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!

Colleen 'Cosmo' Murphy broadcast the 223rd episode of Balearic Breakfast on her Mixcloud on May 20th 2025. About this episode. - Colleen came back from Ibiza and, straight ahead, went on preparing Balearic Breakfast's next episode. The Family was happy as ever to participate live, and gathered on Colleen's MIxcloud this very tuesday morning. But, Mixcloud decided it did not want to stream live. The stream cut three times, and each time our Captain tried to start again. Seeing things were not improving, our Captain decided to end the live session and, instead, went on recording today's episode without our presence. Sigh! That is why you may feel that Colleen's presentation is more straightforward than usual. Still, today's episode is such a blissful musical moment. It really takes you higher, like you were gliding somewhere, high in the sky, pushed through life's ups and downs. There's a driving force in the music, and the whole experience has a strong musical unity! Enjoy! Listen back to Balearic Breakfast's 223rd episode: This week’s Balearic Breakfast is now up on my Mixcloud and features a lot of new tunes and builds up to some classic jazz-funk dancefloor burners to get your heart rate pumping. Thanks to all who joined me on the Mixcloud Live this morning and sorry the captain had to jump ship due to technical difficulties. But I look forward to seeing you next week on the live chat while I’m in NYC and next week’s show features two special guests: Marcia Carr and Balearic Breakfast family member Steve Wakley (DJ Macaroon). Thanks to those who came along to Freddy’s at Pikes on Sunday night - that was so much fun! I look forward to coming back the last Sunday of June and the last Sunday of September. And I’m heading back to the White Isle for 528 on Tuesday the 3rd June where I’m DJ-ing with Hot Chip. And a couple more dates for those in the USA, tomorrow I’m heading over to the States and I’m playing at Good Room in Brooklyn with Love Injection on Friday and then over to Dantes HiFi In Miami on Wednesday the 28th May with my friend Rich Medina. Enjoy your week and thanks for listening. THE PLAYLIST (TBR) Warriors of the Dystotheque – Hashish Dreams (Beatless Mix) (2025) Morgan Szymanski & Tommy Perman – Harmonic Rain (1985) Princess – After the Love has Gone (Bad Mix) (1991) 808 State (ft. Bjork) – Ooops (2025) Mauro Pawlowski – Just All Heart, Flesh and Mind (2025) Silvertooth – Rub A Dub (2025) Ilya Santana – Love on the Line (2024) Burns & Tubbs – Where Were U in 92? (2025) Hannah Holland – Intertwine (2025) Tagua Tagua – Quimica (2025) Rayowa – Can You Feel the Love (Dr. Packer Remix) (TBR) Paulinho Da Costa – Love til the End of Time (G Markus Edit) (2025) KX9000 (ft Nic Hanson) – Over Fee (2025) Sam Redmore (ft Ellie Coleman) – El Camino (2025) SHouse – Sunrise (Extended Mix) (2023) Gee W – Brazilian Freeez (2025) Marchio Bossa (ft. Ryu Zee Su) – Luci (2001) Olli Ahvenlahti – Grandma’s Rocking Chair (1981) Style X – No Secret Affair COLLEEN'S NEWS Do not forget to subscribe to Colleen's website (https://www.colleencosmomurphy.com/) to get updates about her upcoming events! Here are some dates where Colleen will be spinning over the next few weeks: 28th May: Dantes HiFi in Miami, Florida 7th June: Last Note Party in Perugia, Italy (sign up for our mailing list) COLLEEN'S PRESENTATION The delightfully hazy, beatless mix of Hashi's Dreams by Warriors of the Distotheque, easing us into this morning's show. The Warriors of the Distotheque are a five-piece of DJs, producers, engineers, and musicians. Johnny Mack and Sean Graham, New York City's twin prodigies, Mike and Nick Ruffalo, and Undertone's drummer, Kevin Sharkey. The single came out a couple of years ago, but this beatless mix is coming out on Kris Coco's next Chill Out Tent comp. You may remember their track, Looking Through Balearic Ease, which I've played on the show. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast on my MixCloud Live until high noon, and greetings to all gathered over there. It was lovely seeing some of you at Pikes on Sunday night, and that was my first time playing at Freddy's, and it was so much fun. I remember Alfredo saying that one of the fun things about DJing in Ibiza is that there are people from all over the world on the dance floor, and I could really feel that as people would sing along to some of the songs I played in Spanish, Italian, Portuguese. And now that I have one under my belt, I'm looking even more forward to my next two dates as I'm back at Freddy's at Pikes on the last Sunday of June and the last Sunday of September. And I'm also heading back to the White Isle for 528 on Tuesday the 3rd of June, DJing along with Hot Chip. And a couple more dates for those in the USA. Tomorrow I'm heading over to the States, and I'm playing at Goodroom in Brooklyn with Love Injection on Friday, and then over to Dante's Hi-Fi in Miami on Wednesday the 28th of May with my friend Rich Medina. But even though I'm traveling, the Balearic Breakfast show will go on, and I'll let you know who is joining us later in the show. On today's show, we have a lot of new music and building up to a few up-tempo jazz dance numbers, which should get your heart rate pumping. But for now, let's stay in a mellow groove. Mexican classical guitarist Morgan Szymanski and Scottish artist Tommy Perman will release their second album, Songs for the Mist Forest, in July. And while their first album explored the sounds of the Scottish woodland where Tommy's parents live, their new album is inspired by Morgan's ranch in the Mist Forest of Valle de Bravo, Mexico. The music evolved from a soundtrack Morgan and Tommy produced for the documentary film El Dragon de los Postes de Nebia, and that's the Dragon of the Mist Forest. The documentary shines a light on the ecocide that's happening in Valle de Bravo. Overdevelopment is destroying the forests that are home to abronias, beautiful small reptiles native to the region. They are the dragons in the film's title. This is the first single from the forthcoming album, Harmonic Rain. Tommy Perman (left) and Morgan Szymanski (right). Photo by Lavinia Negrete. Well, I managed to catch up with one request on today's show. This is from Craig Bradshaw, who recommended this Wally Bataru Chief Inspector style remix. This is the bad mix of After the Love Has Gone by Princess, which came out in 1985. I'm not sure if Bataru was actually endorsed or was credited for that. In fact, on some of the releases, it's called the Chief Inspector remix, but the original was produced and written by Stock, Aitken, and Waterman, and Princess is the British singer who released a string of solo albums and also worked with O.C. Bisa in the late 1970s. OK, I've been hosting some monthly Classic Album Sunday sessions at the KEF Music Gallery in London since September, and I've had special guests like Wally Bataru, Ned Tohini, Blackbird's Keith Gilgo, and just last week, two founding band members, Mike Lindup and Phil Gould of Level 42. So we just announced our next session on Thursday, the 19th of June, and my special guest is Graham Massey, and we'll be exploring 808 State's classic album, XL. And I'm really looking forward to this, as I actually interviewed them when the album came out in 1991. If you want to join us, you can reserve free tickets from the Classic Album Sunday's website. But act quickly, as this was just announced and space is limited. Here is one of my favorite tracks from the album, a collaboration with Björk, 808 State with Oops. Silvertooth with Rub-a-Dub, and you may remember Silvertooth's wicked chugging cover of Bill Scott-Heron's Shut Um Down. Silvertooth is Stuart Rowell, who has been on the dance scene, DJing at Cafe Mambo in Ibiza and Home in London. And he was also a founding member of Streetlife DJs, who released music on the label Kitsune and remixed Groove Armada, The Mighty Dubcats, and more. Ahead of that, Belgian musician Mauro Pawlowski with Just All Heart and Flesh and Mind. And that's from his forthcoming second solo album, Unspectacular Times, coming out on Unday Records in the autumn. And the album is produced by Scorpio Twins, and that's Stephane Misseghers of Deuce and Bruno Coussée of Rhinezand. And it also features Brian Dunne, the drummer for Daryl Hall and John Oates. And Pawlowski is a former member of Deuce. He fronted Projects Evil Superstars, Grupo D, Pawlowski, and the Moritz Pauls Band as well. And we started off with 808 State featuring Björk with Oops. And I'll be interviewing Graham Massey on the 19th of June at Classic Album Sundays at the KEF Music Gallery. And we're featuring XL. And if you want to book your free tickets head on over to the Classic Album Sundays website. OK, this next one is from the Canary Islands producer Ilya Santana, who's released a lot of great original tracks on cosmic disco labels like Nang, Fidelity, Permanent Vacation and Balihu records, just to name a few. And one of his originals will be released for the first time on vinyl on the next Balearic Breakfast compilation. But he's also been crafting some great re-edits featured on his Space Rock Oddities album released last month. Here he is with Love on the Line. Intertwine by Hannah Holland from her forthcoming album Last Exit on Bethnal Green, which will be accompanied by a short film. And the film is a sound and the album is a soundtrack for a fantasy, seductive and sleazy club underworld and made alongside the music film Last Exit on Bethnal directed by Lydia Garnett. The multifaceted London producer shaped ideas born out of iconic queer art house cinema. And Holland said "We wanted to craft something unapologetically for dykes, a poetic, surreal exploration of dyke power and sexuality set in mythic nightlife". I just love that one. Ahead of that, we heard Where Were You in 92 by Burns & Tubbs, which is Eden Burns from Melbourne, Australia, and my old friend Chris Tubbs in New Zealand. And it's from the forthcoming La Torre Vol. 5 compilation put together by La Torre residents' Pete Gooding and Mark Barrett. And it also marks the 10th anniversary of that gorgeous spot in Ibiza where you can watch the sun go down. And this fifth volume is another great compilation filled with beautiful balearic biscuits from Nina Simone, Mazzy Starr, Talk Talk, Boards of Canada and the late Yukihiro Takahashi of Yellow Magic Orchestra. And it's coming out just in time for summer at the end of June. Well, yesterday, I got home and had this next record in my post, as some know how to win their way into this woman's heart. It's by Brazilian musician and producer Tagua Tagua. And this is his third album, Raio. Tagua Tagua is Felipe Piperi, who is from Sao Paulo, Brazil, and he's helping shape the contemporary sound of Brazil. Raio features U.S. rock band White Denim and is sung in both English and his native Portuguese. And it's a lush, psychedelic blend of tropicalia, neo-soul and disco. And the whole LP is great and worth checking out. For you, I've selected this one, Quimica. The G. Marcus edit of Paulinho da Costa, Love Till the End of Time, a slightly more uptempo dance floor version, which honors the original. G. Marcus is Ben Gamori, who has been doing a lot of re-edits, and he's also part of the London crew who are joining me for the Saturday Cosmodelica takeover in our Love Dancing tent at We Out Here Festival. And we announced Love Dancing's full lineup last week, and you can check it all out on my socials. I have two special guests from New York City joining me, Francois K. and up and coming DJ Lovey. And I'm already looking forward to that. Ahead of that, a tune I've been playing a lot in my DJ sets, Rayowa, Can You Feel the Love, the Dr. Packer remix. And it's on the latest Disco Express EP. And Rayowa is self-taught multi-instrumentalist DJ producer Reece Baker. And with a sound that seamlessly blends disco, funk, soul and R&B, and he's taken it from a studio project to a live nine-piece band featuring his two brothers and friends. I'm Colleen Cosmo Murphy, and we're picking up the pace here on Balearic Breakfast. This next one is from the captivating French electronic producer KX9000, who has a new album coming out called Dreamlog, and it blends electro-funk, space disco, Chicago house and broken beat. So that's ticking a lot of boxes for me. Dreamlog is coming out next month on the label Pont Neuf and is available to pre-order. This is my selection from the album KX9000 featuring Nick Hansen with Overfeed. That's Australian and New Zealand electronic duo SHouse, aka Jack Madin and Ed Service. And they're announcing their highly anticipated debut album, Collective Ecstasy, out on the 4th of July via Hell Beach and One Love. And they've been, someone's a plethora of local talent, including some exciting features to create what could possibly be a very human sounding electronic indie record of the year. We just heard the extended mix of Sunrise, which sounded lovely at Freddy's at Pike's on Sunday night. Ahead of that, Birmingham's Sam Redmore, who's been releasing a lot of very musical and beautifully arranged dance floor songs, and they are songs rather than tracks. We just heard El Camino featuring vocalist Ellie Coleman, who says "El Camino is about independence. Solitude is an emptiness, it's possibility, a soundtrack for those who find rhythm in their own footsteps. It celebrates the late night wanderers who embrace the magic of their own company and the beat beneath their feet as they stride through the dark". And you can pick up El Camino on Sam Redmore's Bandcamp. OK, legendary UK DJ Colin Curtis has been releasing EPs on his own imprint, Colin Curtis Presents, and some of them have been original tunes. And UK producer Gee W is one of them. Gee W specializes in Brazilian and Latin sounds. And this is a Brazilian styled cover of Freeze's Southern Freeze on Balearic Breakfast. I told you I was in a jazzy mood today. That was Olli Ahvenlahti, a pianist, composer and conductor who's been one of the leading Finnish jazz artists since the 1970s. And he's recorded with several artists and groups like UMO Jazz Orchestra. And in the 1990s, he conducted the orchestra for the all Finnish Eurovision Song Contest entries. That was Grandma's Rocking Chair from his 1976 LP The Poet. Ahead of that, we heard Marchio Bossa featuring Korean soul singer Ryu Ji-Soo with a fantastic Bossa Samba cover, a song I should say, sung in Italian. And Marchio Bossa re-recorded it with this singer and originally released it 20 years ago on his No Bossa, No Party LP. Well, this is Colleen Cosmo Murphy signing off another edition of Balearic Breakfast. I'm off to America this week and hope to see some of you at the Goodroom on Friday. And then the following week, I'm in Ibiza at 528. But I'll still be streaming the show live with guest mixes from Marcia Carr, Pete Blaker, Carly Fox and Balearic Breakfast family member Steve Wakley, a.k.a. DJ Macaroon. So I look forward to hanging out in the chat with you. I'm leaving you with one more uptempo groover, this one from 1981 by Brit funk group Style X. And it's their only single, the only one they released. It's called No Secret Affair and it's been re-released with a geology rework on the flip. Thank you for listening.

When Steve Conry shared with me Marcello Cassanelli 's Starlight, I knew I had to request the track for the show and, hopefully, meet the great composer behind it! 1) Dear Marcello, Starlight is such an atmospheric, rhythmic and funky number! The soundstage is beautifull too! How did you find this track's soul? Hello Artur, thanks for having me! My idea was to create a disco funk atmosphere built on a rhythm made with an old TR707 drum machine. To me, it has a fantastic sound and sometimes you don’t even realize it’s an electronic drum. So I’d say that’s the soul of the track. Everything else developed slowly from there. 2) When composing a song, a melody, where does the inspiration come from? How was starlight born? When I compose, I believe the melodies come from everything I’ve listened to and absorbed over time. I’m very drawn to music from the 1970s. Starlight was born from casually playing a few notes on the flute, which I later developed and arranged with all the other instruments. 3) Your versatility as a musician is splendid as, in 2018 you issued the beautiful album Overtour on Dodicilune Records. This album, in a way, announciates Starlight as you present the same blend of funky sounds associated with a traditionnal Jazzy musical base. Do you believe it is important for a musician, an artist in general, to find its own sound? An artist’s identity is often shaped by their style and sound, and I think that’s something quite natural. Each of us feels comfortable in certain musical worlds, so we tend to explore them more deeply. For someone who makes music, that’s often the path to finding their own sound. But sometimes things shift. You might unexpectedly land in a new world and discover new emotions. In those moments, your sound might change—and that’s the beauty of art. 4) When working on an album, what is the hardest moment? Would you say it is the composition of the tracks themselves, are you trying then to find a cohesion in what you're going to compose or is it the mixing/ mastering steps where you must find that sonic unity? I don’t usually associate the idea of difficulty with music. The more something challenges me, the more I enjoy it. That said, the composition process is definitely the longest for me. After that comes mixing, especially when, like with Starlight , I use an analog mixer and run the final mix through a reel-to-reel tape recorder. If you're not happy with the digital result, you can just click around with plugins and adjust things easily. But when working in analog, if something doesn’t sound right, you have to re-record the mix from scratch. Still, when you find the right sound, it’s worth all the effort. 5) Are you working on new music, and can we expect an album in the coming future? I have a lot of ideas. On my Instagram profile , I post a lot of content where I play original compositions. I think I’ll develop some of them into full tracks. First release of 2025 is The Coin EP Vol.3. Marcello Cassanelli is back on Ten Lovers Music with two stunning tracks and a beautiful outro solo on his Rhodes. Starlight kicks off side A with some superb Italian Disco for 2025, following that a trip to Cuba for Tropical Breeze on which Marcello employs long time collaborators and super talented Giulia Barozzi on vocals and Antonio Rapa on drums. Across both tracks Marcello plays the keys, bass, flute, guitar and drum programming. Rounding off side A is Dream Horizon an improvised one minute beatless outro jam on the Rhodes. On the AA side we have a new project from Caruso and Helen McCormack. First up is Have and Hold which harks back to the Manchester Street Soul scene of the late 80’s. Very simply constructed with electronic drums, bass, piano and a lead synth on top of which Helen’s vocal sits perfectly. Second on side AA is Love You More, a very atmostpheric track written by Helen with the strings arranged by Cormac Fulton. The percussion is from fellow TLM artist Takashi Nakazato (Kyoto Jazz Massive/Jazztronik). Both tracks were produced by Steve Conry who also assisted Jose Rico on the mixes. Finally to finish on side AA is Central, a beautiful Deep House instrumental using only real analogue synths like the Solina String Ensemble, ARP Odyssey and Oberheim Xpander, mixed by Steve Conry and Matt Cox.

Colleen 'Cosmo' Murphy broadcast the 222nd episode of Balearic Breakfast on her Mixcloud on May 13th 2025. About this episode. – On may 10th 2025, Colleen hosted a Balearic Breakfast day party alongside Joe Gogdard from Hot Chip (which saw the debut of their new Cosmodelica Electric Eden mix of The Cure’s ‘And Nothing is Forever’ ). The party brought a lot of hapiness and the energy our DJ friends brought to the NT's Loft is palpable by looking at the pictures that both Simon Ellis and Amie-Jo so kindly shared with me. Sadly, there was no request line for this episode but, as we shall see in the listening experience of this post, today's show brought a disconnected, soothing, and floating musical experience, helping us realise that, in the current flow of affairs we all must deal with, in the end, really, nothing is Forever... Listen back to the 122nd episode of Balearic Breakfast: "This morning’s Balearic Breakfast is now up on my Mixcloud (link in comments). Today’s show sees debut of my new Cosmodelica Electric Eden Remix of The Cure ‘And Nothing is Forever’ which I did with my Electric Eden partners Joe Goddard of Hot Chip and Al Doyle of Hot Chip/LCD Soundsystem. Its from the forthcoming ‘Mixes of a Lost World’ release coming out on the 13th June and all profits are going to Médecins Sans Frontières / MSF. You can preorder on The Cure website. There’s also new music from Flying Mojito Bros Max Essa be.lanuit Payfone, Ghost Assembly, Favorite Recordings Musicmine Inc. MUSIC FOR DREAMS Ayane Shino Gratts, and Aldorande and I even slipped in a drum n bass rework of a deep house classic. I hope you will enjoy. If you’re in Ibiza, I’m playing at Pike’s All Night Long this Sunday and next Friday, the 23rd May, I’m with Love Injection Fanzine / Records at The Good Room (tix link in comments) and then Wednesday the 28th at Dantes Hi Fi in Miami. Please give me a follow over on my Mixcloud as soon I’ll post my back to back mix with Joe Goddard at Saturday’s Balearic Breakfast Day Party at NTs Loft. Thanks for listening!" PLAYLIST (2025) Ayane Shino – Sayounara (2025) Aldorande – Opium des Nuits (2014) Nathan East – SeveNate (2022) Mistura Pura – Vamo Vive (1978) Con Funk Shun – Loveshine (2025) Payfone (ft Leon Lace) – Pony Bar (2025) Ghost Assembly (ft Oliver Cross) – De Laatste Rit (The Last Ride) (2002) Erlend Øye – Ghost Trains (2025) Pepe Braddock/Kampinos – Good Looking Pepe (Deep Burnt) (1981) René & Angela – Secret Rendezvous (Reflex Revision) (TBR) Jean Carn – My Love Don’t Come Easy (Linkwood Rework) (1985) Sipho Gumede (ft Felicia Marion) – Something to Say (TBR) Max Essa – Camel Night-Rate (be.lanuit Remix) (2025) System Olympia (ft Reinen) – On Repeat (2025) Flying Mojito Bros – Area 54 (2024) Ambala (ft. Santino Surfers/Walther/OliO/Iyame Aje) – Amor Bailar (2005) Sabrina Malheiros – Maracatueira (Incognito Remix) (TBR) Manu Dibango / Adrian Loving – Manu Echos (2025) Gratts (ft Venessa Jackson) – Off My Feet (UNO) Maxwell – Til the Cops Come Knockin (Julius Papp House Excursion) (2025) The Cure – And Nothing Is Forever (Cosmodelica Electric Eden Remix) COLLEEN IN THE NEWS Do not forget to subscribe to Colleen's website (https://www.colleencosmomurphy.com/) to get updates about her upcoming events! Here are some dates where Colleen will be spinning over the next few weeks: 18th May: All Night Long at Pikes, Ibiza 23rd May: Cosmodelica x Love Injection at The Good Room, Brooklyn, NY 28th May: Dantes HiFi in Miami, Florida 7th June: Last Note Party in Perugia, Italy (sign up for our mailing list) THE LISTENING EXPERIENCE This episode is musically and intellectually quite interesting as it behaves like the tea you put in the boiling water. It slowly infuses your brain, your psyché, it liberates you, then it grooves you, and the freedom you gained from the show's first songs keep on elevating you as the groove is being built slowly and steadily by Colleen. From a jazzy, cool, somewhat lost and ethereal place, we then go to a synthy, electronic and drum'n'bass place, just to be able to discover a few songs later how much groove was there from the very start, letting ourselves flow constantly in the lost element that life is... If we have to be lost, at least, music should be our only guide, right?! As walways, Colleen's mixing skills participate in our intellectual liberation, listen for instance to what happens between "My Love Don’t Come Easy" and "Something to Say", that little rhythmic change really act as both a recharger and a liberator, enhancing the wellness in which we float. Simply Beautiful. We then move on to a suspended musical moment, somewhat clubby, but which still keeps that liberating musical element that makes the listener feel as if he was floating above the clouds. Colleen always Amazes me with her ability to propose a different vibe on each of her shows, it's just mesmerizing, really! That feeling of freedom is so strong in this episode, it evolves so beautifuly, and she manages to keep it afloat with such greatness that it just acts as a medecine on the listener! There's a feeling of well-being emanating from this episode, and it's infectious... COLLEEN'S PRESENTATION Tokyo guitarist Ayane Shino with Sayounara from the album River Seiseragi, the Tomb of Guitar No. 2, Rei Harakami. And this is Shino's second album in her Tomb of Guitar series. Her first was Sakura, a Susumu Yokota cover album, which I adore. I did play it on Balearic Breakfast before. And this second album covers the hallucinatory beatscapes and works by late Japanese composer, musician, and filmmaker Rei Harukami, whose debut LP, Unrest, showed him as a successor to such luminaries as Haruomi Hosono and Ruichi Sakamoto. Sadly, Harakami passed away at the age of 40 in 2011, leaving behind a musical legacy that seemed to deserve more recognition. Hence this fitting tribute now comes from the incredibly gifted classical guitarist Ayane Shino. And she's reworked Harukami's standout tracks into an album of tranquil yet complex compositions, and I highly recommend it. Good morning, Balearicans. I'm Colleen Cosmo Murphy hosting your weekly Balearic Breakfast on a sunshiny Tuesday morning here in London, taking you through until high noon on my MixCloud Live. And greetings to the Balearic Breakfast family already gathered over there on the chat group joining in from all corners of the globe. And thank you as always for joining me. And thanks to all who joined Joe Goddard and I at the Balearic Breakfast Day Party at NT's Loft this past Saturday. How fun was that? Good vibes all around. It was really, really special. And I have a couple more dates at NT's Loft this summer, and we'll be announcing the lineups very soon. Now this Sunday is my first stop in Ibiza this summer. I'm playing at Pike's at Freddy's all night long, which should be fun. Then the following weekend, I'm over in New York City, actually in Brooklyn to be exact, playing with my friends Paul and Barbie of Love Injection at the Good Room on Friday night, the 23rd of May. And first release tickets are gone, but second release tickets are still available as of this morning. And then on Wednesday, the 28th May, I'm in Miami at Dante's Hi-Fi. And then back to Europe for two loft parties, the Last Note Party in Italy on the 7th of June. And if you want to go over to Umbria, to Perugia, please email info at lastnote.org for info and reservations. And then on Sunday, the 15th of June, it's the anniversary of our London Loft Party, which we started with David Mancuso 22 years ago. I'll be musically hosting a seven-hour vinyl-only set on our beautiful sound system. And if you want to join us, you can sign up on the Friendship Train, sign up for our mailing list at loftparty.org. Okay, I hope you got all that. Now it's back to the music. On today's show, I'm catching up with some older requests. And I also have new music from Payfone, Ghost Assembly, Flying Mojito Bros, Max Esa, be.lanuit, Gratts, and I'm even going to slip in a drum and bass rework of a Deep House classic. And I'm also going to debut the Cosmodelica Electric Eden remix of The Cure. The first time it'll be played on air, and it's only been played one other time at the Balearic Breakfast Party on Saturday. So hopefully I've piqued your interest. Please keep it locked. Now you've heard me play many reissues on the French label Favorite Recordings, but they also released new music. And at the end of this month, they're releasing the third album by French jazz funk band Aldorande, and it's fittingly entitled Trois. The quintet is led by Virgile Raffaëlli, and together they push the boundaries of music with boundless passion and unparalleled instrumental mastery inspired by the 1970s fusion movement. The entire album is fantastic. There's a lot of great up-tempo songs, but I'm going to play something a bit more mellow and groovy. This is Alderande with Opium des Nuits. Californian disco funk band Con Funk Shun with Loveshine. That's the title track of their 1978 album, and Con Funk Shun released 11 albums between 1976 and 86. A few like this one were certified gold, and they racked up quite a few hits on the Billboard R&B charts. After they disbanded, singer-songwriter and instrumentalist Felton Pilate went on to work extensively with MC Hammer. Oh, what you learn when you go down these rabbit holes. Thank you to Bert Francois in Brooklyn for that suggestion, and I also want to wish Bert a happy belated birthday. His birthday was last week, and for those of you that are new to the Balearic Breakfast family, Bert is an old listener of mine. Not that he's old. Maybe I am, but he listened to my shows Club 89 and Soul School back on 89.1 FM in New York City back in the 90s. So one of my longest term listeners, and a very, very happy birthday to you, Bert. Ahead of that, Vamo Vive by Mistura Pura, who is Italian DJ, composer, singer, and producer Federica Grappasonni. She began at 19 during the acid jazz era, performing live, and at the end of the 90s, she DJed in the Italian lounge scene. More recently, she's reworked some of her material, and you could find Vamo Vive on the Mistura Pura band camp. Ahead of that, some breezy Brazilian jazz from Nathan East, an American bass guitarist who's played with Bobby Womack, Stevie Wonder, George Harrison, Toto, and Herbie Hancock, amongst a host of other legends. East is also a founding member of the jazz group 4Play. Other members have included Lee Ritenour, Bob James, Larry Carlton, and Harvey Mason. So it's safe to say Nathan East has an amazing pedigree, and he's also released several solo albums. We heard SeveNate from his 2014 self-titled LP, and Michael McDonald also makes an appearance on that album. Which album doesn't he make an appearance on? Thanks to Victor Olteanu in Romania for that request. Okay, Payfone have been a favorite here on Balearic Breakfast, and Payfone is comprised of duo Phil Passera and Jimmy Day. Up until now, they've only released singles of their slow-mo, cosmic disco, late-night sleaze groovers, and now they have an album coming out on vinyl on the British duo's own imprint, Otis Records. The LP is called Lunch, and it's a mixture of electronic and analog instrumentation, and as always, free from samples. They also have a bunch of global collaborators, former XL recording artist Willis Earl Beal, aka Nobody, bassist Joe Gabriel Harris, who's also featured on three other songs, Brooklyn-born April Pittman, Russian-Armenian vocalist Zara Kian, Ludmila Rodriguez, LA singer Carmela The Balls, Parisian pianist Gabriel Casas, and vocalist Barbara Alcindor, ushering us through a deep, heady groovescape. Fittingly, I've selected Pony Bar, and this one features the JJKLS lead vocals of Man of Mystery, Leon Lace, and you can pre-order Payfone's Lunch, and it's coming out in the middle of June. Bet you didn't think you'd hear some drum and bass on Balearic Breakfast, but you never know what you may hear on this show. I love that version. It's a drum and bass version of a Deep House late-night classic, so I thought you'd like it. It's by Kampinos with some extra keys by Jabco, and it's, of course, I guess a cover of Pepe Braddock's Deep Burnt, and it's called Good Looking Pepe (Deep Burnt), and it's out on vinyl on GAM, and it's coming out digitally this week, and there's also a great little Sims rework on the flip side as well. Ahead of that, Norwegian singer-songwriter- composer-musician Erlend Øye, with his 2002 single Ghost Trains, produced by Morgan Geist, immaculate production by the Metro Area and Storm Queen producer. Urja is also one half of indie-folk duo Kings of Convenience, and also the frontman for the band The Whitest Boy Alive. Barry Berenitz from Washington, D.C. made that request eons ago, and I eventually got it on for you, Barry. How about that? Ahead of that, we had De Laatste Rit, and in Dutch that means The Last Ride, by Ghost Assembly, which is DJ-producer Ward, along with the harmonica-wielding folk outlaw Oliver Cross, and I just love what Abbey said about it. She has quite a way with words, so she wrote "It's not an AI-generated DJ tool for tranquilized students from the home counties. It's not a chilly scientific exploration of 21st century sound design. It's a slow burn for the true believer, and I'm a believer, Abbey". You can pick this up when it's released later this week on Ghost Assembly's Bandcamp, and we started it all off with Payfone, Pony Bar from their forthcoming LP, Lunch, which I highly recommend you pre-order now because I'm sure the vinyl will sell out. Okay, how about a reflex revision of a great 80s soul classic? René & Angela, the early 80s soul duo from Los Angeles. René Moore is the brother of Rufus's Bobby Watson and played with The Brothers Johnson, and Angela Winbush sang backup vocals for Dolly Parton, Lenny Williams, and Gene Karn. René and Angela got together in 1977, and they had loads of hits, including Save Your Love, You're a Smile, and You Don't Have to Cry, before pursuing solo careers in the mid-80s. This is the reflex version of one of my personal favorites, René & Angela's 1985 single, Secret Rendezvous. The late South African bass player Sipho Gumede, featuring singer, what's her name, Felicia Marion, was something to say, originally released in 1985, and part of a four-track retrospective EP on Arup Roy's label, Vive la Musique, released a couple of years ago. Gumede was a well-known musician in South Africa and played bass for Spirits Rejoice, and Arup found the track, and he tracked down British producer Greg Cutler, who relocated to South Africa in the 1970s and 80s, and he engineered and produced hundreds of records for local Black South African musicians. It's a great story. It's printed on the back of the EP, and all of the songs on the EP are absolutely fabulous. Ahead of that, we had a new rework on Moton. We heard one by Linkwood, which is Edinburgh DJ producer Nick Moore. In fact, I played his collaboration with the Mighty Zaf last week, Yokai, but we just heard his rework of Jean Carn's My Love Don't Come Easy, which originally came out on the American soul jazz singer's 1979 LP, When I Find You Love, and that has an all-star lineup of talent, including Dexter Wansel, and the flip on the Moton release is a great rework of M2Me, so you might want to pick that up. Okay, yesterday, Tim Sure of Coyote and Is It Balearic just sent this one over to me. It's a new one from Tokyo-based British producer Max Essa, and it's called Camel Night-Rate, and this is a remix by Ibiza-based DJ producer Be.lanuit on Balearic Breakfast. Ed. Note: Colleen interviewed Be.lanuit during the 150th episode of the series, and he presented back then his brand new album, Carrusel De Sentimientos. Amor Balar by Ambala, which is another Phil Mison project alongside his Cantoma productions. It's from the second Ambala album on Music for Dreams. The first was released nearly a decade ago, and Amor Balar is a collaboration with a few artists, Santino Surfers, Walther, Olio, and Iyame Aje, and the entire double album is lovely. Perfect summer Balearic vibes on that one. Ahead of that, a Balearic Breakfast favorite, the cosmic disco cowboys, the Flying Mojito Bros with Area 54, and that's from their debut album Just Passing Through, released last month on Ubiquity Records. The British duo has gained a growing following in the US, thanks to their unique style dubbed Desert Disco and Outlaw House, and they redefine the Americana sound, and it moves from poolside vibes to the dance floor, and the album really showcases some of their signature re-edits, along with some great collabs with people like Shawn Lee of Young Gun Silver Fox, and Joe Harvey White of The Hanging Stars, and I want to dedicate that to Barry Berenitz in Washington, D.C. I know we already played one of his requests, but he did request that, and he just got married, so congratulations, Barry! We're all so happy for you. Ahead of that, on repeat from the London-based producer, singer, and DJ, System Olympia, born Francesca Macri, is from her new five-track EP, M3 Opera, and it features collaborations with five female singers, including DJ Daisybelle. We heard On Repeat featuring Reinen, and you can pick up her new EP on System Olympia's own label, OK Nature. Okay, I'm still catching up with old requests, and this is an old one from Steve Wakley. For Rio's original Nu Bossa star, Sabrina Maleros, a singer-songwriter who delivers golden-era bossa-soul samba, disco, and dance with the help of her partner and producer, Daniel Maunick, son of Bluey from Incognito, and her father is Alex Mejero, bassist of samba jazz funk legends, Azimuth. This is from her album Vibrosans, which came out just under two decades ago and features loads of great remixes. This is Sabrina Maleros with the Incognito remix of Maraca Tuera. Ed. Note: Our friend, Steve Wakley is playing at the Lonely Mouth Japanese listening café where he presently has a residency. Follow him on his Instagram and on his Mixcloud to discover more. Terry Fincham asked for the sheltered dub of this Maxwell classic, Till the Cops Come Knockin', and that's a wonderful one, but I don't have it, and it goes for a lot of money on discogs. So I looked through my little house boots section, and I found this one, and it was done many moons ago. It's The House Excursion by Canadian producer Julius Papp, and of course the original song is from the 1996 debut of Brooklyn neo-soul singer-songwriter instrumentalist Maxwell, his album Urban Hang Suite, such a great album. Ahead of that, we had the Belgium-born Adelaide, Australia residing DJ and producer Gratts, real name Tristan Jong, with a cut from his forthcoming New Horizons EP coming out on vinyl later this month. We heard Off My Feet featuring singer Vanessa Jackson, who's from Durban, South Africa, and Gratts dedicates that song Off My Feet to restless soul, the late Phil Asher. Ahead of that, a fabulous rework of Manu Dibango by DJ, producer, scholar, author, and friend Adrian Loving, who gave the record to me when I was in Washington, D.C., where he's based. It's called Manu Echos, and it's a rework of Dibango's Echos Beti from his 1985 LP Electric Africa, and you can find that on Fields to Factories Bandcamp, along with some other great Dibango remixes. Well, this is Colleen Cosmo Murphy getting ready to sign off another edition of Balearic Breakfast, and thanks to everyone on the chat joining me live. And don't forget, I will be back next week, next Tuesday, streaming live from the Record Room, fresh from Pikes, doing All Night Long on Sunday, and just before I head off to New York City for The Good Room on Friday the 23rd. So I think I've teased you enough about today's final song, and it's a remix that I did along with Joe Goddard of Hot Chip and Al Doyle of both Hot Chip and LCD Sound System. The three of us have been working along with Alexis from Hot Chip and Lou Hayter and a group called Electric Eden, making some new tunes, but then I was asked in January by Robert Smith to remix The Cure, and I've been a Cure fan for over 40 years. I bought the first, my first Cure single was The Walk, which I got I think in 1983 when it came out. I bought it on import as well when I was only 15 years old, and I've been a Cure fan ever since. So I was over the moon to get a direct email from Robert to ask, and he asked me to pick any song from his album, The Last Album, Songs, what is it called? Oh my gosh, I'm just, I'm just, Songs of a Lost World, which came out in November 2024, 14th Cure album, and there's a new collection coming out called Mixes of a Lost World. It's a forthcoming triple 180 gram vinyl set, a triple CD set, and it's coming out digitally on the 13th of June, and all the profits are going to Doctors Without Borders, who are doing great work around the world. I mean, they're just absolutely amazing, and you can pre-order this on The Cure website, and there's lots of other great mixes, Fortet and Paul Oakenfold and lots of great stuff, so it's really amazing, and I'm so honored to be on this, not only with The Cure, but all the other artists that are featured on it. So, without further ado, here it is, the Cosmodelica Electric Eden remix of And Nothing is Forever by The Cure. Thanks for listening. Ed. Note: Interestingly enough, when paying attention to the lyrics, one may find out that the song is written from the point of view of the person who's actually dying, which is a beautiful and intimate way for Robert Smith to pay tribute to his friend...

Colleen 'Cosmo' Murphy broadcast the 220th episode of Balearic Breakfast on her Mixcloud on April 29th 2025. About this episode. – The Balearic Breakfast Family was sad to see that Colleen didn't post the request line last Saturday, which meant the coming episode would be one where our dear Captain would play new tracks and mayne a couple of songs she had put aside for us, including a few of older requests. But, as she stated a few weeks ago, it's also her duty, as a DJ, to pomote new music and to play new artists. And, with such a talented soul, the Family knew this episode would be great, and unexpected, so there was really nothing to be worried about! We all patiently waited for the show time to arrive... "This morning’s Balearic Breakfast is now up on my Mixcloud and please give me a follow while you’re over there. Also, please consider subscribing to my Mixcloud if you have the means. Each show takes quite a bit of time and any help for my efforts is much appreciated. Today’s show has a lot of new music from @klangkollektor @justinstrauss1 @ejthackray @brian__jackson @masters_at_work_official @natashakittykatt @jimpster_gram @moodymanc_ @lukeunabomber @opoloposweden @margeeandsound @raz.and.afla @subnesiamusic and some records I have had put aside to play for you for awhile now. On Saturday the Request Line will go back up on my socials for next Tuesday’s show so get your thinking caps on. This weekend I’ll be playing back to back with Horse Meat Disco at @meltingpotglasgow at Queen’s Park in Glasgow and on Sunday I’m playing for @1btnradio birthday bash at Patterns and congrats for 10 great years for that community radio station. And then the following week we’re having a Balearic Breakfast Day Party at @ntloft in London and my special guest is @joe_hot_chip . Have a great week and thanks for listening!" Listen back to the 220th episode of Balearic Breakfast: PLAYLIST (2025) KlangKollektor – Isle of Stonsey (1985) Patrick O’Hearn – Ancient Dreams (2025) Balaphonic (ft. Ocean Waves Brasil) – Oxum (2025) Brian Jackson (ft. Raheem DeVaughn & J. Ivy) – It’s Your World (1981) Webster Lewis – El Bobo (2002) Dennis Mobley & Fresh Taste – Superstition (2025) Subnesia (ft. Nordal) – Baila Gitano (2025) Ella Andall – My Spirit is Music (Luke Una Edit) (2025) ??? – Mediterranean Night Long (Eclectic Journeys Edit) (2025) Margee – Tartiflux (Justin Strauss Remix) (2025) Emma-Jean Thackray – Save Me (2025) Joseph Malik – Only Fans (Natasha Kitty Katt Rework) (2025) Millie Jackson – We Got to Hit It Off (Opolopo Deeper Mix (2002) Blake – Saturday Night (Ewan Pearson Al Usher Remix) (2025) Jimpster – Beat of an Era (2001) Paulo Rocha – Dreamwalker (X-Tended E Dub) (2025) Daisybelle – Into the Night (2025) Raz & Alfa – Going Back to My Roots COLLEEN'S NEWS Do not forget to subscribe to Colleen's website (https://www.colleencosmomurphy.com/) to get updates about her upcoming events! Here are some dates where Colleen will be spinning over the next few weeks: 3rd May: Melting Pot at Queens Park, Glasgow 4th May: 1BTN Birthday Bash at Patterns, Brighton 10th May: Balearic Breakfast Day Party at NT's Loft, London 18th May: All Night Long at Pikes, Ibiza 23rd May: Cosmodelica x Love Injection at The Good Room, Brooklyn, NY 28th May: Dantes HiFi in Miami, Florida 7th June: Last Note Party in Perugia, Italy (sign up for our mailing list) THE LISTENNING EXPERIENCE Often, I listen to friends talk about their favourite artists, or their favourite DJ's. They often say, oh that band or that singer is great, that DJ is really one of the best around! And the interesting stuff only happens when I dare ask the question: can you tell me why? Then, there's a pause in the conversation as time has come to search for the good, and true, arguments. Explaining why is the hardest part. It may come down to the musicianship or the qualities of the artist we love. A few months ago I was having a drink with Men Tensel in Paris, and he asked me the question, we were of course talking about Colleen and about our beloved show. And Olivier, Men Tensel's real name, asked me: tell me, according to you, why is Colleen such a good DJ? And I started to think about the Why: first, her ability to shape stories using songs (which is something few DJs do today actually); then, the fact that she's all about music, blending jazz, disco, electro, pop, rock, and, of Course, her technical skills. I think these were a few of the arguments I gave to Olivier back then. And I stopped, lost for words. With a smile, he said to me: "take your time and write that down when you'll have some time". And, when I listened to today's show, I remembered a few of the other reasons why Colleen is up there. As she said once in an interview, when working on remixes, she always try to serve the music, not having a specific sonic imprint, even though, as you know if you read the articles I wrote here about some of her productions, she does have a kind of light "signature". So when I listened to this 220th episode (already!) I remembered how much the statement she made about her productions did also apply to the way she mixes! Think about it, does our Captain mix the same way when she's at the loft, before a huge crowd, when she starts Balearic Breakfast or when she's in a club somewhere in Japan? The answer is, of Course, No! Colleen is a musical painter. She knows perfectly how to cue records, how to mix them, and her technicity somehow disappeard and she only uses it to serve the musical message she wants to convey. Colleen is a Chameleon. And this episode truly showcases that, as we have the first part of the show which presents a light and calm mixing journey, whereas the second part of the show showcases a tense, incredibly precise mix, creating an unparalleled musical unity... And as far as today's post title goes, well, as I said, the first part of the show has some tracks that really feel like you're presently leaving from somewhere and that you're heading towards a new destination, it's really the action of leaving, the physical movement, that you can feel in these songs. With the second part of the show being so clubby, yet still keeping that "freeing my mind" feeling (think of the song "Save Me" for instance...), I found this great title which perfectly mixes these two realitties... COLLEEN'S PRESENTATION Isle of Stonsey by KlangKollektor coming out on his forthcoming Dub Tapes Vol. 2 as a follow-up to Guess What Vol. 1 released last year. KlangKollektor is a solo project by Nuremberg's Lars Fischer who's also part of the psychedelic cumbia band Trak Trak and Dub Tapes Vol. 2 is coming out on the label Before I Die Projects which is Manchester's Jason Boardman's label and he's one half of Aficionado Recordings with Moonboots who's the other 50 percent. KlangKollektor is a very interesting project and keep your eyes out on Bandcamp to pre-order. Greetings on a gorgeous Sunday London morning. I'm Colleen Cosmo Murphy hosting your weekly Balearic Breakfast on my Mixcloud Live until high noon and good morning, good afternoon, and good evening to those joining in on the chat from all corners of the globe and thank you for being here. I hope you all had a good weekend. I took an epic 20 kilometer walk in Epping Forest followed by some epic Epsom salts and I'm gearing up for another big weekend of events. I'm going back to... I'm going back to back actually with Horsemeat Disco this Saturday at Melting Pot at Glasgow's Queen's Park and then on Sunday I'm playing at Patterns in Brighton for 1BTN's 10th birthday and I just want to say happy birthday to 1BTN. It's a great community radio station with a lot of great DJs whom I follow and I'm so honored they asked me to play for this momentous occasion, and as you know community radio is very important to me as I've been broadcasting on different radio platforms for over 40 years starting on my 10 watt high school radio station back in the early 80s, and I think the pandemic really hit home how radio can really keep us connected. Congrats to 1BTN and wishing that radio station many more decades of happy returns and one more party announcement for the Balearicans. On Saturday the 10th of May we're having a Balearic Breakfast Day Party. I'm returning to East London's Enties Loft this time with my friend Joe Goddard of Hot Chip and I'm looking forward to seeing some of you there. Last one was so much fun, it was really great, and I just noticed they're doing a flash sale this week, so tickets are really cheap, so I've read the moment so head over to residentadvisor.com to get tickets for the Balearic Breakfast Day Party on the 10th of May. Okay, today's show I have a lot of new music for you new releases from Balaphonic, Brian Jackson, Emma Jean Thackray, Daisy Bell, Luke Una, Natasha Kittycat, Opolopo, and Raz and Alpha along with a bunch of records I've set aside over the last few months. The request line will go up again this weekend, so get those thinking caps on. Now, this next one is an older record I wanted to share with you it's by Californian multi-instrumentalist Patrick O'Hearn who was a bass guitarist and keyboard player with Frank Zappa, so you know he has some chops, and then he was in the band Missing Persons, and I love Missing Persons 1982 album Spring Session M later discovered it was produced by Ken Scott, who did Supertramp and David Bowie, and he's now a friend of mine, so really interesting. Anyways I'm rambling. O'Hearn's solo career was inspired by Tangerine Dream's Peter Baumann and he produced O'Hearn's 1985 debut album which went in a different direction than the bands that he was in previously, more new age more experimental, and it was the right journey as he later won Grammy nominations. This is Patrick O'Hearn with Ancient Dreams. Balaphonic with Oshun from the new album Resolution Revolutions on Phil Cooper's new Northern Soul imprint and Balaphonic is Danny Ward who has a 30-year career in dance music, poor guy just like me, just joking, and he's worked as Double D, Moody Mank and with 2020 Sound System, Feel the Brasilia and also Matthew Halsall, amongst many others. Balaphonic was inspired by lockdown era experiments, and his long-held love for Afro-Cuban and Afro-Brazilian rhythms, and the track we just heard is a collaboration with Ocean Waves Brazil a musical and cultural project focused on the traditional music of an Afro-Brazilian religion called Candomblé and the whole Balaphonic album is really great, and it's out now, and there's another great new album on the horizon. This next one is from keyboard and flute player and singer-songwriter composer Brian Jackson. He's releasing the first single from his forthcoming album on BBE, and the new album is called Now More Than Ever and it's produced by Masters at Work which is incredibly exciting. In fact, Jackson is playing at London's Out Here at Outernet with Louis Vega and Omar on the 29th of May. Now the new album recrafts 17 songs Jackson collaborated with with the late Gil Scott Heron, and the first up is a new version of one of my favorites, It's Your World featuring singer Raheem Devon and spoken word artist Jay Ivy and it's unleashed this Friday. A cover of Stevie Wonder's Superstition by Dennis Mobley and Fresh Taste released on P&P Records in 1977, and I've had that set aside for months and months and months, and I really didn't know how rare and sought after it was until I checked Discogs this morning. I can't even remember where I got this, but I know I didn't pay what it's going for now. So, uh... love that one! Ahead of that an old request I set aside and I have no idea who requested it because it was from months ago but the song we heard was El Bobo by Webster Lewis the late jazz disco composer and keyboardist. He got his start working with Tony Williams, George Russell, and Bill Evans later worked as a session musician with Herbie Hancock which is quite a pedigree. And in the 70s he hopped on the Disco Express and released some solo albums, and he also produced artists like Gwen McRae and Michael Wykoff, and starting it all off with Brian Jackson featuring Raheem Devon and Jay Ivy a new version of It's Your World and that's coming out on BBE this Friday. Okay this next one has Balearic written all over it. It was released digitally on Music for Dreams in 2023 but I was sent a test pressing, so it looks like it's coming out on vinyl soon, it's by Subnesia who is Danish producer songwriter and saxophonist Michael Rune, and DJ and producer Anders Ponsaing. They released their debut The Beginning digitally in 2023 and they have a new album called Range of Colors but this is from their first collaboration with Nordal Subnesia with Baila Gitano. Tartaflux the title of the forthcoming EP by Margee on Brooklyn DJ producer Timo Lee's label Chomp Chomp, and you can pre-order the vinyl, and we are listening to the Justin Strauss remix. Margee is the musical project of Alexandre Gimard, and Justin Strauss should need no introduction for the Balericans but, just in case, Strauss launched his career in the 1980s in New Spinning Area the Ritz, and the Mud Club and more, and working with and remixing for Depeche Mode, Tina Turner, Jimmy Cliff, B-52s amongst so many others, and his remix of Tartaflux by Margee is out now. Ahead of that a mysterious re-edit of a cover of Lionel Richie's All Night Long a Spanish version called Mediterranean Night Long (The Eclectic Journeys edit), and thank you to Sparky who sent me a test pressing of the first release on this Liverpool imprint Melodies of Love, and there's only 150 copies no repress and no digital, so if you want it head over to Melody of Love's Bandcamp now. And this site offers the description of the, of the mysterious edit, it sounds like Elkin and Nelson of Jabiro Jabiro Jabaro fame taking on entertainment duties at Pike's Hotel during the 1980s and delivering a killer gypsy rumba cover version of Lionel Richie's End of the Night Anthem All Night Long. Now, I've asked them who did the original, they're not answering, but this Mediterranean Night Long will be played at my Pike's residency this summer, in which, you guessed it, I'm playing All Night Long. And here are the dates for me over at Pike's, if you can join me, the 18th of May 29th of June and the 28th of September. Ahead of that a request from last week by Rob the Urban Healer, we heard the Luke Una edit of My Spirit is Music by Ella Andall, the Grenadian Trinidadian singer, and an Orisha devotee. She released five albums starting in 1991 when she debuted with My Spirit is Music and it's such a great title. Luke did a respectful edit for his É Soul Kultura project that is coming out on vinyl on Mr. Bongo this week, and we have a few trinnies on the chat group right now, and Brooklyn-based Burt informed us that Trinidad has a new woman Prime Minister Kamla Persad-Bissessar and congrats to her, and I just want to say doubles are the best breakfast food ever. Okay, producer singer songwriter multi-instrumentalist and all-around stellar talent Emma Jean Thackray released her second album last week, this time on Brownswood Recordings. It's called Weirdo and it is a triumphant celebration of survival and individuality and was entirely written, performed, recorded, mixed and arranged by Thackray. She also describes it as a deeply personal exploration of selfhood grief and gratitude, and it follows the loss of her long-term partner a couple of years ago. She's also been a guest at my Classic Album Sunday's Platform on a couple of occasions both times interviewed by Tina Edwards, and once about Thackray's favorite album the Beach Boys Pet Sounds, and also for a series we hosted called Producer Pioneers, and you can find out more on the Classic Album Sunday's website. Here is Emma Jean Thackray with Save Me. Ed. Note: In an interview she gave to Stereogum, Emma shared the stories behind each track of her new album. Speaking about the song "Save Me", she explained: "It’s definitely what I’m going for, the balance of the heaviness with the lightness; the levity and then the bleak, stark lyrics. I’m definitely trying to have that duality there. And I think if you’re singing about something heavy, you need to have quite a catchy melody with it, or the music that’s surrounding the words needs to have an upbeat aspect to it. And I think it’s the same in how you approach the words; if you’re going to talk about something heavy, maybe try and bring some fun and some joy into it, like making a joke. If you’re just saying, “I’m really sad,” people aren’t necessarily going to pick up on that. But if you’re spinning it into more of a story, people listen more. I listened to more of myself as well when I put stuff in that way, because, as I said before, when I was making everything, I wasn’t thinking about anyone else. I was just thinking about me; I needed to make a joke for myself to help me process it." Colleen Cosmo Murphy with you here on Balearic Breakfast, almost at Club 89, it's feeling like my Club 89 days from the 90s. This is British DJ producer keyboardist and free-range label owner Jimpster, and he's debuted on New Groove the seminal cult house label founded in 1988. He has a new EP out called The Phoenix EP and this is Beat of an Era and the first final run is sold out, but they're now repressing and it's just a great deep house groover. Ahead of that another one I've set aside for you, the Ewan Pearson and Al Usher remix of Saturday Night by Blake. And Blake is Iceland's Magnus Jonsson, and it came out in 2002 on Ideal, and I used to play it all the time. Now, last week I played you my forthcoming remix of The Street People which is part of the spring revisited project by Sweden's Cosmos Music, and we just heard another remix from this incredible series, we heard the Opolopo deeper mix of Millie Jackson's We Got To Hit It Off which really reminds me of early death mix productions Dave Morales in particular. Opolopo also did a more disco 5 version of the song, and Dimitri from Paris also did two stunning mixes, so you're spoiled for choice and that's out this Friday on Acid Jazz. So head over to their Bandcamp. Now, you may know Edinburgh based DJ Natasha Kitty Katt from her sets at Southport Soul Weekender and Sunset Beat. And now the Soulstress is showing her love of Berlin style synthy space disco with her debut album Synaptic Juice released last month on her own label Shadowrunner, and it sees collaborations with Billy Wirth in the film The Lost Boys, Suki Soul, His Bitter Truth and also Joseph Malik, and we heard Natasha's rework of Malik's Only Fans. This is Colleen Cosmo and Murphy with you on Balearic Breakfast. Let's get back to the music, going until high noon on my Mixcloud Live, absolutely loving this one, Into The Night by Daisybelle, and that came out on HeSheThey Records last month. And Daisy Bell has releases on Nervous, Rebirth and Future Disco. She was born into a musical family in Puerto Rico, and she's been spinning all over the world over the last few years, also on Mott Radio and Bellami Radio, and is now based in London, and she has more productions coming out on Razor and Tape and Apparel Wax one to watch out for, and when I'm going through my record collection sometimes I find older tracks I've been putting aside to play for you. And ahead of that we heard Dreamwalker by a Porto Portugal's Paulo Rocha, one I used to play all the time when it came out in 2001 on Alan Russell's Black Vinyl Records. And it still sounds great. Sounding a lot like one of my old Club 89 shows in the 1990s and I've been listening back to some of those it's kind of cool, my voice is an octave higher and a very different accent, but it's really fun it's really cool to like hear all these mixes that you did on the internet, people have posted on YouTube, and there's some on DJ M Trax's Soundcloud, and there's a few on my Mixcloud. Actually I have a playlist called Cosmo 1990s and there's one with Rome Anthony on it too, he was one of my special guests, he was an old friend of mine back in the day. Well I hope to see some of you at Melting Pot at Queens Park this Saturday or at the 1BTN Birthday Bash at Patterns in Brighton on Sunday. Don't forget the request line is back up this Saturday on my socials, so think of some good suggestions for next week's show, and you can also subscribe to my Mixcloud. I do these shows for free. Takes a while to put them together and appreciate any support. Totally understand if you can't do it, but three pounds a month isn't too much, and you can do that over on my Mixcloud page. I'm going to leave you with a fresh collaboration from the prolific Hackney based producer Raz Olsher and Ghanaian master musician Afla Sackey, and they present their own take on Afro House, and they did so on their sophomore LP Echoes of Resistance out on Wawa 45s, and they covered one of my favorites Lamont Dozier's 1977 classic Going Back to My Roots, and of that song they said "We love this song, the lyrics resonate with us talking about the meaning of connection to a land and its people, the history of this song is also fascinating from Hugh Masekela and Orlando Julius through to Odyssey and Ritchie Havens. We wanted to give it our own flavor, you can't choose your heritage and where you're born; and it's always a part of you; and we like to celebrate that." Wishing you all a wonderful week, and looking forward to your requests on Saturday. Thank you so much for listening.

Colleen 'Cosmo' Murphy broadcast the 219th episode of Balearic Breakfast on her Mixcloud on April 22nd 2025. About this episode. – Amidst her latest gigs, and with Record Store day hapenning on April 12th, Colleen managed to lauch the request line on April 19th and announced, on April 20th the new remix she did for... The Cure! To say that our Captain is busy would be na understatement, she's prolificaly busy, and that's why we feel here the need to bring her all the support we can! Our appreciation for what she does is endless, she brings us so much pleasure! So, since she's working hard, we're supporting harder, laughs! This episode perfectly represents the "state of grace" our dear Captain is presently experiencing. But we shall talk about this later in this post! Listen back to the 219th episode of Balearic Breakfast: "Yesterday’s Balearic Breakfast is now up on my Mixcloud and please give me a follow while you’re over there (link in linktree). This week’s show is mainly requests and we have a wee tribute to both the recently passed Max Romeo and to Prince whom we lost 9 years ago this week (thankfully we still have his music). There’s also new music from IKE, @phi_psonics , some great reworks from @randomhouseperson and @thereflexmusic and a debut of my forthcoming remix of The Street People ‘I Wanna Get Over’ coming out digitally on @cosmosmusic on the 23rd May and on vinyl via @acidjazzrecords in June. Its been getting a great response on the dancefloor, too. I’ll be back hosting Balearic Breakfast live from the record room on Tuesday from 10am to 12pm BST on my Mixcloud Live and until then, please enjoy this week’s show with music from @peakinglights @bryonyjarmanpinto @lyndadawn_ @xlmiddleton @joshmilan6969 @kevin_hedge @privatejoyhq @adafrancis @cazeauxoslo @alexander_flood #ninasimone #larrylevan #prince #maxromeo" PLAYLIST (2018) Peaking Lights – Sea of Sand (2025) Japan – Ghosts (Random House Project Rework) (2025) IKE – Clay (1976) Max Romeo & The Upsetters – One Step Forward (2025) Phi-Psonics – Healing Time (2024) Bryony Jarman-Pinto – Deep (2012) Ronnie Dyson – The Captain of Your Soul (2021) Lynda Dawn – Roses (XL Middleton Remix) (1979) Shigeru Suzuki – Los Enamorados (1984) Special Occasion – Flying to Santa Barbara (1997) Blaze – The Garden (1982) Peech Boys – Don’t Make Me Wait (Extended Mix) (2024) Private Joy ft Ada Francis – Let Love Find a Way (2025) Marcello Cassanelli – Starlight (2024) Alexander Flood ft Cazeaux O.S.L.O. – Life is a Rhythm (2003) Monkey Brothers – Invisible (Club Mix) (TBR) The Street People – I Wanna Get Over (Cosmodelica Remix) (1999) 94 East (feat. Prince) – One Man Jam (1975) Earth Wind & Fire – Africano (2022) Nina Simone – I Wish I Knew How It Would Feel To Be Free (The Reflex Revision) COLLEEN'S NEWS Do not forget to subscribe to Colleen's website (https://www.colleencosmomurphy.com/) to get updates about her upcoming events! Here are some dates where Colleen will be spinning over the next few weeks: 3rd May: Melting Pot at Queens Park, Glasgow 4th May: 1BTN Birthday Bash at Patterns, Brighton 10th May: Balearic Breakfast Day Party at NT's Loft, London 18th May: All Night Long at Pikes, Ibiza 23rd May: Cosmodelica x Love Injection at The Good Room, Brooklyn, NY 28th May: Dantes HiFi in Miami, Florida 7th June: Last Note Party in Perugia, Italy (sign up for our mailing list) THE LISTENING EXPERIENCE This episode was special, for a lot of reasons, and we felt it. Its intellectual realm was unique, its flow was immaculate but I must admit I did not seize the imagery as quickly as usual. It took me an hour and a half to get the message, the meaning. Yes, it took me that much time to feel a breeze on my skin, a cool, almost cold, yet consistent Breeze on my skin, a breeze meeting me under a wakening sun… It won’t be easy for you to feel that one, but trust my feelings, the Breeze is here and I’ll tell you precisely how you can feel it in your head listening to the show… As Colleen sums it up perfectly, let’s keep the vibe deep and spacey. First, it’s about the rhythm of the show. We don't reach high bpms in this 219th episode. Although things get funkier towards the last 40 minutes of the show, a vast majority of the songs keep a cool and almost steady bpm as time goes on. Also, pay attention to the sound, it stays consistently light and airy, allowing for the breeze to appear quite easily... Indeed, when listening to the songs selected by our dear Captain, you should be able to hear the breeze waving up and down in your head. When listening to songs like Sea of Sand, Ghosts, Clay, or even Deep, allow your mind to leave the moment you're lmentally in and try to picture the lake with the beautiful trees and feel the wind caressing your face. Of course, Colleen's mixing also helps in joining this beautiful place, listen to what happens at 1h21min58s when Colleen blends Marcello Cassanelli's Starlight with Alexander Flood's Life is a Rhythm... Not only is the mix perfect, it is totally unexpected! The first Wow Moment of this episode is right there! Add to this Colleen's impeccable Remix of I Wanna Get Over, the second Wow moment of this episode, and you're totally set! The last element you must take into account is, as announced, and if I can put it that way, Colleen’s personal “state of grace”. Things happening lately to her in her carreer may have influenced the structure of today’s episode, letting her choose songs with a generous yet cooler pace. Of course, our requests were, as usual, great! All in all, it seems obvious why this episode was Cooler than a Breeze... 😉 COLLEEN'S PRESENTATION Wisconsin Californian psychedelic electronic musical duo and married couple Peaking Lights with Sea of Sand from their EP of the same name, released on Dekmantle back in 2018. And this EP shows off their synth pop, chill wave, balearic beats, dub and ambient sound. And an interesting fact, they were invited by the late Lee Scratch Perry to collaborate on his 12-inch Life of the Plants. And thank you to Barry Berenitz in Washington, DC for that lovely request. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast on my MixCloud Live until high noon or a little bit later. Greetings to the family gathered over there right now, and thank you for keeping me company on Tuesday mornings, and also for giving me a week off. Adam and I were in Cork and Dublin celebrating his birthday, doing some writing. I also DJ'd at a couple of parties, Funk Smack at the wonderful Connellies of Lep in West Cork, and Fidelity in Dublin. And both nights were absolute crackers. And thanks to all who brought their big Celtic spirits onto the dance floor. It was really great. I just love playing in Ireland. Actually, I'll be heading back there on the 23rd of August for the If You Know, You Know Festival in Bell, Oregon, so hopefully I'll see some of you there. Today's show is mainly requests, and we also have a wee tribute to both the recently passed Max Romeo, and we'll also pay tribute to Prince, whom we lost nine years ago as of yesterday. And I'll be playing something a little bit less obvious. There's also new music from Ike, Phisonics, and some great reworks from Random House Project and The Reflex. I'm also debuting one of my forthcoming remixes. Now, you may have seen the announcement last night that I was asked by Robert Smith to remix The Cure. Definitely a career highlight. I may have finally arrived. And I did it with Joe Goddard of Hot Chip and Al Doyle of LCD Sound System as we're working on a project together called Electric Eden. We've actually been making new music for the last year. The Cosmodelica Electric Eden remix of And Nothing Is Forever is on the Cure's forthcoming mixes of A Lost World, and proceeds are going to the amazing charity Médecins Sans Frontieres, also known as Doctors Without Borders, and you can preorder it from The Cure website. Now I'm actually teasing you because I'm not playing that one today. In fact, if you want to hear it first, you have to come to the Balearic Breakfast Day Party on the 10th of May at NT's Loft in East London, where my buddy Joe Goddard is also joining me and tickets are now up on Resident Advisor. Instead, I'm showcasing another remix I've been playing out for the past few weeks and it's by an early 70s soul group from New Jersey called The Street People. So please stick around for that a bit later in the show. Click Here to buy tickets But let's keep the vibe deep and spacey for now. And this is a request from Matt Raystrick for a great Random House Project rework of the band Japan. It's the song Ghosts from their 1981 fifth and final studio album, Tin Drum, and it's the Random House Project rework. One step forward, the 1978 single by the late Max Romeo and The Upsetters. The Jamaican singer and songwriter worked on a sugar plantation as a teenager until he was discovered in a local talent contest in the mid 1960s. After working with the vocal group The Emotions, he went solo in 1968 and shocked many listeners with the overtly sexual single Wet Dream. In the early 70s, he became more politicized in his lyrics and the Democratic Socialist Party, the People's National Party, chose his song Let the Power Fall as their anthem. And then Romeo worked with Lee Scratch Perry, who produced his most classic album, War in the Babylon, considered his most enduring classic, and featured the single we just heard and also another great Chase the Devil. And thank you to Alex Elliott and Danny Broderick for requesting the late Max Romeo, who sadly passed a couple of weeks ago. Ed. Note: One Step Forward is one of Max Romeo's classics featured on the timeless War Ina Babylon album. The singer refers to Manley's own politics, as he keeps changing his mind about a possible rapprochement with the United States. "One day you've got dreadlocks, the next day you're baldhead! Move on man and get us out of Babylon!" "One step forward, two steps back..." There's also a great documentary on Amazon Prime The Upsetter: The Life And Music Of Lee Scratch Perry Ahead of that, we heard Clay by IKE, who is Isaac Demartini, a composer, musician and producer from Treviso, Italy, who blends jazz and electronics, and who's also inspired by his travels in Egypt and Ethiopia. Clay is coming out on his debut LP, On Higher Dreams, coming out on the 25th of May on Dom Servini's Wawa45's label. I also want to send a shout out to someone who is tuned into the MixCloud live stream. Shout out to DJ Together and the Kaivu Autistics Department in Estonia. Thank you so much for tuning in. Now, if you're a regular Balearic Breakfast listener, then you know I'm a big fan of Matthew Halsall's Gondwana label. I don't think there's an act or an album that I don't like as the jazzy, ambient, contemplative, transcendental sound is really right up my alley. On their roster is Phisonics, a meditative instrumental project based in Los Angeles, and led by upright bass player Seth Ford Young. Phisonics released their second album, Octava, on Gondwana a couple of years ago, and they're back with a new one called Expanding to One, which will be released at the end of May. Young says this of the new album, Here are Phisonics with Healing Time. Victor Oltanu in Romania always comes up with some interesting nuggets, and this one's no exception. This is Los Enamorados by Japanese songwriter and guitarist Shigeru Suzuki from his 1969 LP White Heat, which is a masterpiece of West Coast jazz rock with a Latin feel, featuring many musicians, including Ritchie Sakamoto, Yukihiro Takahashi, and Akiko Yano. And the Yellow Magic Orchestra connections don't stop there, as Suzuki was on Happy End, a very influential Japanese band along with Harumi Hosono, and they were in that band from 1969 to 1973. And Suzuki has become one of Japan's most respected sly guitarists, and recently reunited with his high school band Sky, and they've released some new albums as well. Ahead of that, the 2021 single by Lynda Dawn, Roses, remixed by XL Middleton, a funk G-funk producer and artist from California. The London singer-songwriter producer Lynda Dawn also released her debut album, 11th Hour, at the end of last year on her own label, and you can find out more about her on Bandcamp and on her website. You can check out her album as well, it's gorgeous. And thank you to Kieran McCann in Glasgow for that suggestion. Our friend Bert Francois in Brooklyn came up with a few soulful goodies this week, and it was difficult to choose but one, and I had to choose that one because it was a really self-motivational song. It's called Captain of Your Soul, that's what we heard, by the late American soul singer Ronnie Dyson. It was a b-side to his 1974 single, Life and Breath, and he released several albums throughout the 70s and early 80s, and even worked with legendary Philadelphia producer Tom Bell. But Dyson possibly had more success as an actor, as he won the leading role in the 1968 Broadway production of The Musical Hair, and he led the show's anthem, Aquarius. Ahead of that, a song named Deep by soul folk singer, songwriter, and musician Bryony Jarman-Pinto, and it's from her second album, Below Dawn, and it was released last year on True Thoughts. The album navigates sentimental themes from societal change to untapped emotions to the profound journey of pregnancy and motherhood. I had the pleasure of remixing her single Moving Forward from that album, and here's a little preview. My Bryony Jarman-Pinto remix will finally come out on vinyl on my next Balearic Breakfast 4 compilation. Thank you to Tom Torres in Vienna for that request. Okay, Konstantinos Folias in Greece put this next one on my radar. A recent reissue on French label Favorite, which is of course a Balearic Breakfast favorite, they put out a great comp called AOR Global Sounds, Volume 4, 1977 to 1987, curated by Charles Maurice, and one of the cuts is by Special Occasion, a Belgian band that released only two singles in the mid-1980s. They were produced by Tony Baron, who was deeply involved in several new beat projects and closely tied to the Nunc record label. Here is Special Occasion with Flying to Santa Barbara. Don't Make Me Wait, the 1982 single by New York City's Peech Boys, or Brooklyn's Peech Boys, as Bert François just said over on the Mixcloud Live, produced by Paradise Garage DJ Larry Levan. Peech Boys featured longtime Rolling Stones associate and collaborator and Tackhead singer Bernard Fowler, who also is on Herbie Hancock's electro-tinged albums from the mid-1980s, and also the late keyboardist Michael D. Benedictus, who also worked with Carol Williams, Gwen McCrae, and Denroy Morgan. Don't Make Me Wait was Peach Boys' debut single, and thank you to Christine D'Souza for that request. Ed. Note: In 2019, Greg Wilson shared on his socials: "Musician Michael de Benedictus, former member of influential New York group the Peech Boys (also known as New York Citi Peech Boys / NYC Peech Boys), which also included Larry Levan and Bernard Fowler, died last Thursday, aged 67. His best-known recording was 'Don't Make Me Wait', a seminal underground track released on West End Records, one of NYC's essential dance labels, and first played at the Paradise Garage - its electronic approach an inspiration for subsequent releases, its 'fierce claps' soon re-created on tracks like 'Thanks To You' by Sinnamon and ‘Walking On Sunshine’ by Rockers Revenge. This was an innovative recording that sounded like nothing else on its release, a real catalytic moment. I first heard it on March 21st 1982, when Legend resident Ralph Randell played it at the Wigan Pier All-Dayer. He’d been to London ahead of the event and had grabbed a copy fresh in that day on import. I flipped when I heard it and beseeched him to let me keep hold of his copy for a few days in case I couldn’t get a copy on my own in the meantime, so I had it for my Tuesday at Wigan and Wednesday at Legend – it was that essential. It went on to become a huge tune on the specialist black music scene and, following its eventual UK release, entered the UK chart in October '82, breaching the top 50. It would also reach #6 on the Billboard US Dance chart. The Dub version was my mix of choice back then, and I later included it on the Classic Electro Mastercuts compilation that I put together in 1994." From their second album, Basic Blaze, released on Slip'n'Slide in 1997, we heard the New Jersey duo Josh Malone and Kevin Hedges, known as Blaze, or as I call them, House Music's Earth, Wind & Fire. We heard The Garden, a request from producer Pete Blaker. Still can't get enough of his Eric dub, which closed The Last Balearic Breakfast, and which I've been caning at every every gig since. Now, it's interesting, it's only a week before I went back to this same album and played My Beat at the Cosmodelica party with Hands On Family at BBE. Both tracks still sound fresh. Gosh, nearly 30 years later, I can't even believe it. This is Colleen Cosmo Murphy with you on Balearic Breakfast, going for about another hour, and this next one is by Private Joy, or Pops Roberts, and she made her mark on the Manchester scene by providing guest vocals on records by Rough Doug and Finn, and also as a producer of soul band Love Scene. Her first EP, Desire, as Private Joy, was released last year on Bradley Zero's Rhythm Section International label. Rick van Veen in the Netherlands requested this song, featuring singer Ada Francis, Let Love Find A Way. Loving that one. Wordsmith and rapper Cazeaux O.S.L.O with a band led by Australian drummer Alexander Flood with Life Is A Rhythm, which came out at the end of last year, and was requested by Wiraik. It was also just released on a vinyl LP on the AtJazz label run by Martin Iveson, who also produces as At Jazz, and I wish I had that one for the BBE Cosmodelica party. I've been playing a lot of kind of spoken word kind of hip hop slash house vocals. Hip house is back, you know? It's back with a storm. Ahead of that, Marcello Cassanelli with Starlight, which is on the Ten Lovers Music label. The Coin EP, which was released earlier this year, and thanks to Artur in Paris for that. And Casanelli also released an album called Overtour in 2018, and he's also in the band Venus Ship. Ed. Note: Steve Conry shared with me these purchase link, feel free to purchase from your location: USA: https://www.rangemusicnyc.com/product-page/marcello-cassanelli-caruso-helen-mccormack-the-coin-ep-vol-3 EU: https://www.mothertonguerecords.com/product/marcello-cassanelli-caruso-helen-mccormack-the-coin-ep-vol-3/ UK: https://www.juno.co.uk/products/marcello-cassanelli-caruso-the-coin-ep-vol-3-vinyl/1070660-01/ Here's an older nugget on the soulful British label Papa Records and a request from Sue Forrest. It's by Monkey Brothers, which was London producers Felix Hopkins and Mike Pato, who was also part of Real People. Here are Monkey Brothers with their 2003 single Invisible. Earth, Wind & Fire with the blazing Africano from their sixth studio album That's the Way of the World, released in 1975, and one of the many Earth, Wind & Fire albums I have obsessed over. That was a huge numbernumber-one-one album on both the Billboard 200 and the Soul Charts, and deservedly so. It also features their huge hit Shining Star. Africano was requested by David Stoddard as he and Izzy just got back from Morocco. Before that, we heard from Prince as yesterday was marked nine years since we lost him. We heard 94 East featuring Prince on One Man Jam, and sending that one out to Sean E. 94 East was led by synth player and percussionist Pepe Wille, and Andre Cymone is playing bass on that one. And that was Prince on guitar, synth, clavinet, and other keyboards. I thought that'd be something a little different to pay tribute to his Purple Highness, as I think most of us are very familiar with his catalog. It was recorded in the 1970s, and is also featured on the Minneapolis Genius album. Ahead of that, my Cosmodelica remix of Street People's I Want to Get Over. Street People was a New Jersey-based male quintet led by Ray DeRouge, who was a writer on LTD's hit Never Get Enough of Your Love. They released one album in 1976, and in the run-up a few singles on Spring Records, and I Want to Get Over was their first single. Sweden's Cosmos label are heading a project called Spring Revisited, which features remixes of that catalog by myself and Dave Lee, Dimitri from Paris, DJ Spina, Folamore, Joe Clossel, Kenny Do, Khan, Opalopo, The Reflex, and it's an honor to be part of that lineup. I've been playing that remix on dance floors from the UK to Japan to Greece and Ireland, and just got the vinyl test pressing from Acid Jazz, and my remix is coming out at the end of May. This is Colleen Cosmo Murphy signing off another edition of Balearic Breakfast, leaving you with a cover of Billy Taylor's Civil Rights Movement anthem, covered by many, including Nina Simone, whose version was released in 1967 on her Silk and Soul album. This is a Reflex revision requested by Askoosh, and I think a lovely way to wrap up the show. I'll be back next week hosting Balearic Breakfast live from the record room with some new tunes, and I'll also catch up on some requests. Until then, thanks for listening, and remember, just be Balearic.

Worldwide FM broadcast the 107th episode of Balearic Breakfast on September 27th 2022. About this episode. – Time's duality is sometimes really frightening. While a life stops, while some people suffer the loss, other ones keep on living not aware of what just hapenned. And this situation, as we shall see in the listening experience, happens too on another level, in our everyday's lives, hence today's post enigmatic title... When Colleen launched the request line for the 107th show of the series, we knew it was going to be a special one as we had to pay our respects to the great Pharoah Sanders, and, with our Captain preparing her next Loft Party, we knew we were going to experience, somehow, another deep show. We just didn't know how deep this one would be! Asour buddy Steve Clarke wrote: " Without doubt one of the best shows of all time this week, start with Pharaoh Sanders and ending with him too. Was going to request Risco Connection on the last one on @worldwide.fm but alas it got played here. " " This morning’s Balearic Breakfast is now up on Worldwide FM and my Mixcloud - and please don’t forget to follow me on Mixcloud or Twitch TV as I will continue Balearic Breakfast when Worldwide FM takes a pause :) Today’s show features a tribute to Pharaoh Sanders may he rest in peace. Thank you for the music. Also music from Floating Points, Brian Jackson, Opolopo, Jura Soundsystem, Claremont 56, Coldcut, Mixmaster Morris and some Balearic and Loft classics. Enjoy and please make your suggestions for next week’s show when I put up the request line on my socials this coming Saturday." Listen back to the 107th episode of Balearic Breakfast: PLAYLIST ( 2021 ) Floating Points & Pharoah Sanders – Promises: Movements 4 & 5 ( 1993 ) Coldcut   –   Autumn Leaves (Irresistible Force mix) ( 1972 ) Joni Mitchell   –   Electricity ( 1972 ) Annette Peacock   –   Pony ( 1987 ) Herb Alpert   –   Pillow ( 2021 ) Hillside   –   Walpole Days ( 1985 ) Double   –   The Captain of her Heart ( 1985 ) Change   –   Mutual Attraction ( 1983 ) Tullio De Piscopo   –   Stop Bajon ( 2022 ) Jura Soundsystem   –   Crystal Voyager ( 2020 ) SAULT   –   Strong ( 1991 ) The Rude Awakening   –   The Dip (5 Am Dipsco Mix) ( 2022 ) Sandy Barber   –   I Think I’ll Do Some Steppin On My Own (Opolopo Rework) () Gil Scott-Heron & Brian Jackson   –   The Bottle (Live Version) ( 1979 ) Risco Connection   –   Ain’t No Stopping Us Now (Version) ( 1971 ) Pharoah Sanders   –   Astral Travelling THE LISTENING EXPERIENCE Listening to older Balearic Breakfast episodes is always a great and moving experience. It seems there's always something to find there, and also, it's funny how you remember parts of some of these shows, like sentences Colleen said or songs you loved hearing back when you first listened to the episodes live or things that happened. Intellectually speaking, this episode is exciting as it presents the idea of suspended openings. What does that mean? Well, first, it means, of course, suspended time, a thing that happens for instance, when someone passes away (not thinking at all about the great Pharoah Sanders here...), when everything stops and when everything possible suddenly disappears. An Idea I felt quite strongly when listening to Floating Points & Pharoah Sanders '  Promises: Movements 4 & 5,  for instance. Of course, with WorldWide FM pausing its activities, this first idea takes another meaning yet keeping its first intellectual meaning intact... This idea of hopes disappearing is very much present in the first part of the show, the lingering sadness proposed by Coldcut's Autumn leaves  perfectly representing the void... We will find this theme in other songs too, yet on a more subjective level, such as in the third track, Joni Mitchell's Electricity. The song deals here with a somewhat problematic relationship . To explicate ‘Electricity’ in the broadest of strokes, there’s a couple dealing with an electricity problem/outage which symbolizes their relationship. It’s all a mess (“She’s got all the wrong fuses and splices”; ”The masking tape tangles, It’s sticky and black”), and neither they together nor she alone can “fix it up too easy”. It’s a real, undeniable problem–the circuit just keeps shorting. I'm sure you feel where I want to go here, this show is all about lost opportunities if you will. But not only! The title also refers to suspended moments in time, where everything reaches another dimension, letting us leave our everyday life. And this is very much the case with Annette Peacock's Pony . Peacock's first solo album, I'm The One (RCA, 1972), offers blues ballads that are transfigured by dark and intimate premonitions. The ensemble (Tom Cosgrove on guitar, Stu Woods on bass, Rick Morotta on drums and Peacock on keyboards) is augmented with jazz luminaries such as Michael Moss on tenor sax, Barry Altschul on percussion and Airto Moreira on percussion. The players introduce themselves in the brief free jam that opens I'm the One, before Peacock intones the first of her torch blues ballads (Michael Garson on piano and organ). These are formidable exercises of self-contrition in which Peacock's voice 7 Days, Been & Gone, Blood (Paul Bley on synthesizer and piano, Glen Moore on bass), reaches shamanic degrees of intensity. Bley's keyboards provide a discrete but disorienting countercurrent to Peacock's tormented stream of consciousness. If the vocalist's performance is virtuoso, the arrangements engage her shizoid psyche with endless stylistic metamorphoses, from the funky rave-up of Pony (that enhances her dilated melisma) to the funereal fanfare of One Way (Garson on organ, and her best impersonation of Janis Joplin) to the guitar shuffle of Gesture Without Plot (Paul Bley on synthesizer and piano). With the next three songs, we're touching another level of interpretation of today's post title, dealing with love, relationships and expectations, these songs perfectly embrace these almost unbearable and quite fearful Hopes and desires of a future we feel close but that might never happen yet (Herb Alpert's Pillow falls so greatly in the mix here!)... And even if Hillside's Walpole Days  don't have lyrics, the song fits the theme so well you can picture a couple dancing with the man hoping the one he just found won't go away as dawn arrives... And this track made me think of another song I love to bits, Jojo by the great Boz Scaggs! The culminating point of today's show arrives with the much beloved Captain of her heart , so perfectly embracing today's post title and today's episode's reality... And I am so grateful to Kurt Maloo for answering my few questions  about the 1985 "Blue" album he recorded as the Swiss duo "Double" with the great Felix Haug. Colleen keeps that suspended feeling very alive with the next songs, stepping up the tempo a bit with Change 's  Mutual Atraction , followed by Tullio De Piscopo 's  Stop Bajon  (Colleen's mix is astoundingly perfect here, this is a WOW moment of today's episode for sure!) and  Jura Soundsystem 's  Crystal Voyager . Yes, we're totally experiencing suspended openings here (do you Feel the third interpretation of today's post title?)... Laughs! One last song deserves to be quoted here as it really helps grasp today's post title: Gill Scott-Heron's The Bottle in which Gil adresses how much Alcohol destroys the life of people it touches ... Ironically, one of the last songs played during this episode is the true and tested classic that is Risco Connection 's  Ain’t No Stopping Us Now (Version) , well you should know by now why I wrote Ironically! COLLEEN'S PRESENTATION Movements four and five of Promises by Floating Points with the late Pharoah Sanders who sadly passed to the next realm this past Saturday. The tenor saxophonist was encouraged to use the name Pharoah by Sun Ra who would often provide for him, house for him, feed him when Sanders was homeless in New York City. And then it was John Coltrane who took him under his wing as part of his band in 1965. And the two saxophonists learned so much from one another and also Albert Eiler. And after John Coltrane's death, Sanders continued to work with his wife Alice, including on the album Journey and Satchitananda. And Sanders released a string of his own albums that bravely explored the boundless worlds of spiritual and free jazz.   And we just heard a couple movements from the last recording released in his lifetime from the critically acclaimed Promises in Collaboration with Floating Points. And we will pay our respects again later in the show. Good morning, Balearicans.   I hope you had a good weekend. I'm Colleen Cosmo Murphy, hosting your Balearic Breakfast until high noon here on World Wide FM. And greetings to all over my Mixcloud Live and Twitch TV.   Just a reminder that World Wide FM will be pausing and reassessing from the end of October. But I will continue Balearic Breakfast streaming live and then archiving on my Mixcloud and Twitch TV. So please be sure to follow me over there.   If you're in the Northern Hemisphere, you're probably starting to feel a crispness in the air, a little nip in the air, and witnessing the days growing shorter and the night times longer. And some of you have requested songs in keeping with this seasonal change. This one's a Balearic Breakfast favorite, but I don't mind giving it another spin, as it was requested by Alex Ali.   It's Mixmaster Morris' Irresistible Force remix of Coldcut's Autumn Leaves. The Brooklyn-born, California-raised, experimental artist and Moog pioneer, Annette Peacock with Pony. From her 1972 album, I'm the One, as requested by John Boakum, who wrote when he requested it, Peacock asked Bob Moog himself to let her have a prototype of a new modular system he had built.   And shortly after that, she'd be performing with it live, rooting her vocals through its modules to create an unsettling alien voice, and that was 1969. She was one of the first artists to ever synth her vocal. Of course, we heard the song from her 1972 LP, I'm the One.   Ahead of that, another 1972 song and album, this time from Joni Mitchell's fifth LP, For the Roses, much of which was a reflection upon her previous relationship with James Taylor, who had broken it off after he struck international fame. And then a few months later, he was with Carly Simon, who he later married. Mitchell was obviously heartbroken, and For the Roses documents some of this.   But Electricity, the song that we heard, was more about extolling the virtues of the quiet country life, as Mitchell had retreated to her own estate in Canada around that time. And thank you to Artur in Paris for requesting that. Now a lesser known song by American trumpet player and record label mogul Herb Alpert, as requested by Luis Amira Marquez Pazabon, three weeks in a row, so I got the hint, Luis, is from Alpert's 1987 album, Keep Your Eye on Me, which was co-produced by Jimmy Jam and Terry Lewis, which is so interesting.   They were in the time with Morris Day, of course, tour with Prince. Actually, I saw them tour with Prince. Then they left to become one of the 80s best songwriting and production teams.   They work with the SOS band. Of course, Janet Jackson, Control was their big breakthrough. They worked with Alexander O'Neill.   And of course, they worked with Herb Alpert on this song, Pillow. A tried and true balleric classic that we have featured once before in the show, but it was time to give it another spin, as it was requested by Craig Murray. That was Swiss pop duo Double and their hit single, The Captain of Her Heart, from their first album, Blue, released in 1985, which also featured the quirkier Woman of the World, another track I really love, two balleric classics by Double.   I was actually wondering about the whereabouts of its members and found that Felix Hoge sadly passed away nearly 20 years ago now, and Kurt Malou carried on as a solo artist. Now, I always have a bunch of records lying around in the record room, a stack of records to listen to, and I'm always working my way through it, even though the pile seems to keep growing bigger and bigger. But I absolutely love the record that I played before that one.   It was by Hillside, which I've been playing quite a bit, having had it for a few months now. It's another one of the many projects of Claremont 56 label owner, Paul Mud Murphy, who we had up on Balleric Breakfast a while back, and we heard Walpole Days from last year's release, Sunday in June by Hillside. Now a request for George Miles for Change, a studio band that I absolutely adore.   Change recorded in Italy with founding producers Jacques Fred Petrus and Mauro Malavasi, and the act featured a revolving door of session musicians, which initially included Luther Vandross and Jocelyn Brown. But by the time they recorded this, their sixth album, Turn On Your Radio, they had already departed. And I can't say that this album received the best of reviews, but it did include this song as requested by George Miles.   Here are Change with Mutual Traction on Worldwide FM. Jura Sound System with Crystal Voyager from their album, Return to the Island, released last month on the label Isle of Jura, run by Kevin Griffiths. And we had Kevin up on the show a few months ago, so you may remember that Jura Sound System is his very own project.   And this is his debut, which was made in Australia during the height of the pandemic, influenced by the tropical bird songs heard in his Adelaide garden, and thanks to Simon also down under for requesting. And as we near our final weeks of Balearic Breakfast on Worldwide FM, some of you are asking for some of our Balearic Breakfast staples. So we heard another Balearic classic, this time from Italy and requested by Andy Stodden for Tullio d'Episcopo with Stop Bajon.   And I also want to dedicate that to my Italian family, the Last Note family, as we are holding our Last Note autumn party in Perugia this coming Saturday. If you want to join us and find out more, you can email infolasnote at gmail.com . Okay, you are listening to Clean Cosmo Murphy here on Balearic Breakfast on Worldwide FM. And you got to know that I just can't get enough of Salt.   And on Saturday night, I listened to Salt's last three albums all in a row. So I'm delighted that Greca Mack has requested this next song. Salt is super producer Inflo, who won an Ivor Novello for producing Little Sims Gray Matter.   He also produced her last album. He got a Mercury Prize for producing Michael Kiwanuka's album Kiwanuka, which was my favorite album of 2019. And he won Producer of the Year awards from both the Music Producers Guild and this year's BRIT Awards.   This is the opening song to Salt's 2020 LP, Untitled Rise. And it has a message that is really resonating with me right now. It's salt with strong.   Oh, boy, that song takes me back to the early days of house. The sample of Crown Heights Affair is the debut release on Newark, New Jersey label Kaleidoscope. And it was produced by Mark Mendoza under the name The Rude Awakening.   And this, his only single, The Dip, was released in 1991. Around the same time, David Mancuso reignited his weekly loft parties in his home in the East Village. And this song brings me right back to that dance floor on East Third Street.   That was the 5am Dipsco mix, as requested by Matt Raistrick, who is tantalizing us with his story to be Bitha over on my Mixcloud Live. So Matt, hope you're enjoying your Bitha. Sounds like you really are.   Thank you for that request. Now, Swedish producer Opo Lopo is quickly becoming one of my favorite reworkers and remixers. And I just love this rework that he did of Sandy Barber's, I think I'll do some stepping on my own, originally released on the singer Sandra Barber's only LP, The Best Is Yet to Come.   It was released in 1978, actually. And it was lovingly reissued by BBE a decade ago. But this rework is coming out on BBE next week with another, actually, I think it's this week now, the 30th of September.   Gosh, that's this week. We're almost in October now. It's unbelievable.   Anyways, it's coming out on vinyl on BBE this week with another mix by John Morales on the flip side. And thanks to Steve Wakeley for requesting this. Sandy Barber, I think I'll do some stepping on my own, the Opo Lopo rework on Balearic Breakfast.   I love that one. Sounds like I need a new copy, though. I was just working on that and realized the song was just about to end as I was trying to get a new copy of this one.   Risco Connection ain't no stopping us now going out to Manami House Record Store in New Zealand. Also sending that one out to David Mancuso's best friends, Elise and Donna and his nephews, Ricky and Mark, as there ain't no stopping us now. Ahead of that, a request from Katie Stringer for one of my favorite songs by Gil Scott, Aaron and Brian Jackson, The Bottle.   And how much do I love that live version? I remember picking it up when I lived in New York City on the Lower East Side at a local bodega. It just had a couple of boxes of random vinyl and I found that one sealed and also a white label promo, 12-inch single of Steve Miller, Bands Macho City. So yes, the vinyl guardian angels were looking down on me.   Oh my goodness, the time has run away with us. Thank you so much for joining me today on Boleric Breakfast here on World Wide FM. We'll be back next Tuesday.   The request line goes up this Saturday on my Instagram and Facebook, so be sure to follow me there and to make your requests. I'm going to leave you with one last Pharoah Sanders song. It's one of my favorites.   It's from his 1971 LP, Thumbie. It's astral traveling. Thanks so much for joining me and have a wonderful week.   And remember, just be Boleric!

When I heard Mark de Clive-Lowe 's new album "Past Present (tone poems accross time)", it made me think of some of Czeslaw Niemen's compositions, especially those he crafted on his 1989 "Terra Deflorata" lp. I knew I had to meet Mark to talk about such a moving, and questionning, musical journey... 1) Hi Mark! Thanks for joining us here on the Balearic Breakfast blog! Your album makes a beautiful use of synthesizers and the way you were able to organise the layers is truly sublime as there is both depth (the bass parts are splendid) and latitude in the sonic experience you propose. Is it trickier to work solely with synthesizers ? Thank you for such a thoughtful listen and for having me! Synthesizers offer a very different intimacy compared to acoustic instruments. They allow for the shaping of timbre and movement in ways that feel both tactile and ethereal. Working solely with synths can be tricky, yes—especially without the traditional scaffolding of rhythm or form. But that’s also what made it liberating. I was able to follow textures, tones, and emotions without chasing structure. The depth and latitude you mention came from a kind of surrender—letting each piece unfold in its own way, sculpting sonic space as a meditative act. 2) On "Present past", the swirling effect of the synth allows silence to come into play adding a breathing effect into the tension. This constant duality represents the fights time has to overcome in order to exist. This track, to me, perfectly represents how sound and textures can help reveal the composers intellectual ideas, if they are any, conscious or unconscious. How did you approach composition while working on the album? That track was built more like a meditation than a composition. When I started making this music, I didn’t have a narrative or intention—it was just exploration and expression. Later, as I journeyed through Japan retracing my father’s footsteps, the music took on deeper resonance. “Present Past” became a mirror for my emotions—breathing, stillness, tension, release. The dualities you mention—presence and memory, silence and swirl—absolutely reflect how I was feeling, both consciously and unconsciously. It wasn’t about ideas in the intellectual sense but about trusting vibration to carry feeling. 3) There seems to be a constant lingering and questioning uncertainty in your album, even in the quieter tracks. Ironically, "Revelation" reveals that perfectly to the listener and allows him to feel it precisely at this moment of the album. In which mood were you when composing and would you agree with me if I told you I felt your album is a concept album? You're right to sense that tension and questioning—it was a deeply emotional time for me, and that energy flows throughout the entire album. “Revelation" is the midpoint of the story, a moment of stillness and realization within the larger arc. The album itself is very much a concept work: the sonic palette is intentionally unified, built around analog synthesizers, Fender Rhodes, CP-70 electric piano, and field recordings captured across Japan. These elements form a cohesive language to express the emotional terrain I was navigating—posthumous healing and reconciliation with my father. The track titles are deliberately spare, each one a distilled emotion or insight—acceptance, forgiveness, peace—marking stages in that journey. It wasn’t about adhering to form as much as following feeling and allowing the music to be a mirror. 4) The cover is another stunning and intriguing element and I feel there is a Strong message there too, something akin to the idea that we are our own equilibrium and that, somehow, we have to discover our hidden strength to be able to project it outside the world, then uniting in peace and eternity… can you tell us more about the place where the picture was taken? That photo is actually of my father, taken in 1953, standing in front of the torii gate at Itsukushima Shrine on Miyajima Island, just off the coast of Hiroshima. It was low tide, just like when I visited again recently—nothing has changed. The image holds such weight for me: it's both personal and timeless, symbolizing thresholds, reverence, and intention. Seeing him there as a young man, full of life and openness, helped me understand him in a new way. That photo encapsulates the album’s heart—honoring the past while finding meaning and presence in the now. Thank you so much Mark! Find Mark's links here

Worldwide FM broadcast the 109th episode of Balearic Breakfast on October 04th 2022. About this show. ‒ This 108th episode of Balearic Breakfast was a special one for all of us, and you'll hear it very clearly in the first part of the show... With Worldwide FM pausing its activities (more about this here), we knew that the show would go on, and we also knew our Captain was not ready to leave the Balearic Breakfast ship on its own... Yet, somehow, life had a master plan as our requests were all going in the same direction: one of a calm decided and affirmed opposition to what was happening. Balearic Breakfast was Our Show, and it would always be that way no matter how hard the times or the situations! Listen back to the 108th episode of Balearic Breakfast: PLAYLIST ( 1993 ) Golden Girls – Kinetic (David Morley Remix) ( 2022 ) Chronixx – Never give up ( 1974 ) Dadawah – Seventy-two Nations ( 2019 ) Feater – Time Million (feat. Vilja Larjosto) (Blood Shanti Main Version) ( 1972 ) Cymande – The Message ( 2022 ) Jazxing – W Uścisku ( 1978 ) Lucio Battisti – Prendila Cosi ( 1973 ) Vangelis – Let it happen ( 1977 ) John Tropea – Short trip to space ( 2019 ) HF International ft Kasif – I Can’t Go For That (No Can Do) (Kaoru Inoue Extended Disco Dub Remix) ( 2023 ) ASHRR – Fizzy (Felix Dickison Remix) ( 2021 ) Roundtree – Get on Up (Get on Down) [Moplen remix] ( 1986 ) Rebles – Sweetest Taboo (Soca) ( 1979 ) G.Q.  – Make my dream a reality ( 1995 ) Mondo Grosso – Souffles H (King Street Club Mix) ( 2013 ) Brian Ferry – Don't stop the dance (Todd Terje Remix) ( 1992 ) Danny Tenaglia  – Equinox (Heavenly Club Mix) THE LISTENING EXPERIENCE A huge sun almost blinds you with its shining power. Covering your eyes, you're almost drawn into another world, a world of unity, hope, and musicality with a Family like you've never met before. This is our time, this is our show, this is our world, and we stand here tall, facing any event that might destabilise our peace. This pulsating and strong image, with the ocean there, in the distance, is precisely the one that Kinetic conveys as this 108th edition of Balearic Breakfast starts. Golden Girls were Michael Hazell and Orbital's Paul Hartnoll . The David Moraley Remix can also be found on the fourth volume of Mark Barrett and Pete Gooding's La Torre Ibiza compilation series. This show is all about resistance. As Tori Amos wrote in her memoir , "Being in opposition to something is to be in a position of power" . And this is exactly what Colleen conveys here; she always knew how to find the right words during the show's darkest days to cheer us up, as she says: " October is one of my favourite months, a season of change, and boy, change is really in the air right now. And it's something I'm experiencing both personally and professionally. Although change is the only constant, I can tell you it can be very difficult to deal with. I'm sure we all feel that especially when you have to deal with major obstacles and challenges that are beyond your own control. Sometimes it may feel easier to take the path of less resistance or to adopt a defeatist attitude. But if it's something important to you, something that you believe in, and the cause is just, then you have to do something about it and take action for what is right." And, going straight to the point, the next few songs are about resistance. First, because of the lyrics, of course, but also because of the musical genre, reggae. We know that music often stayed at the forefront of some of the major crises humanity experienced, and so did Reggae, which has come to be regarded as quintessential protest music ( e.g., Anne Schumann 's " Music at War: Reggae Musicians as political actors in the Ivoirian crisis" ) – also explaining why Gainsbourg chose to cover the French National Hymn "La Marseillaise" with Bob Marley's musicians, flying to Kingston and saying, being forced to cancel a show in Strasbourg in 1980 : "I gave the Marseillaise its true sense back! (...)" . So it's no surprise that the Balearic Breakfast Family came to choose some strong Reggae tracks, including: Chronixx' s " Never give up ": born Jamar Rolando McNaughton , this new song sounds like a classic Roots and Reggae tune! The singer is joined here by the Skankin Sweet band and encourages listeners to keep their heads up high through the downs of life –   Interestingly enough, the track was produced by Dean Josiah Cover (Inflo), producer to Little Simz, Michael Kiwanuka & Cleo Sol, just to name a few!; Dadawah 's "Seventy-two Nations" : born in 1943, Michael George Henry, better known as Ras Michael , is a Jamaican reggae singer and Nyabinghi specialist [ Note 1 ] , still making music to this very day; Feater 's "Time Million (feat. Vilja Larjosto - Blood Shanti Main Version)": the Vienna-based Daniel Meuzard, who goes under the name Feater, has released four albums, "Time Million" being taken from his 2019 LP, Sociale Blanco. This song, despite its cool rhythm holds very strong lyrics perfectly fitting our battling mood... (If time is a nation of mood / I am a dictator, insane, sovereign / If time is the currency I am Mother Teresa, I’m a millionaire/ I count a heartbeat, I breathe)!; Cymande 's " The Message ": the British funk group's name derives from the calypso word for "dove," symbolising peace and love. They had an incredible career in the United States ( headlining the Apollo Theater in New York in 1973 ) but were hardly noticed in their home country. Although they split up in 1974, their music was sampled by many artists worldwide, including the French rapper MC Solaar, and a new documentary telling their story is out!; For the next few songs, although the musical style and rhythm changed, the message the Balearic Breakfast Family felt the need to share stayed the same, even growing in intensity, I feel...: Jazxing 's " W Uścisku ": I interviewed the Polish band here on the blog. Taken from their "Pearls from the Baltic Sea" studio album, the song is also a tense and futuristic love declaration (lurking towards the sonic flairs of artists like David Bowie, as the band explained in this interview ) where a couple seems to face Absence by sticking together in an embrace...; Lucio Battisti' s " Prendila Cosi ": a beautiful song, and quite long actually, dealing with the endless love one can feel for a lost lover [ Note 2 ] . Despite the years, nothing really changes... Another way of transmitting today's show strong feeling of togetherness for sure... The album, which got very successful (translated:"A woman as a friend"), was recorded by Battisti in England (for the first time), and the pop arrangements met conversation-style Mongol lyrics dealing exclusively with relationships and everyday situations ; Vangelis ' " Let it happen ": this song from Vangelis ' 1973 " Eearth " studio album takes us into a more trippy part of the show where it seems Destiny takes its place - for a great interview about the way Vangelis composed, click here (this feeling is firmly enhanced by John Tropea 's " Short trip to space " and reflected in this post's illustration picture! ); As always, Colleen is leading us Musically. Can you feel her holding your hand through these three songs: Let It Happen, Short Trip to Space, and I Can't Go For That? This musical interlude (crafted with songs sharing a close sonic signature 😉) allows her to step up the rhythm and take us on a beautiful musical trip to the second hour of the show! There goes your WOW Effect in full bliss! Without further ado, let's dive into the songs of the second part of the show : should you be interested in discovering more about Kaoru Inoue, there's a great interview on Ban Ban Ton Ton about the Japanese DJ (see also here ). Of course, Hall & Oates' song deals with boundaries ( That song is about the music business, about not being pushed around by big labels, managers, and agents and being told what to do, and being true to yourself creatively. That's what that song Is about ), and it fits this episode perfectly) and it has been "covered" by Simple Red [ Note 3 ] ; I interviewed ASHRR  on the blog just a few weeks after they got signed and released Fizzy on vinyl. This is where the show gets even more interesting. After saying out loud that the Balearic Breakfast Family was not ready to quit, we all came back to what we all love the most: dancing and playing Funky tunes! The Disco and funk/band Roundtree was a one-time act assembled by Kenny Lehman (who also put together the disco studio group Lemon ). " Get on up " was found on the 1978 " Roller Disco " studio album - To find out more about the Italian producer Moplen, head over here ; Also known as D’ Rebel’s Band and led by St Vincentian band-leader and trombonist Denniston Young, Rebles helped define the soca genre outside of the Caribbean; the 1986 version of " Sweetest Taboo " sells on platforms for eye-watering sums but was reissued in 2019 ...; featured on G.Q 's 1979 album, " Disco Nights ", " Make My Dream a reality " had a nice success peaking at the 8th position on the U.S. R&B chart and is a very Balearic tune indeed, I love the realism of the instruments on that one! As Colleen says, " that song should get you going this morning!"; with Mondo Grosso's ( Shinichi Osawa ) remix, Louie Vega effectively proposes a reconstruction of the original track with a definitely more direct and upfront approach ; Colleen ends this beautiful dancing session by playing Todd Terje's astounding Remix of Brian Ferry's " Don't Stop The Dance " , a version that is part of several new remixes by renowned DJs, including Greg Wilson, Idjut Boys, and Psychemagik, just to name a few; ending the show with " Equinox " (a track created with pianist, composer and producer Peter Daou, including the vocal sample "I floated on a cloud" taken from one of the interview parts on Grace Jones's "Slave To The Rhythm": the intro of The Crossing (Ooh The Action)), colleen simply opens the gates to the next Balearic Breakfast show... Footnotes: [Note 1] Michael George Henry (aka Ras Michael and, for this lone release, Dadawah) was born in 1943 in Saint Mary Parish, in northeastern Jamaica. Henry was raised in a Rastafari community when the religious movement was still in its infancy and marginalized within Jamaica. It was there that he began performing Nyahbinghi, the Rastafarian devotional music that combines the influences of African drumming and Black gospel. Henry found himself in Kingston in the late 1950s where he worked for Coxsone Dodd at the legendary Studio One. By 1968, he had formed the group Sons of Negus and the first overtly Rasta record label, Zion Disc. As Rasta filtered into the mainstream, Henry released more music including albums for Trojan, Dynamic and Grounation labels. Originally released in 1974, Peace And Love - Wadadasow is Dadawahs magnum opus. Produced by Lloyd Charmers, the album features slinky basslines, wah-wah guitar, hypnotic keyboards, dubbed-out studio trickery and, of course, the propulsive drumming and rhythmic chanting characteristic of Nyahbinghi. Antarctica Starts Here presents the first widely available domestic release of Peace and Love - Wadadasow. This reissue is part of an archival series that focuses on Trojans essential 60s and 70s catalogue. Liner notes by JR Gonne. [Note 2] Battisti and lyricist Mogol (Giulio Rapetti) together have penned some of the most memorable hits of the 60s and 70s, shaping the course of Italian song. Confidently mixing Italian melodies, R&B, rock, pop and Latin beats, Lucio Battisti’s music and Mogol’s lyrics united in perfect harmony. Battisti’s suffering vocal style, his soft but high-pitched voice supported by an intense and rough energy, and Mogol’s brilliant lyrics, with their intimate, colloquial quality, have earned these two artists extraordinary success lasting for decades. Their collaboration began in 1965 and ended in 1980, when the two permanently parted ways, but their songs were performed by world-famous Italian and international artists such as Mina, Ornella Vanoni, Patty Pravo, Paul Anka, Gene Pitney, Wilson Pickett, and Tanita Tikaram. The voice of Battisti himself, unique and unmistakable with its falsetto overtones, immediately became a trademark of the singer-songwriter. In Italy, the binomial “Mogol-Battisti” became as famous as McCartney-Lennon, or Gilbert and Sullivan were in the English-speaking world. Their songs of love and loneliness told the stories of the new Italian urban society, with its contradictions and its predominantly masculine instincts. And it is precisely this crisis of masculinity which emerges clearly from certain songs (...) “E penso a te” (“I Think of You”) and “Prendila così” (“Take It As It Comes”) address, in nostalgic tones, the theme of ended relationships and the persistent thought of lovers. “Una donna per amico” (“A Woman for a Friend”) resolves, with nuanced irony, the tenderness and good-natured jealousy of a friendship between two people of the opposite sex. [Note 3] I look back on Sunrise as a pivotal track, maybe one of the most significant of my career – but it might just as easily have never happened. I had been briefly side-lined from the recording sessions Mick had begun with the band at his home studio in Surrey. A chance meeting with Ian Grenfell (the band’s manager) found me sitting in his car listening to the new recordings. I felt that Sunrise, with its strident chorus hook-line could make a great single and was asked by Ian to take a look. Around that time I’d been working a lot with Mark Jaimes, Danny Saxon and Mark Jolley on some new projects and they had gone down to MVC in Chiswick  to purchase a stack of CD’s to assess for potential samples. At the end of my session that day, I dropped in to see them, (they had a studio at Metropolis, too), and as I opened the door to their room, at that exact moment, the intro of ‘I Can’t Go For That’ by Hall & Oates was playing on the speakers.  A couple of weeks went by before Gota sent me the multi-track to Sunrise – I listened through to it with Mark and Danny and, recalling hearing I Can’t Go For That, I suggested we try it as a potential sample (‘mash ups’ being quite popular at the time). Miraculously it sounded like a hit straightaway, the key was the same, the tempo was the same to within a bpm or so, and where the sample finished, it broke naturally into Mick’s chorus and sounded as if it had been totally made for it. Mick Hucknall came on board and we worked on it together to completion. It went on to launch the album – the first on Simply Red’s own label – and helped it sell over three and a half million copies. Looking back, it also laid the foundations for the whole of the next chapter for my working relationship with Simply Red. The subsequent tour was sold out and the band’s trajectory took off once again.  I still sometimes wonder what would have happened if I hadn’t walked in on Mark and Danny at the exact moment they were playing that sample. A random twist of fate, you could say. I suppose I’ll never know the answer. But sometimes it does feel like someone’s looking over you and I can definitely say I believe in miracles.