking at a new place. All I'm thinking of at the moment is the next record. We're working on a song called Opera Singer, which I'm really happy about, and I'm trying to finish that off, put that out as another 12, following the album. The album has been taking up all of my focus and attention in the last six months or so. Yeah, I can't think of anything else outside of my life at the minute that I've got going on. I used to love playing football, but my legs don't move the way they used to. [Colleen] Well, I think the album is great. You could hear how much effort you put into it, and I'm sure doing the whole kind of live manifestation of this album is a huge challenge as well with one vocalist and keeping your hair down to three people in total. So good luck with that. I really hope that I get to see you perform live sometime this summer. I know what you also mean about thinking about the next project. Sometimes I'm over my own remixes or whatever before they even come out. You've been in the studio, then I don't listen to it, then it comes out on a white label, I play it a little bit, and then I'm kind of on to the next thing in my head. That's a good sign. I think that's a good sign as a creative person. [Phil Passera] We've been working. The process has been taking too long. For the next recording, we're going to try a different approach. If you can stand listening to a song you've read 1,000 times, it's a discipline because of course you go through the phase of initially you love it, and then you start to realize you're getting sick of it, and then you can't stand it anymore, but you have to push through that. Finishing songs is, I think most people think, that's the hardest thing. You get to a point where you can't stand it anymore, but you have to push through it. You believe that there's something good in it, and then one comes out. Personally, I don't listen to it for six months, and then I'll listen to it. Hopefully, you should be happy. It does sound good. I'm glad. [Colleen] Well, I can confirm it does, Phil, so thank you. [Phil Passera] Thank you. Thank you very much. I appreciate it. [Colleen] All right. Well, good luck. Good luck with everything. Good luck with the album. Good Thank you so much for joining us on Balearic Breakfast. [Phil Passera] Thanks a lot. It's a pleasure. [Colleen] Take care. [Phil Passera] Ciao. Ciao.

Colleen 'Cosmo' Murphy broadcast the 226th episode of Balearic Breakfast on her Mixcloud on June 10th 2025. About this episode. – After playing at the Last Note party, in Perugia (Italy – a huge thank you and some fluffy hugs to Sara Petricone who kindly shared a few pictures of the party with me), Colleen came back to host another exclusive episode of Balearic Breakfast. With the passing of the inimitable Sly Stone, we all expected a musical tribute by our dear Captain. And of course, as always, she delivered an incredible mix dedicated to the one who always wanted to take us Higher... As often, my way of listening (I'm Always Searching for Colleen's Hidden Message...) allowed me to discover the musical soul of today's episode. If you listen carefully, you'll notice that all of the songs have that musical togetherness: of course because of the musicianship which is present in the recordings but also in the intellectual message that the songs convey... And I'm sure we did not have that musical togetherness here at Balearic Breakfast previously! Of course, this feeling is put on a pedestal by Colleen's mixes which, once again, blew us all away: listen to what happens for instance between "Nothing but Love" and Colleen's remix of Crazy P's "Stop Start Return"... If you don't Feel the musical togetherness I'm talking about, you'd better listen back to the whole show from the beginning! As a last hint for you, think about Sly Stone, think about Last Note's party, add to these elements the explanations I just presented to you... Can you Feel what I'm saying now and do you understand why I chose this title for today's post?... Listen back to the 226th episode of Balearic Breakfast: This morning’s Balearic Breakfast is now up on my Mixcloud and features a tribute to the late funk psychedelic soul pioneer Sly Stone. Today’s show also has a lot of new music including my forthcoming Cosmodelica remix of Crazy P coming out on 20:20 Vision in July, new music from Chaos in the CBD, Azymuth, Shuya Okino, a track from Coco Maria’s forthcoming comp, and new remixes from Joe Claussell and Kuniyuki and a lot more. It’s great to be to be back home in the record room streaming live after a few solid weeks of travel and thank you to all my special guests who gave us exclusive mixes: Marcia Carr, Pete Blaker, Carly Foxx and BB family member DJ Macaroon – all of the mixes were fab-u-lous and you can listen back on my Mixcloud. And thanks to all who joined in the parties at Good Room in Brooklyn, Dantes Hifi in Miami, Freddy’s at Pikes and 528 in Ibiza and to all of those who came to Perugia this past weekend to celebrate the life of our late friend Giancarlo Bianchi at our Italian Loft party – @lastnote_party Apologies for not posting the request line this weekend – I wanted to keep my energy focussed on Giancarlo and Last Note and this coming weekend is our London Loft party this Sunday celebrating 22 years of the party we started with David Mancuso. If any of you want to join us please sign up for the friendship train at loftparty.org or hit me up via the socials. Alan once again there will not be request line this weekend but it will go up on the 21st June and it is our PRIDE special on Tuesday the 24th June. I love this show – last year’s Balearic Breakfast Pride Special is up on my Mixcloud and it’s a musical marathon. So once again I look forward to your requests for LGBT+ artists in a couple weeks’ time. Until then, head over to my Mixcloud for 4 years of Balearic Breakfast shows and please give me a follow while you’re over there. And if you have the means, feel free to Subscribe. Thanks for listening. THE PLAYLIST (2025) B.J. Smith – Decline (2025) Azymuth ft. Jean Paul 'Bluey' Maunick – Last Summer in Rio (2025) Kyoto Jazz Sextet – Dosojin No Uta (2024) Nubiyan Twist ft Neone the Wonderer – Pray for Me (Dub Version) (2025) Charlie Chimi – Échale Candela (1978) Willie Colon & Ruben Blades – Plastico (2025) Chaos in the CBD ft Josh Milan – I Wanna Tell Somebody (1975) Sly Stone – Crossword Puzzle (1982) Sly & The Family Stone – Ha Ha, Hee Hee (1968) Sly & The Family Stone – I Want To Take You Higher (1971) Sly & The Family Stone – It's A Family Affair (2024) Cosmo Klein – Nothing But Love (Art of Tones Remix) (2025) Crazy P – Stop Space Return (Cosmodelica Remix) (2025) Fatback Band – Snake (Joaquin Joe Claussell's Sacred Rhythm Mix) (2025) The Jade – Let the Light In (2024) Juju – Astral (TBR) Wood Brass & Steel – Funkanova (Opolopo Tweak) (1983) Shiva – One More Way (2025) HiFi Sean – Waiting for the Sun (2025) Gene Tellem (ft Teddy Bryant) – Phantom Vibrations (Kunyuki Remix) COLLEEN'S PRESENTATION Decline by BJ Smith, who is Benjamin James Smith, who is also in Aquaba and Bison, Half of Smith and Mud, also in Fug, who are on Nuphonic. Ben Smith is Ben Smith. He did the Move Drill project on New Northern Soul, and he goes under so many other monikers. He's a true, true talent. Decline is from his new five-track EP, Heard, coming out on Friday, and all of the songs are great, and you can pre-order Heard on Bandcamp at BJ-Smith. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast, and I'm thrilled to be back home in the record room, streaming live after a few solid weeks of travel. I mean, five flights in just over a week, so it's really great to be back. Greetings to all over on my MixCloud live. It's wonderful to see you, as always. Thanks for joining me over the past couple of weeks when I was streaming remotely from the US and Ibiza, and thank you to my special guests who gave us exclusive mixes, Marcia Carr, Pete Blaker, Carly Fox, and Balearic Breakfast family member, DJ Macaroon. All of the mixes were fabulous. And also, thanks to all who joined the parties at Goodroom in Brooklyn, Dante's Hi-Fi in Miami, Freddy's at Pikes, and 528 in Ibiza, and to all those who came to Perugia this past weekend to celebrate the life of our late friend Giancarlo Bianchi at our Italian Loft Party last note. It was truly emotional, truly uplifting. Apologies for not posting the request line this weekend. I really wanted to keep my energy focused on Giancarlo and last note, and this coming weekend, it's the same story. It's our London Loft Party on Sunday, celebrating 22 years. If any of you want to join us, please sign up for the friendship train at loftparty.org, or you can also hit me up via the socials. So needless to say, it's another busy weekend, so again, no request line, but it will be going up on the 21st of June, and it's our Pride Special on Tuesday, the 24th of June, and I just love this show. Last year's Balearic Breakfast Pride Special is up on my Mixcloud, and it's a musical marathon, so once again, I look forward to your requests for LGBT plus artists in a couple of weeks' time. On this morning's show, I have a lot of new music lined up for you, including a preview of my forthcoming Cosmodelica remix of Crazy P, coming out in early July, and of course, we will also pay tribute to the late psychedelic soul icon, Sly Stone, who passed to the next realm just yesterday. But now, some new music. Marking 50 years since their groundbreaking 1975 debut, Brazilian jazz funk legends Azimuth prove their cosmic samba soul remains as vital as ever, with a new album, Marca Passo, which has just come out on Far Out. It was recorded in Rio de Janeiro, and is the first full-length release since the passing of drummer Ivan Conti a couple of years ago. Soul remaining original member Alex Malheiros leads the Azimuth evolution alongside devoted collaborators Kiko Continentino on keyboards, and new recruit Renato Massa on drums. And this next one also features Jean-Paul 'Bluey' Maunick from Incognito. Here they are with Last Summer in Rio. Kyoto jazz sextet with Dosojin no Uta, and that means "the song of the road ancestor deity". Dosujin refers to the Shinto deity believed to protect travelers, villages, and individuals in transition from evil spirits. And it's a traditional folk song from Nagano's Nozawa Onsen Village, and we heard it performed by Kyoto Jazz Sextet, an acoustic jazz ensemble led by Kyoto Jazz Massive's Shuya Okino, and they've been going for a decade. And this new EP marks their 10th anniversary and is coming out at the end of July, and you can pre-order it now. Okay, London's Nubiyan Twist is a blend of virtuosic players, skilled producers, and inspired composers who join forces to create a unique infectious sound drawing on jazz, hip-hop, afrobeat, latin, soul, reggae, and dance music. And their powerful nine-piece band is tight. They've been putting out albums for a decade now and recently released remixes and dub versions from their latest record, Find Your Flame, which came out on Strut Records last year. Here are Nubiyan Twist featuring Neone The Wanderer with a dub version of Pray For Me. Chaos in the CBD featuring Josh Milan, I want to tell somebody. And that's from the New Zealand duo's double album, A Deeper Life, and it is absolutely fantastic. I've had the entire album on repeat on my headphones when I was traveling the last few weeks and loved it so much I bought the vinyl. Chaos in the CBD is brothers Ben and Lewis Helliker-Hales and their debut album was 10 years in the making. A nostalgic imagining of the duo's nature-filled youth exploring the magical coastline and lush rainforests of New Zealand. It is such a breathtakingly beautiful country. And the album has loads of guests including Saucy Lady, Finn Rees, Nathan Haynes, Stephanie Cook, a novelist, and many many more. So go out and get it. The one before certainly wasn't new but I picked it up at Sweat Records in Miami and a shout out to Lolo and her team. As when you're in Miami you can't resist but be swept up by Latin American music. We heard Plastico from the classic 1978 album Siembra by Panamanian singer and songwriter Ruben Blades and Puerto Rican-American singer and trombonist Willie Colon. And that album is considered the best-selling salsa album, and I can understand why the whole thing is great. Ahead of that we had Charlie Chimi with Echale Candela which translation which translated means set it on fire. And that single is now out on Coco Maria's new label Club Coco. And it's also included on her forthcoming New Dimensions in Latin Music compilation which serves as a sonic portrait of what Latin music can become when it's guided by intuition, keen ears, and an open heart. And that's certainly true of Coco Maria. She's a great selector and a beautiful person. New Dimensions in Latin Music is available to pre-order now. Okay you may have seen the recent documentary Sly Lives aka The Burden of Black Genius directed by Questlove which came out earlier this year. And it's an in-depth look at the life and music of Sly Stone, a musical pioneer who forged both the psychedelic soul sound and funk. Sly Stone passed to the next realm yesterday after battling with an illness. But as the film states, Sly lives through his music. Sly Stone, nay Sylvester Stewart, was born in Texas and raised in the Bay Area of Northern California. And he was a musical prodigy mastering keys, drums, guitar, and bass by the age of 11. He performed gospel music as a child with his siblings and future bandmates, Freddy and Rose as their parents were deeply religious. In fact they recorded and locally released a 78 rpm single on the battlefield with Walking in Jesus in August 1956. In the mid-1960s Sly Stone worked as both a record producer for Autumn Records and he was also a DJ on San Francisco radio station KDIA. In 1966 Stone and his brother Freddy joined their bands together to form Sly and the Family Stone, a racially integrated mixed gender act. And the group would score huge hits including Dance to the Music, Everyday People, and Thank You for Letting Me Be Myself, and classic albums like Stand and There's a Riot Going On. In the mid-1970s Stone's drug use and erratic behavior effectively ended the group leaving him to record several solo albums. He toured and collaborated with artists such as Parliament Funkadelic, Bobby Womack, and Jesse Johnson. And he took part in a Sly and the Family Stone tribute at the 2006 Grammy Awards, his first live appearance since 1987. And he also released the autobiography Thank You for Letting Me Be Myself Again in 2023. He was a complex and complicated genius, a musical game changer, and left behind an incredible body of work through which he lives on. Let's remember him through his music, Sly Stone. I love that song. Sly and the Family Stone, It's a family affair from their 1971 LP There's a Riot Going On. And I want to dedicate that song to the Balearic Breakfast family, the London Loft family, and the Last Note family. You can't even comprehend how much you all mean to me. Ahead of that, Sly and the Family Stone, I Want to Take You Higher from their 1969 LP Stand. We have Sly and the Family Stone, Ha Ha Hee Hee, very baleric song actually from 1982's Eight But the One Way. And starting it all off with the song that you know that De La Soul samples. You probably expected to hear De La Soul. That's Crossword Puzzle by Sly Stone from his 1975 solo album, High On You. And may Sly Stone rest in paradise. Okay, German singer-songwriter Cosmo Klein released his debut album This Is My Time in 2003. And since then has released other solo and collaborative albums and a string of singles, including this next one released last year, but which just came on my radar as I was delving deep into Art of Tones remixes. This is the Art of Tones remix of Cosmo Klein's Nothing But Love. One of my favorite producers, Joaquin Joe Claussell Sacred Rhythm remix of The Snake by Fatback Band. And that's part of the Spring Revisited project put together by Swedish label Cosmos Music and also the UK's Acid Jazz Records. An incredible and ambitious project of New York label Spring Records featuring artists like Fatback Band, Millie Jackson, and The Street People. Getting makeovers by Opolopo, Dimitri from Paris, Khan, The Reflex, Dave Lee, and little old me. My Cosmodelica remix of The Street People "I Want to Get Over" is coming out on vinyl on Acid Jazz this week. And you can pre-order it now. And the digital is already out. And the mix we just heard by Joe, I think that's coming out in a few weeks as well. Before that, we heard my forthcoming Cosmodelica remix of the Crazy P classic Stop, Space, Return. And I gave it a bit of a freestyle electro vibe as Crazy P had the slinky disco vibe nailed as they always do. So, you know, no need to do the same thing over again. And I actually did that remix last summer amidst dates playing on the same stages as Crazy P. And I'd also DJed alongside the late Crazy P singer Danielle Moore. They had asked me last summer to pick any song and it was a true honor. And tragically, Dani departed planet Earth last September and we still mourn her passing. But at least we can remember her and celebrate her through her music. So, the Cosmodelica remix of Stop, Space, Return is now available to pre-order on 2020 Vision. Okay, Madrid's Cazbah 73 recently shed his skin and is now ready to introduce The Jade, a live ensemble that prioritizes emotion, excitement, and the art of the song. Led by Oli Stewart of Cazbah 73, it's a tight live band who specialize in post-pout, studs up, raw soul, free from modern dance floor tyranny. It's intimate disco, dead selfie freedom, Afro-Latin jazz dance, and Iberian funk all rolled up into one. Here's a track from their album Love Harder coming out next week on Spanish label Love Monk. The Jade with Led the Light In. An eternal classic, Wood, Brass & Steel with the opening track from their debut self-titled release Funkanova, which came out in 1976. In 1979, Sylvia Robinson called bassist Doug Wimbish, guitarist Skip McDonald, and drummer Keither Blanc and made them members of the Sugar Hill Gang Band, the in-house session musicians for the hip-hop label of the same name. WBNS released a final album in 1980, and then the trio met Adrian Sherwood at a music seminar in New York, followed him to England where they played on several Sherwood projects such as Fats Comet and Tackhead, and we just heard the Opolopo tweak of their dance floor classic Funkanova. Ahead of that, Juju with Astral, and Juju is helmed by UK drum and bass producer Robert Stewart with a live band, and he's released a couple of EPs on Colin Curtis Presents label including Black Samba and Haute Couture EP. We heard Astral from the latter EP released last year, and the whole thing is great. Okay, a few more songs on Balearic Breakfast going to just after noon. Following on from the 2023 reissue of Shiva, Never Gonna Give You Up, featuring Leon Ware and Joanne Harris, Isle of Jura have revisited 1983's 20 Minute Workout LP once more with Shiva's latest, The Aerobic EP. Four more tracks are on Earth from the original album sessions, all produced by Andy Muson, a seasoned session bassist whose credits include work with Yoko Ono, James Taylor, and Ringo Starr. It's coming out in mid-July, so pre-order now. Here is Shiva with One More Rain. Former Soup Dragons frontman and dance music producer and DJ, Hi-Fi Sean with Waiting for the Sun, and some of us in the UK are still waiting. What a gloomy day it is today, but it's a beautiful gospel house song, and I just love it, and the wait is over as it's coming out on vinyl this week. Well, that just about wraps up another weekly Balearic Breakfast. Don't forget the London Loft is celebrating 22 years since we started the party in London with Dave and Mancuso. It's this Sunday, and you can find out more and sign up to join our friendship train over at loftparty.org, and if you can't make it this Sunday, we host parties in September, December, March, and June, and we hope to see you on the dance floor. I'm going to be on NTS Radio this Friday doing something very un-Balearic. I'm playing a lot of punk and post-punk, as Robert Smith invited me to do a half hour on The Cure's early period from 1978 to 1982, as The Mixes of a Lost World by The Cure is coming out this Friday, and on it is the Cosmodelica and Electric Eden remix of And Nothing Is Forever, so really excited about that. If you're a post-punk fan, you can, uh, I think Robert Smith is doing two or three hours, and then there's about six, uh, three more hours of all The Cure's different kind of periods to the present day. Next week, I'll be streaming Balearic Breakfast live. Until then, I'm going to leave you with one more song, a lovely new biscuit on Love Injection Records coming out at the end of July. It's by Canadian artist Gene Tellem, featuring Teddy Bryant. The song is called Phantom Vibrations, and it's remixed by one of my favorite producers, Kuniyuki, from the city of Sapporo and the northern island of Hokkaido in one of my favorite places. This is Colleen Cosmo Murphy. Enjoy your week, and thanks for listening.

Fabienne , London born and New-York based DJ, recently launched a new series of podcasts entitled "Last Night a DJ saved my life". For the second episode, she met Colleen. COLLEEN'S INTERVIEW Note: Although the podcast has been initially recorded on March, 03rd 2024, it has been aired on youtube on June, 08th 2025. TRANSCRIPTION OF THE INTERVIEW [Fabienne] Hey guys and welcome back to episode two of Last Night a DJ Saved My Life, the podcast. So I hope you enjoyed episode one, with Bill Brewster and Frank Broughton, and all the most incredible knowledge that they gave and that they brought to the episode, and episode two we have Colleen Cosmo Murphy. I am so excited for this episode not only because as a female DJ it's really interesting to hear another female perspective from someone who's been in industry for 35 years and she's been in, she's been DJing since she was 14, and it's just so incredible to hear her story and where she came from and how her musical career developed and how she came to work with David Mancuso of The Loft. She had so many exciting stories to say and so many points to touch on and I can't wait for you to hear it. So here it is, episode two of Last Night a DJ Saved My Life, the podcast with Colleen Cosmo Murphy. Enjoy! Welcome back to Last Night a DJ Saved My Life, the podcast. On today's show I have a guest that's an absolute icon of mine. Someone that has been described as dedicating every inch of her soul and being to the pursuit of music which feels like an absolute dream for me. Founder of classic album Sundays, the world's leading album listening event and an authority in music, sound and vinyl renaissance, which is something that we definitely have to get into. She has been part of the movement that changed music forever and it's a place that I would sell my soul to go back to. That is of course David Mancuso's The Loft. Famous for her eclecticism, not sticking to one genre, you can find her on Mixcloud every Tuesday for Balearic Breakfast and Sundays on NTS. Please welcome my guest Colleen Cosmo Murphy. Hello.   [Colleen] Hello. Thank you, that's a glowing introduction. I almost started tearing up. [Fabienne] Thank you so much for coming in today. [Colleen] My pleasure, thanks for having me. [Fabienne] We've got so much to talk about. I mean you've got such a rich musical tapestry I can't wait to get into. So with that, with being in the music scene for, I mean since you were a teenager I guess, from producing music to DJing to curating music, I guess let's start from the beginning. How did you start getting into music?   [Colleen] Well how did I start getting into music? I mean it was all around me on the radio growing up outside of Boston and suburbs and we had great radio in Boston because we had so many universities. [Fabienne] Right. [Colleen] It has the most colleges and universities out of any other city in the United States. [Fabienne] Wow, okay. [Colleen] And of course college radio was really big when I was growing up but also the radio stations were really good so I was able to access different kinds of music than other people who were growing up around other cities throughout the United States. I also had a lot of teenage aunts and uncles. My dad was young when he had me and he was the eldest of six, proper Irish Catholic family, and so I would raid their record collections as well whether I found Kate Bush or Pink Floyd. Started making mixed cassettes about 12 years old and then when I was...   [Fabienne] Did you wheel?   [Colleen] Yeah, exactly. But these were just pause, on the pause button, because I didn't have two turntables at that time obviously. Right.  And then when I was 14 years old I started as a DJ on our 10 watt high school radio station, WHHB, and that was kind of the beginning of my journey in terms of playing music and selecting it in public.   [Fabienne] And I guess, so you always knew you wanted to get into music because I think sometimes it's either there in your soul or maybe it comes a little later but it sounds like you always kind of wanted to be part of it.   [Colleen] Well, I never studied music. I mean, I took organ lessons when I was young. I was a singer when I was young as well and I just... It was the radio station and being obsessed with the radio that really led me there. And when I went to university in New York in 1986, the way I chose the university was to have the best college radio station.   [Fabienne] Right.   [Colleen] Oh, that's really cool. Yeah, it was really interesting. But I studied other things too. I studied comparative religions in school. I also was accepted to a master's program for anthropology. Right. But as I was always working in radio, I would... That's just kind of where I would focus my energy. So it's, you know, it's sort of by...   [Fabienne] It wasn't necessarily intentional but I just couldn't stop. Yeah, I think that's the thing, isn't it? Once you focus your energy on something, it just kind of starts pushing you in that direction. With that 54th anniversary of the loft that just happened last month, I wanted to go over and just tell the listeners about what you mentioned recently, about the different things that Mancuso taught you about music, if you will.   [Colleen] Yeah, he taught me so many things. I mean, first of all, he taught me about sound and audiophile sound and getting the best playback you possibly can. I studied sound and radio also at NYU and was mainly recording, editing on tape, mic techniques and things like that. It wasn't about playback. Right. So David really taught me about that, you know, how to set up an audiophile sound system but also how to use it. Okay. Which is very different because there's only certain records you can play on an audiophile system because it doesn't lie. So that's very difficult. He also taught me about the importance of community, you know. The loft is a worldwide community, probably thanks to some of the work that we did together with the compilations and getting David's name out there back in 1999 because not many people knew who he was at the time.   [Fabienne] Yeah, and I guess social media and things that wasn't about, it was just word of mouth.   [Colleen] There was no social media. Yeah, exactly. And the internet had really just come into play a few years earlier. Right. So the importance of community is something that's really is at the heart for me and I have definitely built a community with classic albums, Sundays and Balearic Breakfast. Also, just the whole life energy of music, that idea that music is a healing force. There was a book that he gave out to many friends called The Life Energy of Music by John Diamond. And it's all about choosing music that uplifts people. And, you know, I like all different kinds of music and I listen to different music in different places and at different points in my life and in different parts of the day and on different days. Yeah. But when you're out in a club, you don't want to depress people. Yeah. It's about uplifting. So I do choose music in my party sets more in that way. But also it's just about being a good human being, you know, and really trying to take the higher ground, even when you're faced with some massive challenges. And that has been one of the things that I've really set out to do following David's footsteps in that as well.   [Fabienne] Right. And in terms of the challenges, is that something that was the pandemic, do you think?   [Colleen] Pandemic and also, you know, there's also still sexism in our industry that's really rife and something that's affected me greatly as well. And, yeah, lots of different challenges. I mean, it's a hard business. Yeah. It's very competitive, kind of backstabby, but it can be the best one as well. You know, there's there's advantages and disadvantages to everything. I mean, someone watching this might say, oh, she's going to complain about being a DJ and playing music and traveling the world. And I'm not. I love it.   [Fabienne] I love what I do.   [Colleen] Otherwise, I wouldn't be doing it.   [Fabienne] You've always got to take the good with the bad, isn't it? There's always a balance, but we'll definitely get into that in a bit. But I do want to talk about Balearic Breakfast. And, you know, you mentioned community and you have such an incredible community there, you know, watching you dancing, listening. I mean, thank you for accompanying my all my packing I had to do last night. It was great. So, yeah. How did how did that start? Was that something you saw? I think I read somewhere something that you started in the pandemic. Was it something before that as well?   [Colleen] No, it wasn't before. Basically, I was a broadcaster on Worldwide FM right after Giles Peterson started the station. He asked me to join up and become one of the DJs. And I hosted monthly Cosmodelica shows and monthly classic album Sundays documentaries. When the pandemic happened, I believe only Giles and I had the ability to broadcast live from home. And I'm a broadcaster and broadcasting live is so different than broadcasting. It's a prerecord. I could just never get in the spirit. I don't mind there being mistakes when it's live. When it's prerecorded, it always feels a little bit staged. Yeah. And it's just I just can't get the feeling. I like being on the edge. I think it really is really a good thing for me. I learned to mix, you know, DJing on the radio. I've just learned my chops in front of people, really.   [Fabienne] It's a different energy.   [Colleen] It's a completely different energy. It's really great. So you're feeling something coming back, even though you can't see it.   [Fabienne] Yeah.   [Colleen] But I could kind of see it in a sense because we were streaming live and I was using MixCloud Live, Twitch TV, and people could comment in live time. In any case, I had a show that I called Summer Staycation in the summer of 2020, because Giles decided to take a maybe a month off or two months off, the whole summer off, I think. So I covered one of his shows. And it was called Summer Staycation because I wasn't going anywhere.   [Fabienne] I didn't think any of my listeners were going anywhere. I didn't think the rest of the world were either, yeah.   [Colleen] Exactly. And then when he came back in September, he said, well, there's a lot of pickup on your show. Why don't you keep the slot? Great. But this is September. How can I call it Summer Staycation anymore? And it was kind of a balleric-y vibe show in that it was very eclectic and it felt like the music had a quality of taking you out of your kind of, taking you to a different kind of world. We were all trapped in our homes and there's something transcendental about the music. So I put the word out to the community, suggest some radio show titles. And a friend who is also a member of the community came back and said, how about Balearic Breakfast? And that's how it happens. And then after Worldwide stopped or went on pause or stopped as a full-time radio station, I decided to keep the show going and just do it on my Mixcloud Live and Twitch TV. And it still gets like number one on the balearic charts and new discos charts.   [Fabienne] Yeah, you have thousands of listens. Yeah.   [Colleen] And the thing is, it's like a radio show without a radio station.   [Fabienne] But I think that's the way to go, isn't it? These days, doing it yourself. And didn't you have a sellout compilation of it last year?   [Colleen] Yeah, we're just doing the third volume right now. I just approved the artwork yesterday.   [Fabienne] Great.   [Colleen] Coming out in May. I believe it's the first week of May, May 3rd. Okay, great. And then I'll be doing some album release parties around in the UK and Ibiza.   [Fabienne] Well, that's perfect. Yeah, that aligns nicely.   [Colleen] Yeah. I hate to use the word brand because I feel it's more of a community. Right.   [Fabienne] Okay. Yeah. Well, I guess that's a bit like Classic Album Sundays. I guess, what would you say the difference is? Because Classic Album Sundays is a listening party. It's quite similar to, I guess, what they do in Japan. Yes.   [Colleen] Well, I never even knew about this. I lived in Japan in 1989. I was a radio DJ there when I was 21. And I've been back and forth, you know, as a DJ from the mid 90s. Okay. But no one had ever brought me to a jazz kiba. Right. Before. So I didn't even know about that idea. It really kind of sprang out of getting to know more about hi-fi and having hi-fi in my house and listening to records in full and thinking, oh my gosh, this is so different. But also all of the journalism I've done in the past, all of the radio interviews I've done in the past, I've interviewed hundreds of bands. I've written about music. I've done a lot of different things in music beyond DJing. And it kind of brought all these different experiences together. So I started that in 2010. And I also wanted to address how we listen to music, music quality as well, both on playback and the format, which is why I was championing vinyl. And this was before the vinyl renaissance. And, and also listening to albums in full uninterrupted and immersing yourself into the music, but also the story. And it was great. I had no idea it would take off in the way it did because three months in BBC came along, they put me on BBC Breakfast, and there were no listening bars in the UK. No, yeah. There were, there wasn't a vinyl renaissance.   [Fabienne] I think there's probably minimal now anyway. You know, I know they're popping up, but it's still quite minimal. Yeah.   [Colleen] Exactly. And it just inspired a lot of other people to do something similar. And because it just really hit a nerve in many different ways, whether it was vinyl culture, album listening, or audiophile playback, or just how we listen. Yeah. Because the whole sense of hearing is so important. And it's just as important as your sense of sight, if not more. Because we can listen 360 degrees, and we listen unconsciously. We don't filter out the sounds unless you put earplugs in. But with our vision, we have to turn our gaze, and we have to fix on it. And then we can shut it off and close our eyes. We can't close our eyes. So it's really important.   [Fabienne] Yeah. And I think maybe that also because, you know, we can, like with digital, we don't take the time. People don't really listen to full albums anymore. So doing something like that really brings people back into listening to more than just what's the song that's been chosen for radio play or for streaming play, absolutely. And you have to think of the album as a complete artistic statement, even if it's not a concept album.   [Colleen] It's a representation of where the artist is at that point in their musical journey.   [Fabienne] Yeah.   [Colleen] And you don't even have to like all the songs. But I would say if there's an artist that you really like, just listen to one of their albums all the way through. You don't have to, again, but I think you'll be surprised because so many times there's tracks on the album that you like better than the single.   [Fabienne] Absolutely. But isn't it so weird how that's what you would do, and now we just kind of don't, you know? It's definitely something listening to the whole album is something special now, whereas it was something we just would do.   [Colleen] Right. And it's also nice to take time out and just listen and not do anything else. Turn the phone off, close your eyes. It's really relaxing. It lowers your blood pressure, and it's just really good for your mind and your heart and your body.   [Fabienne] Yeah, it's almost a form of meditation. Exactly.   [Colleen] I call it audio yoga.   [Fabienne] Oh, I love that. That's great. That's another thing you should probably start doing now.   [Colleen] Well, I have a series called Audio Yoga on my Mixcloud, and there's a bunch of just one-hour mixes that are more kind of spiritual jazz and things like that, just music that people have done yoga to.   [Fabienne] Yeah. Oh, that's amazing. So I believe you can find inspiration in any genre of music and don't necessarily have to stick to one, and just like yourself, play quite eclectically. Have you ever felt the pressure to be put in a box and maybe stick to one genre?   [Colleen] 100%. When my career started taking off in Europe, after I moved over in about 2000, this is when dance music was really at a peak. And I remember at one point, a few years after I switched agents, she was a brilliant agent in terms of business. Excellent. And she's the agent and manages some of the top talent, DJ talent, and I was her first woman DJ. Right. And she said, make me a mix that I can send out to promoters. And I made a mix that I thought was kind of this punchy, and I thought a bit more energetic than the way I would always play. I can play in a lot of different ways. And she turned around and said, don't you want to make money? And I realized I just can't be pitch and hold. And sometimes I do feel like that has been to the detriment of my career, because I do feel it is easier to rise through the ranks when you have a definable sound and look and everything is gelling together. And I understand that. And it's easier for people to kind of digest. It's easier to promote. You're known for one thing and you do it really well. There's people that do that. I don't have an issue with that. I'm not saying one way is better than the other. It's just my musical history is so varied, and I love music, all different kinds of music, and it's been such a huge part of my story. And with Classic Album Sundays, I also get to exhibit that passion as well beyond the dance floor. I just couldn't do it. I think you have to remain authentic to yourself. And if that works for you, just I'm going to do just this style and do it really well, that's great. There's nothing wrong with that. It's just you have to know who you are. And that's not me. And maybe the fact that I'm still around and it's been a slow and steady build, maybe that diversity has actually helped me in the end. But it didn't feel like it 25 years ago.   [Fabienne] Right. Yeah, I think me putting yourself into one genre just kind of inhibits any type of play or inspiration from anything else. I remember a long time ago, someone said to me, you can get your inspiration from things that make you feel uncomfortable or sound uncomfortable.   [Colleen] Oh, 100%. Being on the edge and challenging yourself and taking risks is one of the best things you can do in your career. I know David Bowie said something similar, but really getting outside your comfort zone is the only way you're going to grow.   [Fabienne] Yeah.   [Colleen] Otherwise you stay flat. If you don't have challenges, if you don't challenge yourself, you will just remain the same, you'll remain stagnant. So these things are really important.   [Fabienne] Yeah, I think so. So I guess being part of movements such as The Loft, it feels like gender wasn't really an issue at the time. Well, don't make any assumptions.   Right. Fine. Exactly.   So because I was going to say, as a woman in industry, have you felt that things have been gatekept from you?   [Colleen] Well, it's a tricky situation. First of all, I want to just say one thing. I have had amazing male mentors, supporters. And in fact, if I didn't have them, I wouldn't be where I am today. And I also have incredible male listeners and people who support me as fans. And most of my experiences, I would say, have been good. Otherwise, I wouldn't be here. But yeah, there's been a lot of different obstacles in my way. Some that I've overcome and became the first woman program director of that radio station or went to an audition that was only open to men. Or I was at a record shop and I ended up not just working behind the till, but on the floor helping people, all sorts of little things when I was younger. But no scene is exempt from sexism. Absolutely. And what I have found in my own experience, I mean, I have never been sexually assaulted, thankfully, been sexually harassed like I think every single woman has, but not assaulted. So in that way, I'm lucky. Sad to say I'm lucky because I haven't been sexually assaulted, but it's true. But there's been some blatant sexism and that stuff is easier to deal with. When you have a bouncer telling you, you can't enter the club when you're standing there with a box of records because DJ Cosmo is not a woman, that's kind of easy to deal with. You just tell him to go where and you go underneath the ropes and you walk in and say, arrest me. You can do that. So those things are easy because it's so overt. The real problem is unconscious bias. And I suffer from this and every woman suffers from this to this day. And it's generally hard to accuse somebody of that because they will always say they didn't do it. And this is something that even liberal men do. The double standard of how women are treated unconsciously still exists today. So for instance, if I am assertive about something, I'm aggressive. If a man uses language that's even stronger than me, he's just making a point. The boys club and how they gang up on you, there's like certain overall, as I've said, I've had amazing support, but it's really the ones who maybe look at me and maybe they want what I have or maybe they want the relationship I have with David. I'm just told by one person to my face and publicly, everything you've done in your career is down to David Mendeza. They put my entire career onto one man. I was working before he went in. No one even knew we were working together in the 90s for the most part. I helped put on, you know, get his story out to the world. But that's the kind of thing that people will say and that usually comes from a place of insecurity themselves. Oh, definitely. Not everybody likes a successful woman. I think successful women have more challenges than successful men. I'll go on and say that. And we also get more backlash online. It's incredible, you know, the kinds of challenges that we get online because we have the kind of keyboard warriors that are anonymous. But you know, it does stem from jealousy and insecurity and it's really hard because you can't call it out because you can't prove it. And also, these guys would never admit it. But as I said, overall, my experience has been positive and I'm really thankful for that because I know other women have suffered a lot more than I have. And you know, like in any career, you have to take the bad with the good. And things are changing, you know, and there's more highlighting it. And I think the more we talk about unconscious bias and we as a society challenge the double standards that we face and really look what I've said to people is look to where women aren't being mentioned. And that's where you'll find these stories. You know, I'll be mentioning people and promoting them and it may not be reciprocated. And why aren't they mentioning it? You have to question when the women aren't there. Because we can't go out and say, oh, I'm not there because I'm a woman because then we look bad. You know, and so, yeah, there's there's a lot still to be done. And I think there's a lot of accountability. Some some people do need to raise their hands and realize that their past behavior hasn't been fair.   [Fabienne] Absolutely. I think we are becoming slightly more aware of it. It doesn't mean that it's not still going on. But I think having the awareness now, even for the men in the industry going like, oh, because of certain movements, we have to be a bit aware feels feels a bit better.   [Colleen] Yeah. And this isn't just men, too, I should say, as well. There are women who don't support women.   [Fabienne] Oh, yeah.   [Colleen] And, you know, you know, the Equal Rights Amendment was never ratified in America. Right. We're still not protected in the Constitution there. Right. But and there was a woman who was leading a movement against it. And I still encounter it. But it's a minority. And I do also feel like maybe that's because of the patriarchy, they act that way as well. Yes, I think so.   [Fabienne] Yeah.   [Colleen] But, you know, I mean, securities and insecurities and different things or they want to impress men or there's all different reasons that could happen. And I'm sure it's you know, it's it's it's a very difficult thing to deal with. But as I said, you know, I've had mainly positive experiences. And, you know, I'm so grateful for the everyone who has supported me irrespective of gender. And yeah, I think overall I've had a pretty good run.   [Fabienne] Yeah, you've got great staying power. What would you say is the staying power because you're so authentic and true to yourself? I think that's one thing.   [Colleen] I think sticking to your guns. But I also think diversity. I do a lot of different things. You know, I have classic Elvis Sundays. I do remixes. I'm a radio broadcaster. I'm a DJ and it's a lot to juggle. And, you know, a mother, you know, my daughter's now 19. So a bit of an empty nester now. But, you know, that was difficult. Yeah. And I do think don't put all your eggs into one basket. Yeah. And whatever you do, do to the best of your ability and just put your head down and focus on the work. And despite any noise going around around you. Absolutely. Focus on the work.   [Fabienne] Yeah. Don't look what everyone else is doing. It's very difficult in the age that we are in today.   [Colleen] But, yeah, it's awful, isn't it?   [Fabienne] Yeah, absolutely. OK, so let's get into the vinyl renaissance. Obviously, you were playing records years before this happened, but we are now, I think, in the 16th year of just an increase of vinyl being purchased and listened to. What are your thoughts on that, I guess, versus the digital culture? I know we touched on it earlier a bit.   [Colleen] Yes, I think it has a lot to do with tangibility because everything is accessible right now at our fingertips, which is great as well. I mean, it's a lot to be said to be able to access almost any recording and to be able to check it out without having to own it or hear it on the radio, because that was the only way I could hear the songs that I liked before. Go to a friend's house if they owned it, if I owned it, or on the radio. And that was it. You know, in some ways there's something kind of magical about that. But hey, when I want to hear like Arvo Part, hmm, let me hear some of his compositions. And then I can buy the vinyl. So I think part of it is the tangibility. You become the Uber fan if you own the actual physical manifestation of this album. And you also support the artist more because they're not getting anything from the streaming services for the most part. So that's one side. I think there's a bit of romanticism to it as well. You know, you have to interact with the vinyl, you have to put it on the turntable and flip it over. Whereas a digital format, you can just walk away and it turns.   [Fabienne] Yeah, you're using more of your senses, right?   [Colleen] 100%. You have the artwork looks better because it's bigger, you can hold it in your hands, read it. So I think there's a lot of that too. But also the sound if you have a group, a well pressed album that's beautifully mixed and mastered and you have a nice sound system. There is a magical quality to listening back to that kind of a format when it's done well. There's a feeling. It's just more musical. Yeah.   [Fabienne] Yeah. Because I guess being more musical is using again, like we said, all the different senses as well.   [Colleen] And it's not a series of ones and zeros.   [Fabienne] Yeah, exactly. Okay, so as we're coming to the end, just maybe talk about your favourite moment as a DJ. I mean, wow, you must have had so many from radio, from performing at different places. Yeah. What's maybe one that sticks in your mind today? There's so many.   [Colleen] I can't even. There's so many ones. It's really hard to say. And they're so different. So like a festival set when you have thousands of people dancing in a field is a wonderful thing or dancing in a tent like we are, like our love dancing tent that we have here. I always love doing sets in our love dancing tent because we help put together the sound system. Right.   [Fabienne] Yeah. And it is real, really like love.   [Colleen] Exactly. Exactly. All the loft parties that I've been part of that have been, you know, so fortunate to have musically hosted again. Those aren't sort of DJ moments. It's a musical hosting moment. There's so many great dance floor moments. There's a place I love in Japan called Precious Hall that I love playing at. They're all so different. I can't say favourite because I don't believe in that. I don't believe there's so many great places that I've played and so much love, both from promoters and people on the dance floor. I almost don't feel it's fair. And I just feel so thankful. And, you know, the whole thing. I'm so grateful that I am. I'm so grateful that I've had so many different experiences. You know, I've been playing DJing publicly for 35 years, pretty much almost 35 years. So it's there's a lot there.   [Fabienne] Yeah, absolutely. And so what would you give advice wise to DJs wanting to get into people wanting to get into DJing?   [Colleen] OK, well, I would say work really hard, put your head down, become as technically become as technically efficient as you can. But it starts with the love of music.   [Fabienne] Yeah.   [Colleen] And you really have to have that love of music to convey that spirit and to help channel it so that people feel it. Some people might use music as a way to become famous and they can be successful in that. That's not what I do. So I would suggest whatever you do, do it to the best of your ability and find your tribe, find your tribe of people and work together and you'll be amazed at what can happen.   [Fabienne] Lovely. Yeah. And I think just being true to yourself like that's what's going to get you everywhere.   [Colleen] It is. It really is. You know, and you see the DJs that make it. And, you know, I'm not saying that you have to make millions of pounds a year to be a DJ who's made it. If you're able to sustain a career in music, you've made it. You're lucky. I love that. So many people want to have a career in music and it's a hard graft. They don't see everything that goes on, you know, behind the scenes. But you're still fortunate to be able to do that.   [Fabienne] Yeah, absolutely. So I guess my final question is today, what brings you joy?   [Colleen] Oh, so many things bring me joy. I mean, outside of music, what brings me joy is my family and friends. I love nature. I love hiking. I love swimming. I love biking. I love reading. I love films. I love radio. I love I mean, there's so many different things, but you can bring that joy of being alive and just being thankful for being alive and to have the opportunities I've had to, you know, I'm grateful for where I live. I mean, the world is filled with war and all sorts of terrible things happening. And I am privileged and we are very privileged people if you're not experiencing that directly. So I'm thankful for that, you know, so.   [Fabienne] Great. Well, we're very thankful for having you on the show. So thank you so much for coming in. It's been amazing to hear your stories and your history and experiences. I really appreciate you being here. Thank you so much. Thank you. That's it. I think we're done.   [Colleen] You're really good.   [Fabienne] Well, I hope you enjoyed that episode too. So that was so much fun to film. And we actually filmed it on International Women's Day, March the 8th last year. So it had this even more like awesome feminine energy to it. So no trials, please, because it's always interesting to hear from a female perspective. And also, of course, even if you're not a woman, the knowledge that she brought and the things she was talking about, like your authenticity and staying true to that throughout your career. And I feel like that's something that can be touched on on any career, for anything you do in life, as long as you are true to yourself, you're always going to thrive. And that's what I always think anyway. But yeah, I hope you enjoyed it. And yeah, we've got two weeks until episode three. So stay tuned for that one. Yeah, let me know any of your feedback, any of your comments, and also who else you would love to see on the podcast. But for now, thank you so much for listening or watching. And I'll see you soon. Bye.

Colleen 'Cosmo' Murphy broadcast the 225th episode of Balearic Breakfast on her Mixcloud on June 3rd 2025. About this episode. – Just a few days after playing with Love injection at the Good Room, Colleen played at Dante's hifi in Miami with her friend Rich Medina and then headed towards Ibiza where she's playing in a few hours with Hot Chip at Pike’s at 528 from 7 to 9pm. In between these musical performances, she took the time to stream new episodes of Balearic Breakfast, including this one in which she welcomed both Pete Blaker and Carly Foxx. This episode had a strong moving vibe as while the fam joined Colleen on the chat we exchanged about our parent's health issues, and everyone joined in sharing their experiences, and we all started cheering ourselves up, saying that the show was a lifeline for so many of us. While this hapenned, I noticed how much Pete's mix had a strong force, a cleansing force. We all noticed its circular structure too... You know, I strongly believe that things always happen for a reason during Balearic Breakfast... Carly Foxx's mix was more relaxed, with a beautiful and Jazzy start, but kept the pace with a positive opening that brought us all a lot of joy! All in all, this show was both a moving, a cleansing and an everlasting musical ouverture, allowing everyone to trust that the best was yet to come (indeed, we saw the front cover of the forthcoming Balearic Breakfast's vol. 4 compilation 😉)... Listen back to the 225th episode of Balearic Breakfast: Greetings from Ibiza - the perfect place to stream this morning’s Balearic Breakfast which is now up on my Mixcloud (and please give me a follow while you’re over there). Today’s show has an exclusive Balearic mix from and interview with Pete Blaker. Our Balearic Breakfast family are big fans of his deep and trippy re-edits and he has a surprise up his sleeve for us this coming autumn. I’m sure you will love his mix (swipe for the tracklist). After that we have an exlucisve mix from the Australian, London-based DJ Carly Foxx. She has DJ-ed all over the world, has done A&R for Nervous Records and also sat in the producer’s seat with her friend Daisybelle. I recently played with her at La Discotheque in Manchester and thought she would be a great fit for Balearic Breakfast and her mix is testament to that sentiment :). If you happen to be in Ibiza right now, I’m playing with Hot Chip at Pike’s at 528 from 7 to 9pm. If you can make it, please say hello. Wishing you a wonderful week and thanks for listening. PLAYLIST Pete Blaker's Mix: Extracts of Dope Jams Vol 1 2005-2010 Five or Six – Theme Steven Legget – River Alan Parsons – Some Other Time Basil Poledouris – Search for Lina Marjoe – God's Now Given Me a Cadillac Jon and Vangelis – State of Independence Rhythm and Sound – Hit You Version The Detroit Escalator Co. – The Inverted Man (falling) With some pieces of Richard Bach – Illusions Kraftwerk – The Man Machine Urban Dance Squad – 3 Heights Patrice Rushen – The Hump Walter Murphy – Afternoon of a Faun Shock – San Juan Harald GroBkopf – So Weit, So Gut Syn Ka – Tempete Antena – Camino del Sol Michael Jackson – We Got a Good Thing Going OTP Pert Breaks – Lifetime Groove (Marcos Cabral and Shux Edit) Prince – Mountains Bohannon – What is a Dream (Part 2) Radio Tarifa – El Baila de la Bola Casper Lawal – Kita Kita Kaoiu Inone – Rhythms of Dedication Simple Minds – A Brass Band in African Chimes Psi Performer – 1999 Steven Legget – River Extracts of Dope Jams Vol 1 2005-2010 Carly Foxx's Mix: (1977) Ron Everett – Glitter of the City (1981) Twylyte ‘81 – A Dreamer (2024) Dieta Berliner & Jean Baptiste – Paula & Kaspar (Club Mix) (checking) Willie Colon – Set Me on Fire (1987) Before the Storm, Boyd Jarvis & Tony Humphries – I've Got the Music (Zanzibar Dub) (1983) Sandy Steel – Mind Your Own Business (1987) Chris & Cosey – Exotika (2024) Musclecars – There's Space for Us All (2022) Jennifer Vanilla – Jennifer Pastoral (2023) Djosa, Ronald Snidjers – Vampiro (1979) Capone – Music Love Song (1983) Flayer – Wanna Get Back Your Love Pete Blaker's Interview with Colleen [Colleen] Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast on my MixCloud Live, and greetings to the family gathered over there. Thank you for joining me. This morning, I'm in Ibiza as I'm DJing later with Hot Chip at 528, but I didn't want to skip a show, so I have a couple of exclusive guest mixes that I know you will enjoy. First up is one of Balearic Breakfast's favorite reworkers and remixers, Pete Blaker. He's put together a special mix for us, and we also have a chat about his productions and musical story. Then we have an uplifting and up-tempo mix from the London-based Australian DJ, Carly Fox. In the meantime, I'll be hanging out with you on the chat group with the fam. Now, over to Pete Blaker. Good morning, Balearicans. I'm in the studio here with Pete Blaker, the Dutch DJ, editor, and digger extraordinaire, and we've played a lot of his music here on this show. Thank you, Pete, for joining us. [Pete] Thank you for having me. [Colleen] We're listening to your mix right now, and thank you for doing this mix. I know the Balearicans will be loving this. I just wanted to rewind a little bit and find out, how did you get into DJing and doing re-edits? [Pete] Oh, re-edits. A few years ago, I rediscovered it again. I did it when I was younger. I'm 50 years old, Colleen, and I started collecting and playing music when I was, I think, 14. I grew up in a little village, and there was only rock music. I heard on the radio some DJs play other music, like disco and rap and some early house stuff. And I was like, ah, that's cool. But they were mixing this on radio, and I was thinking, how are they doing that? How is this possible? So that was my invention to play music. And later on, there was a guy, Ben Liebrand. Maybe you've heard that name before. Ben Liebrand was also a kind of editor, a remixer in Holland, and he was playing with other musics, and we recreated his versions. I did it at first with tapes and at home, with double 12-inches and tried to put them on top of each other. And later on, I was more into DJing and collecting and forget about it. When I was, I think, 40 or something, the DJing went a little bit slower, and I had my family life and everything around it. And I was still interested in music and playing along with it. And I rediscovered editing again. And one day, I found the Queen version and made my version out of it. And it was one friend who told me, there's one guy on this planet who can play this and get away with it. And I think you have to send it to Harvey. And so I did. I never heard anything back from him. And after a few months, I discovered a recording on Instagram from a party. Harvey was playing my edit. And that's when the fire started burning again for me. I was like, oh, this is very, very nice, very cool. One of my favorite DJs is playing my stuff. Maybe I have to put more energy in editing and make it my own. And so I did. [Colleen] One thing I really love about your edits is they're very long. And this is an age where sadly, things like TikTok has made people's attention spans a lot shorter. And I'm finding that sometimes people are doing remixes that are under four minutes long. Or their DJ style is almost sounding a little bit like Jive Bunny. The hits all kind of crashed up against one another as opposed to kind of extended songs that you can really sink into and that just kind of unwind and evolve and really draw the listener in for a real musical journey. Why are your edits so long? [Pete] When I find a song and I think it's good to edit, sometimes there is some bars or some parts I don't like. Or I like a lot. And I think, ah, we have to point out that direction or point out that. And I think for me, an edit can be played not in a set, but just as an edit. So 40 minutes, 14 minutes is also a story. So an edit is for me also a story. It has a beginning, it has a middle, and it has an end. And it has also a purpose to take you on a little journey. And it's 14 minutes. So yeah, I think the beauty of long is, in my opinion, the story. [Colleen] Now when you're going out and doing record digging, because I see sometimes on your Instagram, you'll hold something up, just got this for a dollar. I mean, are you one of these people that goes into a shop and leaves no stone unturned? I mean, what's your process for searching for records? [Pete] Leave no stone. And the beauty in searching for records is the boxes with everything in it, from classical to Dutch to whatever. And unselected boxes. That's what I like the most. Because I find things I would never find at Discogs or in a shop with all the labels and everything. Now I can find music that's interesting because of the producer, because of the drummer, because of the whatever. That's my journey when collecting music. And I saw recently, one of my edits was going for 200 euros. And I was like, why do you want to pay 200 euros for an edit if you can buy 200 records for just one euro the piece? And you have 200 records with very good music from all sides of the world. I'm the one euro, one dollar guy who likes to listen to opera music and not like to collect of stamps. Sometimes record buying is also collecting stamps. And that's not my way. [Colleen] Right. You're collecting music rather than collecting objects. [Pete] Yeah. I love to discover new stuff. And it goes very wide. You can also hear it in my mix. It's a balearic mix, but it has everything in it. So that's what I like. [Colleen] Can you describe your mix in your own words for us? I mean, I know people are listening and will have their own descriptions, but what was your intention with this mix? [Pete] The whole bunch of balearic in one hour. [Colleen] A whole lot of balearic in an hour. I love it. [Pete] Yeah. From the 60s till now, 2025. The tempo is quite easy. You can relax to it, but it has all the flavors. [Colleen] And we're back with Pete Blaker in the studio at Balleric Breakfast. Pete, we are loving this mix. Thank you so much. You are not only doing re-edits of older songs, but you've also started editing and remixing new material. And I would love to talk with you about your, I guess it's really a collaboration with Rheinzand, the Belgian band whom I love, and who have an album out on Music for Dreams. They have a couple albums out, I believe, on Music for Dreams. Can you tell me how that whole thing developed? [Pete] It started with the edits were floating around and Harvey's playing in Mo Disco. Mo is a big fan of Harvey. So he approached me. I think it's for the album before Atlantis. And he asked me to do a remix for them. And I did. And he liked it very much. And after that, he approached me again. He said, I would love that you would remix the whole album for us. And like in the way that Matt Professor did for Massive Attack. And I was like, oh, that's very much. I never did something like that. It's my first time. I never did remixes. My studio is a mess. So what are you expecting? But I was like, also very honored. And I was also a good chance to see whatever it will become.And it became, in my opinion, a really great remix. I'm very proud of it. So yeah, that was quite a journey. If someone asks me again, I will think twice before I say yes, because it was so much work and so much energy. But it developed me also as a remixer and in the way of remixing projects. [Colleen] For those listening, they may not understand that sometimes when you're doing edits, most of the times you don't have stems. You're usually taking a song and slicing it up and rearranging it. But when you get the parts for a remix, you have something called stems, which is all the different instruments and voices. [Pete] And that's so much. [Colleen] Yeah, it's a lot. All of a sudden you have way more choices and decisions to make. So that must have been quite eye opening. [Pete] It was like a like a candy shop. Like everything was out. Everything was I could use and always in tempo and sounds and voices. But it was too much in the beginning. So I had to find my focus on the project. What do I want to do with this project? That helped me a lot. I don't know if you know the sleeve of the remix record. The sleeve is with some pictures of married couples. That idea came along the way and I was like, yeah, this project has to be about love and it has to be about the difficulties about love and the beauty of love. Then I got my focus on the project and then it eventually became this record. So, yeah. [Colleen] Well, congratulations. It was a huge undertaking, but you did a fabulous job. And you were telling me earlier, you're a social worker by day. So love and relationships is a big part of your daily work. Talking about love, one song that I am absolutely loving and playing in every single set right now is your dub version of RX's I Love Your Love. Can you tell us a little bit about that and how that came about? It's for Gary Johnson's label, correct? [Pete] Yes, that's the label. Yeah, he approached me a few years ago. Do you have original stuff? I like your edits and if you have original stuff, maybe you can send it over to me. And I was like, yeah, but I have also a lot of edits. Do you want to give them out or something? No, I can't. I can't. I can't.Running back is too big. I will get in trouble with the majors. And I was like, OK, then it's not our time at the moment. And he approached me, I think, a little year ago and was asking, I have this disco record. I have the license. Do you want to do an edit? I was like, I will. I will. Yeah, that's nice. But it didn't became an edit. It became a remix. So it became something different. It's not the disco edit I did, like the floor is yours or something like that. But it's a remix. It's a little bit housey. You have some techno vibes in it. And on the end, it's my close friend, Dion on keys also. And also, again, I think it's a journey. It tells a little story with a beginning and a middle and an ending. So I think it's beat, but it's not an edit. He liked it very much. So I'm very happy he put it on vinyl. [Colleen] I bought the vinyl, too. So for my loft sets, I can only do vinyl. I have both. It's getting played everywhere. And people are responding so well to it. So congratulations. So what does the future hold? What does the future hold for Pete Blaker? What's going on? [Pete] There is some edits coming out. Resurrected. Great. Yeah. And then again, on Just What The World Needs, another one. There is now one on Hot Biscuits is coming out now. And also a double album with original stuff from me. And that will be end of summer, I think. So September, October will be my first original double album with only Pete. [Colleen] Wow. And how about your friend on keys? Dionysus, is it? [Pete] Yeah, Dion. Dionysus. He's also working on original material and he's finishing some stuff. And I think he's going to put something out on Russia or label. So he's also climbing, climbing up the ladder. [Colleen] Is he on your new album as well? [Pete] Yeah, yeah. He's also involved a little part, but also very, very close. An old friend of mine, Leon. Leon is from the same village where I live in. We work under the name Pleon. You say it in Dutch is Pleon. We found each other in musicals. I think it's 25 years ago. We're still friends and we still make music and occasionally having fun with with the things and the knobs. And he's also involved in this project. So, yeah, it's a project for me, but also with friends who contributed. Yeah. And also Ryan Zandt. Ryan Zandt did something back to me. So that's very, very, very nice. Yeah. [Colleen] Fantastic. And which label is that coming out on? [Pete] It's Love and Universal Music. It's part of Heartbeats, but it's the label is called Love and Universal Music. [Colleen] Fantastic. And so we can look for that towards the end of the summer, early autumn. [Pete] Hopefully and maybe I can squeeze something into the lyric breakfast set. [Colleen] I'm sure we'll be playing something off of that album. Well, thank you so much for your time and thank you for this lovely mix. I really wish you all the luck with your future endeavors and keep making great music and make sure to send it to me. [Pete] Thank you, Colleen. Thank you for having me. [Colleen] All right. Take care. [Pete] Bye bye. [Colleen] Thank you so much, Pete. Now over to a DJ who moved from her native Sydney over to London, Carly Fox. She's played all over the place, including at Pykes and Fabric and also on My Analog Journal. She also sat in the producer's seat with her friend Daisy Bell and she's done A&R for Nervous Records. I recently played with her for La Discoteque in Manchester and thought she would be a great fit for Balearic Breakfast. Here is Carly Fox.

Colleen 'Cosmo' Murphy broadcast the 224th episode of Balearic Breakfast on her Mixcloud on May 27th 2025. About this episode. – After playing an incredible set alongside Barbie and Paul (Love injection) at Brooklyn goodroom's (huge hugs to Susan for the the pictures!), Colleen took a nice breath of fresh air with the Balearic Breakfast family by streaming an exclusive new episode of our favourite show. And today's episode will bring you a lot of hapiness with both Marcia Carr and Ste Wakley both taking the con of our beloved musical ship! A few quick word's about Marcia Carr's (she did a wonderful interview with Colleen on the Boat Pod) and about Steve's mixes. Marcia's mix is really one only the True Music Lovers will savour. I don't mean this in a bad way, but I insist on the fact that only those who Love Music from all genres willl truly understand what Marcia is proposing here, and it's Legit, it's pure, it's raw, it's unfiltered, it's beautifully mixed, reaching pure perfection several times (can you stay cool when hearing Santana's Incident At Neshabur mixed so perfectly right at I Remember Home's end, and crazily followed by Sadar Bahar's Angel Man ? 😍), and, first of all, it's diverse. But Diverse and United, and that's the true Mastery that our dear Marcia proposes us here. On the other hand, Steve's mix is lighter, sunnier, a true musical moment one could have while being on a cruise, heading to a beautiful and sunny island. Steve's mix will take you to the dancefloor and will bring a big smile on your face (listen to how much the sound is clean, it's really something to notice)! Ed. Note: For those of you that would like to discover Steve's musical universe, you can follow him on his Mixcloud, he presently has a residency at the Lonely Mouth, a Japanese listening cafe in Bristol. And, speaking about his own set, Steve shared: "I loved putting this set together, initially had about 3 hours of tracks I wanted to share, including ones I have only digital versions of (still can’t find me a copy of Ed Motta’s AOR, deluxe version, both English and Brazilian lyrics tracks), but slowly got it down to the hour, just. It ended up as a reflection of both my music tastes and also my journey through music. As a disco boy, my heart is always where the funk is at. Throw in some jazzy chords and improvisation, a Latin beat (Cuba, Brazil, Puerto Rico), sassy vocals, danceable power and passion, and I’m there. I do hope you enjoy the journey through this set as much as I do. Let me know what your favourite tracks are? Would love to hear from you." All in all, both sets, each shining under a different musical strength, will take you to the Balearic Side of Life. I would like to end this note by saying that these two mixes show how much freedom a DJ has, and how much his own vision is crucial to craft a musical world... the one he shares with you... Be free, love music, and if you have a story to tell, grab them turntables and share your soul with the world... We're Waiting! Listen back to the 224th episode of Balearic Breakfast: This morning’s Balearic Breakfast is now up on my Mixcloud at and features an exclusive mix and interview with Ms Marcia Carr. Marcia’s career has spanned 4 decades and has included international DJ-ing, radio shows and music journalism. Hear her story and her diverse and soulful mix on this week’s show. Swipe to check out a clip of her performing in our Love Dancin’ tent at We Out Here a couple years ago. On the second half of the show we have a soulful mix from our Balearic Breakfast family member Steve Wakley / DJ Macaroon which is absolutely lovely. Thanks to both Marcia and Steve for filling in for me while I’m in New York and to the fam who gathered on the live chat this morning. Next week I’ll be in Ibiza but will still be streaming with exclusive mixes from Pete Blaker and Carly Foxx. THE PLAYLIST Marcia Carr Playlist: (1998) Ricardo Marrero Y El Grupo Tiempo – Un Sabor Latino (2003) Alessandroni & Slope – Neonato' (Original) Todd Terje – Preben Goes to Acapulco (Re-Edited With Love) (1964) Anna King – If Somebody Told You (1976) The Immigrant – I Remember Home (A Peasant’s Symphony) (1970) Santana – Incident At Neshabur (2013) Sadar Bahar – Angel Man (2017) Monsalve Y Los Forajidos – Black & Decker SAPPO – What Difference Does It Make (A Capella) (2022) Souleance – Guili (2020) Moments of Faith Singers – Look Up (Al-Tone Extended Mix) (2014) Hot Issue, Victor Simonelli and Walter Warwick – Motion 96 (2024) Gasket & L.D.F. feat., Javonnte – Heaven D Kintsugi HEAL – Music the Mantra (Brixton Boogie DUBB Mix) (2016) Leron Carson – Lemonlime (2024) Javonntte – How Did I Get Here (Love Drop Rework) DJ Macaroon (Steve Wakley) Playlist: (2023) Leon Thomas – The Creator Has a Master Plan (Peace) (Edit) (1976) Ju Par Orchestra – Time (1974) Love Unlimited – Move Me No Mountain (2024) Moar – Brazilian Rhyme (2021) Camille & Chez Damier / Nico Lahs – For Real (1978) Metropolis – Every Time I See Him (1977) Harvey Mason – Till You Take My Love (1978) Toto (ft Cheryl Lynn) – Georgy Porgy (2021) Alex Malheiros – Alto Veirdo / High Summer (1977) Bill Withers & Studio Rio – Lovely Day (2020) Scruscru – One for Xsuxsu (2021) Scruscru & S Timoshenko – Slightly Wiggle (2024) Tiger Balm ft Jodo Selva – Vem Ca (2021) King of Nothing – Alright MARCIA CARR'S INTERVIEW WITH COLLEEN [Colleen] Good morning, Balearicans. I'm Colleen Cosmo Murphy hosting your weekly Balearic Breakfast on my MixCloud Live, and greetings to the family gathered over there. This morning, I'm in Brooklyn, so I have put together a show featuring two guests, my friend and DJ extraordinaire Marcia Carr. We'll have a chat about her musical journey and also her new compilation, and she's also put together a wonderful mix for us that also includes one of my favorite guitarists. It's truly eclectic. After that, we have a special soulful mix from one of our Balearic Breakfast family members, DJ Macaroon, or as we know him, Steve Wakely. I look forward to hanging out with you all in the chat, and now over to DJ Marcia Carr. Greetings, Balearicans. I'm here in the studio with Marcia Carr, a legendary DJ. She's had a very, very long career, a woman I have admired from afar and up close, and she's also worked on a new compilation called Soul Damn Funky Presents New York Classics Vol. 2, compiled by herself and Russell Ruckman, and it's a really great comp, some beautiful soulful house. Hi, Marcia. How are you? [Marcia] Hi, Colleen. Thank you for that beautiful introduction. I'm well, thank you. It's a glorious week-end, the sun is shining, and yeah, I'm busy doing this, that, and the other, like yourself, sister. [Colleen] Great! Now, your career started around the same time mine did, and we've been working for about 40 years in music. Can you just give us a little snapshot history of how you got your start in DJing? [Marcia] So, how I got my start in DJing was basically, it started from the love, which from being a minor, taking my pocket money to buy records at Christmas and birthdays, that sort of thing, venturing into record shops when I became a teenager, and getting into it a lot more from moving on from family events, parties, and that sort of thing, and the school disco. I got into it by accident at university, when people found out that I could DJ, and I had records at home. I was asked to do the student unit disco, and one particular group of people, they wanted it for the women, so they'd found out what I could do, and I got into it a lot more then. I was always into it because of the music, listening on pirate radio stations, but I took it a lot more seriously when I left school. [Colleen] How did you become a professional DJ? So, you started with the love. [Marcia] From the student union, really, and getting a gig in the West End at Busby's nightclub, getting paid, you could say, that was it, and then the passion grew a lot more, so that would have been the mid-80s, and I thought, well, I quite like this, and because I was listening to pirate radio as well at the time, and certain radio stations like Capital Radio, Greg Edwards on Capital Radio, Peter Young, and wanting to know more about the records, my curiosity just grew so much, and I was going to a lot of parties, I was also a jazz dancer, you could say, into the boogie music, meeting up with the guys, and I just thought, I can do what that guy is doing there, I can, what that guy's doing on radio, I like what they're doing, I want to do more of that. [Colleen] In the 90s, how did your career start to go in terms of getting out there and DJing in clubs and parties? Can you give us a little snapshot history of what was going on in the 90s? [Marcia] So, during the 90s, before my daughter was born, I was already playing out, as I'd say, from 88 to 91, 92, I was playing now a lot of one-off parties here in London, and I was getting some bookings, was starting to trickle through internationally. I was mainly London-based, and then I went to Back to Basics, which is in Leeds, I played with the Offbeat Crew, which is with Johnny Reckless and Seamus RG. [Colleen] So, I met you at Release the Groove back in 1999, I guess you've been working there throughout the 90s, and one of my philosophies is that great DJs come from working in record shops, because it really kind of promotes a certain diversity. I mean, you really end up listening to a lot of different kinds of music, and I mean, you're known for Chicago House, you're known for Gospel, Afro House, Four to the Floor, Techno, Broken Beat, Soul, I mean, your musical knowledge is expansive. Can you tell me a little bit about how your time at Release the Groove really influenced your style? [Marcia] So, when you met me in the late 90s at Release the Groove, before that I had worked at a record shop called Unity Records, which was called Red Records, and they had another shop which was in Brixton before that. My taste had already been wide and varied across the spectrum of black music, because of my foundational years, radio, going out to clubs, dancing, and just always buying all of this music coming up as a teenager. So, my experience to that point, getting into the record shops, it was already formed, I would say, and I see that as a really good part of my character building, meeting all the lads as well, and siphoning information from them, because they don't always give it voluntarily! Marcia had her own radio show on The Boat Pod, ¡Take The Con! [Colleen] Now, when I also met you, you were also at a group of women called Lady bugs. Can you tell us about the Lady bugs crew? [Marcia] When I joined the second incarnation of the Lady bugs at the invitation and the behest of Orin Afronaut, he brought me, Sophie Callis, Tayo Moroney, and myself, and then later on, MC Marshmello joined in at one point. [Colleen] And can I just interject, just to say who Orin is, Orin is Bugz in the Attic, so I think not everybody is going to know exactly who he is. [Marcia] Yes, sorry, Orin Afronaut is a member of Bugz in the Attic as well, but as an artist in his own right as well, worked with the late Phil Asher and lots of other people, he brought us together as the Lady bugs, because we were always going to the parties, I was always going to Plastic People. When I joined them, Orin already knew that I was already writing about Broken Beat through music journalism, because in the 90s, by accident, again, or organically, I became a music journalist, knew the guys at Touch Magazine, Jamie D'Cruz, and I met by chance the artist, recording artist, Tashan in London, and I told the guys, I said, oh, I met Tashan, just bumped into him down the road, going, you lot should be writing about him. And Jamie goes, you can write, you can speak English, can't you? Why don't you write about him? I did it, and that was my first featured main piece ever as a music journalist. [Colleen] Amazing. It's amazing. [Marcia] I then was writing reviews for Blues and Soul, Straight No Chaser, and so the music journalism, the working in the record shops, are all part of the jigsaw puzzle. If you had the jigsaw puzzle of Marcia Carr all of these pieces would fit in there. I then worked on radio, and also, I attended South London College for a period, and I helped them set up a radio station. It was G2K Radio. I literally just remembered that, and I was raising my daughter as well at the time. I was also a single parent, so juggling all of these plates, because I wanted to get back to the music, it can be a lonely road sometimes. I'm not saying I didn't have the support of my family, but sometimes even there can be battles in the family, but I was determined I'm going to get back to the music, so that taking the time out to concentrate and focus on that for a while, I understand that priority. Lady Bugs, all of these things, they all helped me, and I kept the music journalism going, and music PR as well. [Colleen] That's great. Let's keep the music going right now. We're going to get back to the music. We're listening to a mix from Marcia Carr, which I absolutely adore. Also, she has Santana in it. I've talked about this on the show. Carlos Santana is my favorite guitarist. Let's get back to the music, and we'll catch up with Marcia again towards the end of her mix. [Colleen] And now, we're back in the studio with Marcia Carr listening to her glorious mix. Of course, I was shazamming before I got the track list because it's so freaking good. Anyways, Marcia, you founded a community or a collective called GirlzBLike about a decade ago. Can you tell us a little bit about that? [Marcia] Yes. Thank you for bringing that up, Colleen. Founded in 2015, We are Girls Be Like 10 is our hashtag. The platform is all about celebrating women selectors who I see have been visually supporting the arts and the culture behind vinyl records that we all love, just as you do, you know? We don't want the pretenders out here. We're not about DJs. It's a digital-free zone, I like to call it. [Colleen] That's great. Digital detox! [Marcia] Yes, you can detox all you like because we're not entertaining that in the spaces that we've used over the last 10 years to host all of the parties, which are every other month. [Colleen] Where are the parties, by the way? [Marcia] Click here for tickets Presently, I've been blessed to facilitate them at Grow, which is in Hackney Wick. It's in East London. The management and the team over there are really lovely, honest, grounded, down-to-earth people. They're about community. It was born partly out of knockbacks, people telling me that I can't, I'm not worthy. No, we're not doing that. We're not entertaining women to do this, that and the other. I personally got tired of the rejection and the knockbacks and being told no. I thought, I'm capable. I know lots of women who are bloody good selectors. I'm fed up with this. Without a financial pot of money or anything, I just started it. It's like God said to me, just start where you're at. Stop putting these obstacles up. I thought, yes, I'm going to grab the ball by the horns and I'll just start where I am. It's coming from a formidable, grounded space. We're not about fanfare and fancy lights. Just come in because I've selected you because I know you've got good taste in music. As we say in Jamaica, you're not of the draw. Bring the tunes, come and play them to the crowd. We're showing them that, actually, women in a DJ booth, we actually do know how to do more than press buttons. And guess what? We're not hiding behind any digital fascia to sync or quantize. We're not doing any of that. We're just going to either play back to back, cut on the beat or mix and blend. That's how it's been the last 10 years and long may it continue. So Yes, we are celebrating Milestone and our motto is, guys dance, girls DJ. I'm just flipping it. I'm just flipping it. That's why the girls is spelled with a Z because it's about women. Whether we look tomboyish or the most feminine women in the space, we are women selectors and you will hear what we've got to say because we've always been here. [Colleen] I've always found, especially women from our generation, that we had to create our own thing and even Balearic Breakfast, in a sense. I do this on my own platform or create a classic albumsundays. You create your own things. My friend Janie Hopper did the same with Liquid Sound Lounge in New York. It's really great. Congratulations on your 10th year. [Marcia] Thank you. [Colleen] It's fantastic. Also, congratulations on your compilation. Is this the first compilation, Soul Damn Funky Presents New York Classics Vol. 2? [Marcia] Yes. On the invitation of Mr. Victor Simonelli, who's from New York City. [Colleen] Great DJ and producer. [Marcia] Yes, of course. Legendary as well, who I met in the 90s. And Russell Ruckman. He loved Paul Trouble Anderson as much as I did. We have slightly similar music tastes. Those two were having a conversation and they said, we'd like to invite Marcia to compile the second installment of Russell's series. Yes, he's done it a couple of times before with Todd Terry and also with Victor previously. So I thought, I'm honoured. This is the first time in a 40 plus year career that somebody's actually invited me to come in and put together a compilation album. I was invited. I picked six tracks with great difficulty out of a catalogue of a thousand plus records that Victor Simonelli owns from his vaults. And I had to get it down to just six track titles, which I did. And I decided to include the hot issue Victor Simonelli and Walter Warwick motion 96 track on the mix, which everyone can hear on your show, because I wanted to actually highlight a different side of Victor Simonelli, his sort of more disco side. And so I picked that track and all the other tracks are gospel inspired selections. You've got Ann Nesby on there, of course... [Colleen] ... and Federal Hell. I love Federal Hell. [Marcia] And the Ronnie Canada track is a track that Paul Trouble Anderson used to play. And because he is one of my favourite all time selectors who inspired me much as well, I wanted to showcase many sides of Marcia, the many facets musically. So Connie Harvey's on there as well. [Colleen] Oh, Connie Harvey, Daz and Gru, Tommy Musto, who I produced my first record with. I mean, it's fantastic. This is, you know, it's a great, great. I love it. It's like a soulful house sound. People, if you want to find it, you can find it on Beatport, I believe, at the moment. [Marcia] It's on the Traxsource, and we are in the midst of trying to get the vinyl compilation together, so it will be out there in hardcopy format. Hopefully late summer into autumn, they'll be in the shops, because I'm also finding part of the selection, there are a couple of tracks I thought, I know from the crowds I'm entertaining, who I'm blessed to say are also younger, and then they're interested in what I have to bring to the music table on the decks. I thought, they'll like this track, they'll like that track, because they tried and tested, and I thought, yes, those will work. And so some of them are going to be available in vinyl format for the first time, some of these picks, and some available for the first time, some of the remixes in digital format. So we feel it, Russell and I feel it's a win-win, and Victor's totally behind it. So I'm proud to be part of this compilation, and I hope it's the start of many more projects to come with other people out there across musical genres that I so love. [Colleen] Fantastic, and I hope so too. So one last question before we get back to your mix. What's going on this summer? Where can people hear you? Are you at any festivals, or any places playing around the UK? [Marcia] The last three, four years, I've been blessed with some nice opportunities, and I'm grateful for that. So yes, I'm going to be teaming up with Luke Una bomber. I'm playing at his E-Sol Cultura spot in Manchester, also playing with him and Shea Damier in the autumn as well. Festival-wise, I've also got the Wildwood Festival that's coming up in June. [Colleen] That's a fun one, yeah. [Marcia] Yes, I'm very much looking forward to it. I'm making my debut there, and in between we've got Girls Be Like Dates, and I'm playing at the Pacific Tavern with GW Jazz. Shouts to Gordon and his wife. And yeah, I've got a few other bits coming up. The Margate Soul Festival as well, that's in August. [Colleen] Marcia, thank you so much for being a guest on the show. I wish you all the best of luck with your first comp, and wishing you many more returns on that one. And have a wonderful summer. And for those listening, I hope you can catch her live, because she played at our Love Dance in Tempe before, and she rocked it. Marcia, thank you so much for joining me. [Marcia] Colleen, Cosmo, it's been a pleasure. Thank you so much. And you keep flying the flag, doing what you do, because you love it from the heart. That's what keeps us going. [Colleen] That's right, I agree. [Marcia] We're mothers, we're friends, we're lovers, we're all this, that and the other. I'm God-fearing as well, but I know this is the mantle that God has given me, and I'm going to continue to pursue it on, while we have breath, yes? Let's slaughter them out there in the dark music arenas, because we have so much goodness to share! [Colleen] Yeah, absolutely. [Marcia] One loves Sis!