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.

Balearic Breakfast allows many music aficionados to meet every Tuesday to enjoy Colleen's selections. This time around, I had a lovely chinwag with Marc Stanford! 1) Hi Marc! Thank you so much for joining us on the blog! It's a pleasure! Let's start this 'Proust Musical Questionnaire'! What was the first album you listened to that got you hooked up on music? Bonjour Artur, It’s an honour to be here and thank you for asking me. Music of all different genres was always being played at home. The original motion picture soundtrack of the film “Oliver!” could have been the first album I listened to aged 5. It figured so much in my musical upbringing that when my mum asked me if I wanted to audition as Oliver for a local production, I jumped at the chance. I didn’t get the part of Oliver, they decided I would make a great Artful Dodger. 😂 There was a huge influence from Julie and Terry my older siblings. Julie playing Motown mostly and I remember she loved Marvin Gaye, What’s Going On. While Terry always had a much more eclectic taste which led to me being exposed to the following albums which I remember vividly: The Crazy World of Arthur Brown ( discogs ) An Evening With Wild Man Fischer ( discogs ) Moondog ( discogs ) Ummagumma ( discogs ) In Search Of Space ( discogs ) Tarkus ( discogs ) 2) The best live show you've been to? How do you define best? 🤣 I couldn’t begin to rate all the concerts I’ve been to, it would seem unfair as they all have special memories. Which ones stand out the most and why? Can I answer that self-posed question instead?😊 Blue Öyster Cult - my first big live show. Stevie Wonder - Second-row seats Rush - because Neil Peart was my drumming hero Prince - because, well, it’s Prince James Taylor Quartet - when James Taylor looked directly at me singing at the top of my voice during “Tore My Heart Out”. Yes, it was a good look. 🎤 🎶😄 Ancient Infinity Orchestra - because Colleen introduced them to me and I did some promo photography for them when they played in Brick Lane last year. 3) How do you listen to music? Are you an audiophile? I suppose I have purchased separates in the past. Dunlop Systemdek, Nakamichi Tape Deck, Cambridge Audio amplifier etc. I’m unsure if my current set up qualifies? I have 2 SL1210s, a CMX 3000 dual CD player and a DJM 600 outputting from the monitor circuit into a pair of active speakers. Space doesn’t allow for much more 😂 All of my digital content is saved to two external hard drives for redundancy and I listen to that through Sony MDR-1000X headphones or Shure SE535 wired in-ear phones. 4) What kinds of music don't you like, like at all? I will give anything a listen, once at least. I suppose I don’t really like current popular music very much. I believe that’s down to my ears detesting the amount of autotune being used with that awful metallic filter making most vocals sound the same. As an example, I looked at the top 100 singles on a couple of sites and gave the first 20 a listen. Stopped to listen to the whole of Eminem - Houdini, because Abracadabra. The rest lasted less than 20 seconds before skipping! 5) From the Balearic Realm, which record would you recommend? Afterlife's "Simplicity Two Thousand" was the soundtrack to my honeymoon in the Maldives and still holds a very special place in my mind and heart even though I am now divorced. I love the way the sound on that album sums up doing nothing on a tropical island and then gets super funky when the remixes come in. 6) Do you listen back to previous Balearic Breakfast episodes? Do you have any favourites? Since dumping Spotify, Balearic Breakfast is my, go to, new music algorithm. I always have at least 10 shows downloaded on my phone to play whenever and wherever I want. My favourite is probably the November 7th 2023 show . Colleen introduced us all to Ancient Infinity Orchestra which blew me away. 7) What does this sentence evoke to you: 'And remember, just be Balearic"? Positivity toward life and empathy toward each other. 8) How did you discover Colleen? Did you see her performing live or maybe at a CAS event? I couldn’t honestly say exactly when it was. I believe I happened upon the show via Facebook “you might like” because I follow François K it was only recently, really. One of the happiest accidents I’ve had to be honest! And, while I think of it, I recall I was scrolling through my Mixcloud feed and remembered that I used to listen to Worldwide FM and I believe I either heard a mix by Colleen or looked at a track listing of one of her shows followed her for a while and became a subscriber so I could have the most amazing collection of songs I have both heard and never heard before permanently 😊 9) A fun/happy moment you experienced while listening to Balearic Breakfast? The November 7th show mentioned above was special because at the time I listened to that show, I was in a very chic apartment on Avenue de la Bourdonnais in Paris, very near the Eiffel Tower, as you know, drinking wine and looking at the photographs I’d taken around the surrounding streets thinking how lucky am I to be here, listening to this right now. That and the fact Colleen played my request for Mink & Shoes by Psychemagik 😁 10) Why do you think Colleen is unique? Colleen’s pure dedication to sonic fidelity in everything she does makes her unique. That and her warmth and approachability. When we met in person for the first time, it was like meeting up with a long time friend. 🥰 The please refrain from dancing picture was taken after I had been reprimanded for dancing while listening to Alexander O’Neal in Boisdale in London. The B&W photo is of my son Max and me at the Night Tales Loft for the release party of Balearic Breakfast 3. The last one was taken by my friend and professional photographer Britt Willoughby while I was taking photos of her for her website.

After hearing Michele's "Carousel of Tears" during Balearic Breakfast, I had to meet the colourful composer and ask him a few questions... 1) Dear Michele, Thank you so much for joining us! The listeners were blown away by your track, 'Carousel of Tears' which openned the 215th episode of Balearic Breakfast. How do you chose the titles of the songs? Choosing song titles is one of the most exciting and stimulating aspects of this work. I try to imagine an image that can be described in just two words. For me, this track felt like a final farewell, a sweet end of the world that evokes nostalgia for the future. 2) Of course, the listener can't help but feel the undisclosed and unconscious influence of artists like, for instance, Steve Reich (City Life is somewhat close to some of your tracks, structurally speaking if that make sense). Still, your sonic palette is much more fluid, it has more depth and is "wetter" if that make sense, although retaining a very tense rhythmical aspect on the other side on almost every track... How do you approach music in general? Throughout my life, I’ve listened to millions of tracks. When I was around 28, I was on the verge of getting sick from music because I ended up never leaving the house just to make sure I wouldn’t miss a single new record. I had a sort of musical bulimia—it wasn’t normal.This obsession, on one hand, severely penalized me in finding a job that could sustain me because that passion never brought me anything financially, apart from a huge waste of time. But on the other hand, it shaped me into a kind of encyclopedia of sound. I have little long-term memory, so I don’t remember album names or titles, but those countless listens have layered themselves into my subconscious and inevitably resurface when I create. I love exploring new paths; I get bored easily, even when listening to other people’s records, and I’m extremely strict with myself about this. Being unplaceable is both my greatest curse and my biggest strength. 3) When listening to a few tracks from your album, it is clear that it is a very organic and vivd sounding musical journey which totally envelopes the listener. Is it something you wanted to achieve? How did you end up deciding on the sound you wanted for this new album? Who did you work with during the mixing/mastering process? Yes, that was exactly what I wanted to achieve. I wanted the listener to feel like they were on a sonic train where each carriage had a different interior design, yet they remained on the same journey.In terms of sound, I entrusted Marco and his team of engineers. For me, songwriting always comes first—at least, that was the case for this album. If one day I were to make a purely sound-based record, then I would have to work live with an engineer because I don’t have the technical skills to bring to life exactly what I have in my mind. You know, I have so many ideas—some I can't bring to life due to time constraints, since I have to work to make a living, and others because of technical limitations. 4) Why did you entitled this album "Pop Archetypes"? Do you believe it could be considered a concept album? I wanted something short, ironic, provocative, and that simply sounded good. The term "concept album" is always a bit risky because it can easily slip into excessive length and boredom. Plus, it can sound pretentious—setting an ambitious initial framework that often turns out to be forced.I had a concept and a meaning in mind, but it emerged naturally while I was writing the tracks, not before. One thing I was sure of, though, was my desire for change. I didn’t want my first LP to sound like a sum of my previous EPs—I wouldn’t have forgiven myself for that. That was the toughest challenge, and I think I managed it quite well. Every element of this album has been refined and carefully thought out to be exactly as it is, including the track lengths. For the first time, I even had an excess of material—something unthinkable for me—precisely because I wanted the final result to be as cohesive and unified as possible, despite the variety of styles present. 5) As a DJ, does it happen that your own sets triggers your compositors' soul? I haven't played a DJ set in five years, and I won’t hide that I miss it a bit. DJing was liberating for me because I would get swept up in the flow of music, and that catharsis helped me break free from the loop of everyday life. You see, I started making music out of sheer curiosity—I wanted to see what would come out of it. I was eager to find out if that all-encompassing approach I embraced during my sets could also translate into my productions. I didn’t start making music to release records; I did it primarily as a challenge to myself. And I have to say, it helped me bring out things I couldn’t express in words. 6) Will you tour with this album? Musically speaking, what's ahead for you in 2025? Touring? Of course, I’d love to it, but in the musical landscape, I simply don’t exist. 2025 might bring a small surprise, we’ll see. Something that closes the circle before moving on to a new chapter. For me, this imaginary is already dead. The future is always a possibility—whether dramatic or euphoric, but always a possibility.

Colleen 'Cosmo' Murphy broadcast the 217th episode of Balearic Breakfast on her Mixcloud on March 25th 2025. About this episode. – Before embarking on her 2025 Spring Japan Tour, Colleen took the time to prepare this second episode for us, invinting Saucy Lady to discuss her brand new album and letting Darren Morgan craft a beautiful mix. While the Family was talking on the chat, I was surprised to hear how much the two mixes we heard were complementary, presenting Pulsating ethereal vibrations! But I will let you have a closer listen to them and I'm sure you'll have the same visuals I did! Of course, we could not help but think about Colleen's friend, the great Andy Williams, as she shared these thoughts on the chat with us: "It was very strange as in the next segment Saucy Lady and I talked about Andy Yamwho? who is on her new album. Hours later he passed away. Tragic." The Balearic Breakfast Family enjoyed Darren's mix too, our friend MachoGrande 70 saying "This is a glorious mix" and dancing_james sharing with us "On this sunny day solar gain is huge in my house and I have to confess I am now danving around with my top off. I blame Dr Bangers. If you now have a terrible mental image you too can blame Darren 🤣" All in all, this was a very nice episode, and being able to exchange a few words with Colleen while she's on tour is always a real pleasure! On March 26th, Colleen shared these few words with us: "Yesterday’s Balearic Breakfast is now up on my Mixcloud (and please give me a follow while you’re over there :). As I’m in Japan this week’s show features two guests. First up is Japanese-American DJ, singer, keyboardist and producer Saucy Lady who delivers an uptempo soulful mix. We also have a chat about her new album ‘Love Fest’, out now on her own label Dippin’ Records. We did the interview earlier this month and had a chat about the special guests on her new record which includes Andy ‘Yam Who?’ Williams who duetted with her on a cover of Bobby Caldwell’s ‘What You Won’t Do For Love’. Hours later Andy sadly transitioned to the next realm. It’s so sad to hear us talking about Andy in the present tense and even suggesting they may collaborate again. Both Saucy Lady and I will be DJ-ing at a special benefit for Andy’s family in May and we will share details once it is announced. The other mix is a very Balearic mix from my good friend Darren Morgan of Love Machine and also part of The London Loft family. Its a beautiful mix and I’m sure you will love it. I’ll be taking next Tuesday off as I will be returning from Japan the day before and I’m sure I’ll be broken with jetlag so I need a week off. But Balearic Breakfast will resume on Tuesday, the 8th April hosted live from my record room. In the meantime you can catch up with past shows on the Balearic Breakfast playlist on my Mixcloud. Thanks for listening." Colleen on her socials, 25/03/2025: "I’m halfway through my Japanese tour so its time for the obligatory photo dump ;). Its been very emotional being back in my h(ohm) away from h(ohm). First stop was Nagoya where @club_mago pulled out all the stops and brought in Klipschorns and Klipsch Belles for the party and we had an amazing time. I took a little walk around the city in which I lived in 1989 when I was a radio DJ for JOGZ run by the Chubu Broadcasting Company (swipe to the last photo of me dancing in the radio studio - some things never change). My 21-year-old self would have never thought I would be returning 36 years later as a club DJ - I hope I made her proud ;). Back in Tokyo I reconnected with old friends @norihisamaekawa and @kenhidaka both of whom I have known since my first Japanese tour in 1997. And I also joined friends @markdeclivelowe and @nickdwyernz who is working on a fascinating film series about Japanese jazz kissa culture so it was fitting we went to his favourite spot Jazz Haus Posy. Then it was off to Obihiro in Hokkaido and we had so much fun at @boars_obihiro . @naoe_fire performed an amazing fire dance and the next morning the BOARS posse greeted me at my hotel (after no sleep) and sent me off on the train to Sapporo where they joined me for two more nights. Coming back to Sapporo and Precious Hall is like coming h(ohm). This is the first place I DJ-ed outside the USA and its one of my favourite places in the world. Satoru-san and his staff are like family - we have 28 years of history. And it was lovely playing with @kanikanita Saturday night and with @kuniyuki_takahashi_music and Yano for last night’s listening party - we went deep :). I also got play a few of the new Japanese jazz records I picked up earlier that day. Arigatou to @morihirorecords for coming up from Tokyo! Today is a day off so I took a long walk around Sapporo and Odori Koen and did a bit of shopping at my favourite spot (Tokyu) Hands. Next up is @bar_inc_osaka on Thursday, @woal_music_life in Takasaki on Friday and @dj_bar_bridge_shinjuku Tokyo on Saturday. Maybe by that time I’ll be over my jet lag. Thank you to all who have made my trip so uplifting. Arigatou gozaimasu. 🙏" Listen back to the 217th episode of Balearic Breakfast: THE PLAYLIST Saucy Lady's Mix (NOL) Crown Heights Affair – I See The Light (Young Pulse retouch) (2025) CON FUNK SHUN – Got 2 Be Enuff (JKriv Edit 2025) (2025) Da Lukas (feat. Di Martino & Saucy Lady) – In Motion (2025) Saucy Lady – Falling In Love (2024) Bellaire x Aaron K. Gray – Never Stop Dancing (Kelly G. Extended Shelter Dub) (2024) Audiowhores – She's Gone Dance On (Club Mix) (2025) Jay Vegas – Don't Want It (2024) DiscoGram – I Wanna Dance (2009) Modaji – Outboard Jeopardy (2024) Saucy Lady, Yuki, Omar, Young Pulse – I Can't Shake This Feeling (Young Pulse 'Baby Powder' Remix) (2011) Shuya Okino (ft. N'Dea Davenport) – Look Ahead (2025) Saucy Lady (ft. Derrick McKenzie) – Silver Haze Darren Morgan's Love Machine Mix (2020) Hirini Melbourne – Waiata Ki Te Ra (1979) Henri Texier – Hocoka (1980) Yello – Blue Green (1982) The G!st – Love At First Sight (2024) Harri Pierson – The Most Balearic Record In The World (NOL) Andi Hanley – Flight (1983) Judi Tzuke – Shoot From The Heart (2025) Alix Brown & Louis Fontaine – Tormento (2024) Laurent Bardainne & Tigre D'eau Douce – Meilleur (2025) Wham! – Blue (80s Extended Unreleased Vocal Mix) (1988) Kriss – Hey Mister Mister (1989) Malcolm McLaren And The Bootzilla Orchestra – Call A Wave (DFC Dance Mix) (1982) Alice – A Cosa Pensano SAUCY LADY'S INTERVIEW WITH COLLEEN [Colleen] Greetings, Balearicans! In the studio with me right now is the singer, songwriter, and DJ, Saucy Lady. She has a new album out, her fourth album, actually, and it's called Love Fest, and it's on her own record label, Dippin' Records. Hi, Saucy, how you doing? [Saucy Lady] Hey, hey, how you been? [Colleen] Good, you good. You and I played together at your really cool night at Vera's in Boston, gosh, nearly a year ago now. [Saucy Lady] Yeah, that's a monthly slam-funk party that we have. It's been going on for a couple years. That venue is relatively new, but it was a different venue a few years before that, and I had been there for, in total, in that area, that spot, for about seven, eight years or so. So that party's sort of been going on for a while now, so yeah. [Colleen] I see you have a lot of guests, and thank you for the invitation. That was a lot of fun, a lot of fun. I just wanted to talk a little bit about your musical upbringing, because you have a really interesting story. If you could tell our listeners kind of what life was like growing up, because you were surrounded by music. [Saucy Lady] Yeah, I was born in Japan. I'm half Japanese, half American. My father's American. My mother's Japanese. And so I'm mixed heritage, and I was visiting the U.S. quite a bit every summer. I'd go to the Cape Cod in the East Coast. And so growing up, I listened to a lot of jazz and classical, because that was what was playing through the speakers. My father was a big audiophile and collected a ton of records. He used to sell a lot of rare jazz records as well. And so I listened to a lot of that, even since I was in my mother's womb. I was listening to some free jazz and wild stuff. And then I got into hip hop as an adolescence. And then I came to the U.S. for college and grad school. And during college, I was working as a radio DJ for my school radio, college radio, which was great back in the 90s. [Colleen] Yes, and in the 80s when I did it. [Saucy Lady] We got a lot of records and CDs. And so I got to listen to a lot of variety of music. And I was an urban music director at the time. I also even interned at Jive Records in New York City one summer. The late 90s, before they went, before iTunes took over and changed the whole industry. But before that, I got to really get a sense of the industry at that point. But another point I forgot to make is growing up, I learned to play piano, play classical piano. I studied classical voice for many years. From like five, I studied piano and then classical voice. I started around 12. And so I did a lot of like operatic arias, you know, training. And in college, I was a music major. So I continued to study. And then after I graduated, I took some private lessons with some jazz vocalist teachers. And so I studied jazz vocals after graduation. So some of that still kind of stays with me when I sing. I do a little bit of that sort of ad lib scatting here and there. It just comes out. So... [Colleen] You have a wonderful voice. And it's so interesting to hear that you did operatic kind of singing because that is difficult. [Saucy Lady] Yeah, that's what I trained to do for many, many years. These days, I don't. But I was in choruses, multiple choruses in the Boston area. And I sang at Fenway Park, Symphony Hall, and Carnegie Hall, and like those big venues. Those very exciting times. But then I wanted to be a solo artist. [Colleen] Right. I mean, how did that come about? Because you started DJing in Boston around 2009, I believe. [Saucy Lady] Yeah. Actually, this is March. So it will be 16 years ago this month in the Boston area. And just a couple of years before that, I had started recording my first album. So... [Colleen] ... diversify. [Saucy Lady] Yeah, yeah. I think that came out 2011. [Colleen] Right. Now, at this point, you're creating a persona, Saucy Lady. And I love this persona. I mean, she looks fabulous all the time, first of all. I mean, you have to check out Saucy Lady's website. The photos are outstanding. You look great. And the thing I also love is that you really play with fashion and you play with music. And I find there's some humor in this, too. Can you tell us a little bit about who Saucy Lady is? [Saucy Lady] I think Saucy Lady is someone that everyone has a little bit of. It's someone who has a little bit of attitude, who knows what she wants and is sexy, is open to being sexual and can go a little bit wild. My best friend in college, we used to be roommates together. She had told me, I'm very saucy. And I didn't know what she meant, really. So I was like, what do you mean? And so she described what it was. So I thought, wow, that's kind of a cool name to use for like, you know, usernames and things like that. I started using my Saucy Lady as sort of like an email and things like that. So when I came up with a DJ name, I was like, oh, that's perfect. We'll call it Saucy Lady. But then that, yes, became its own persona. And, you know, I was like, I need more headgear and outfits to perform. I don't perform lately, but when I was performing, I was very, very careful about how I presented myself visually. I think it's important to look your part when you are on stage performing, not necessarily DJing all the time, but I'm talking more actual singing and performing on stage that way. [Colleen] Absolutely. Do you think also maybe this is one side that many of us have, you have an extroverted side and then you have the more introverted kind of private side that you protect a little bit? [Saucy Lady] Yeah, I think so. I guess, you know, when you're recording an album and you're trying to reflect on things, you know, you do need time alone. So I didn't have a lot of alone time growing up. Also, I was an only child, so I'm kind of used to that. But that helps you become creative. And so that's maybe my introverted side, maybe. But, you know, I love to party. I love big socials and Butterfly. I love hanging out and seeing people. But I do get tired after a night out, right? The next day, I need downtime. So I guess it's sort of that, you know, you have both sides of the spectrum. [Colleen] Yeah, have the balance. Now, you started DJing in Boston 16 years ago and you were collecting your own records. You said you grew up around a great big record collection, but you obviously have made your own record collection. How did this kind of all come about? And what's the dance scene like in Boston? [Saucy Lady] So to answer your first question, you know, when my father was playing a lot of records in front of me, I wasn't allowed to touch records. So I was really like not allowed near the turntable. So I knew how valuable they were. But as I got older, he bought records for me. And I think the very first record I got was Kumo D. I go to work. I was 12 weeks single. And I played that so many times. So that was my first record. But anyway, and then I started to buy my own records later in life, like after college and so forth. Yeah. [Colleen] Because some of your sets are all vinyl sets, that's why I'm asking. Because there's a lot of DJs that don't play any vinyl at all. And you are also a vinyl DJ. Some of your parties are only vinyl. [Saucy Lady] Yeah. And I love the way it sounds. And it just there's something to it that's different from digital. And sometimes digital DJing is great. It's wonderful in so many ways. But I also get bored in some situations. So there's something exciting about playing records and having sort of that risk of, you know, things not working as you expect. Yes, living on the edge. Yeah. But this party that I have, the monthly party, it does show that Boston folks do dance. There are break dancers. There's also a house community. It's not a big one anymore, but it still exists. And also Gen Z, newer generation of people are coming out open-minded, also being somewhat familiar with some of the music from even the 70s. So it's pretty surprising. So yeah, Boston, there is a scene. It's not a big scene. And in the Boogie area, like that music, it's not very known. But we're changing that. [Colleen] So yeah. Before we get back to the music, I wanted to ask you about your record label, Dippin' Records. Now, you've released four albums yourself. Some have been on other labels as well. You've also done singles for Big Love, Razor and Tape, I believe Midnight Riot as well. You've done loads of work. What made you start Dippin' Records? It was a couple of years ago. And you've been releasing other people's music too, not just your own. [Saucy Lady] Yeah, I got kind of tired of waiting for people to release my music and also sort of like, hey, do you like this music? What do you think? And even though I believe in my heart, it's great and it should be heard by the public. Sometimes it's not the taste of the person listening to it or the label. It's just not the right fit. And so I wanted to make sure that I can still put out things when I know it's great. And that's why I just had to be somewhat independent there. And I still want to release some music if it fits other labels too. But I also wanted to give opportunities to other artists that I thought were great, but were not getting the exposure or the opportunity to put music on vinyl. So that's why I wanted to start that. [Colleen] Which other artists are you working with who are on your label at the moment? [Saucy Lady] Well, we have so far an artist from Boston area named Lee Wilson. He's been releasing a million songs and doing collaborations, but I realized he didn't have a lot of vinyl releases. And I thought it was important for the DJ community who actually play records to be able to play his music too. So and it's also something that I liked, so I wanted to play out. Yeah, he's another artist. And also Fabio Santana, and he's based in Brazil. And he has another album that he is working on right now. And it's sort of final touches. So we're talking about releasing maybe a single from there first. And so yeah, and then Yuki and I both have other projects that we're working on with other people as well in a band. So that's something that's in the works that we're looking into releasing in the future. [Colleen] And Yuki is Yuki Hirokane Saka, who is your musical partner. And you do a lot of, you co-produce all your albums with him as well, I believe. [Saucy Lady] Yes, yeah. I just realized I didn't introduce Yuki. But yeah, he is my partner in crime. And he does a lot of the production with me. And the four albums that we worked on together, we worked on pretty much all most songs we've heavily collaborated together on. [Colleen] Well, let me get back to the music. And when we come back, we'll talk about your new album, Love Fest, on your label, Dippin Records. This is Saucy Lady on Balearic Breakfast. And you've been listening to DJ Saucy Lady on Balearic Breakfast. She's been listening to her mix, and I have her here with me. And I wanted to talk about your new album, which is your fourth album. And it's called Love Fest, and it's out on your label, Dippin Records. The first thing I wanted to ask about it is some of your albums have had themes, like Supernova has a theme of space. Love Fest does exactly what it says on the tin. It's songs about love. Could you tell me, first of all, why you like to do thematic albums, and then why you chose this particular topic? [Saucy Lady] I think it's important to be sort of cohesive with an album. And it's different from a single. I had recorded some of these songs already and released them digitally, a couple of them. But I thought it made sense to put them all together because they were all, again, about love. And I have about half of the album is about covers, and the other half are original tunes. And yeah, it was great recording. I mean, a couple of them are pretty, yeah, brand new, haven't been released. [Colleen] One single I've already played on the show is your cover of Surface's Fallin' In Love. And this is a song I always like, but it's a mid-tempo groover, you know, it's just kind of bopping along. And you brought it to like house tempo, and it really works. Could you tell me how that all came about? Is this a song you used to DJ out as well? [Saucy Lady] I did, but I didn't play it very often because, again, it's mid-tempo. So I definitely thought it needed a little boost in that tempo. But it was a suggestion made by a friend of ours, friend of Yuki and I, who is a big, he loves to dig for records, and he's Japanese, and he's a big fan of Saucy Lady. He buys all of my records. And he's like, you should definitely do this song. And I was like, oh, it's kind of a bit known, and I don't always like to do something too obvious. But then I realized the vocals are very close to my range, and I thought the sound is very similar to Saucy's sound. So I thought, well, it's actually not a bad idea. People are familiar, so they're going to recognize it right away. And so by bringing it up in tempo, we wanted to make that the first song in the album, since with the groove being at the top, you know, it'll help with the audio being loud enough and good for the club. So that's why we have it very first track. [Colleen] I love how you're thinking about vinyl pressing correctly. That is so great. Because, you know, sometimes you have, like, the song that you want to play out is like the inside cut. And of course, you know, the audio, the sound just gets squashed as you get closer in it. So that's really great, more expansive. You also cover Bobby Caldwell's What You Won't Do for Love. And you also cover it with a friend of mine, who I also have worked with in the studio and someone I've known for a long time, Yam Hu, who was first in a band called Fuzz Against Junk when I first moved to the UK on Euphonic. And then he started doing his own productions. And he and I have collaborated. He's worked on a few remixes with me. He's a great guy. But I have to say, all the years I've known him, I didn't know he sang. He never even sang in the studio when we were working together. So how did you get him to do that? [Saucy Lady] Yeah, I didn't know either. So he actually suggested me to record that song for his label originally. And so Yuki and I, actually, it's funny, Yuki had his own album in the past where we recorded the same song, but it was like really just vocals and piano. It was a very stripped down version, which I really liked. But since we already recorded it, we're like, oh, we don't want to record it again. But then I thought, well, you know, Andy's saying he's going to put some vocals on it. And I thought, well, this might be interesting. So yeah, I was like, let's just do it. And then we recorded it and he sent his vocals and we kind of layered it with mine. And he's not singing like the verse or anything. It's not a prominent part. [Colleen] It's like he's underpinning you like an octave lower. [Saucy Lady] Yeah, but I always love hearing men, male and female vocals together. There's something great about that. And so it added a really nice tone, so I loved it. [Colleen] I agree. I love duets, especially, you know, the two different types of voices. And it's a kind of a lost thing. I mean, I think about all these kind of great collaborations like Donny Hathaway and Roberta Flack, or there's so many great ones. And I think it's something that needs to be brought back because the textures sound really good together. [Saucy Lady] Yeah, I've done a few in the past, and I did Saturday Love, and It Seems to Hang On, Ashford and Simpson. Also Tell Me, you know, SOS Band. These are covers we did with different male vocalists. And I love all of them. And there's something so magical about it. There's like a chemistry. And it's just obviously men do not have the sound that I can, you know, output. So there's something special about that. And so I love doing duets. It's hard to find a great duet to cover, though. There aren't so many. So it's always a challenge to find the right one. I've done a few, but maybe we'll do something in the future. Maybe with Andy or Yambui. [Colleen] Yeah, that'd be cool. You also have a couple drummers as guests on the album. You have Jay Mumford and also Derek Mackenzie, who is a drummer for Jamiroquai. How did that all come about? Because usually you don't get drummers as collabs. You'll get like the featured keyboard player. You'll have like a soloist on, you know, a trumpet or something or a duet. [Saucy Lady] Yeah, I think drummers, I mean, drums are really the most important ingredient initially for any track. So they mean a lot. And so with Jay, I've known him for many years. We've also collaborated on a few songs before. And we've always talked about, you know, wanting to do another track together. He loves everything that, you know, you and I work on. And so we finally got a track that would, you know, be very fitting for him and the tempo. And so, yeah, we got him to record and that went well. He loved it. And Derek, Derek McKenzie is someone that, you know, Yuki and I both really admire. And he has such an incredible disco, you know, rhythm and that no one else can really copy. So we were very honored that he was down to record. And he was so nice about it, everything. And it was incredible. [Colleen] Oh, great. Well, you have two other covers on the album that we didn't talk about. Chic Sao Paulo and M2M's Love Lock. But I kind of want to move on to the originals as well, because you have three originals. What If, Break the Ice and Silver Haze. Silver Haze is a beautiful ballad, by the way. I love that one. Can you just tell us a little bit about that song? [Saucy Lady] Yeah, I just was inspired to record something that had some of the elements that some of the newer R&B vocalists do these days. Like, for example, I love Devin Morrison. I discovered him through just listening to Spotify, actually. And I just love his sort of 80s sort of sound that he adds to the synths and his vocals. And then I learned about other vocalists similar to that style. And I realized I need to record something like that, where the voice is very airy, a slower tempo, some elements of the 80s keyboard synths. And so we did that. And then we, of course, needed the right drums. So we got Derek for that. It was great. I loved it. [Colleen] Yeah, that's great. Well, what's going on now in the future for Saucy Lady? You have some like DJ gigs coming up, I assume. And what's coming up on Dippin Records? And what are the plans for the album? [Saucy Lady] So right now, there are a couple of songs in Japanese that I had recently recorded. It's pretty much at the final mix stage. So we want to release that through, I think, through Dippin. So that'll be the next, probably the next release. And, oh, we also have the cover of I Can't Shake That Feeling by Click. And we covered that with Omar. And so that was released digitally last year. But we have a vinyl version coming out this month, I think actually in a week. [Colleen] So that's great. That's a great song. I love what you did together. [Saucy Lady] Yeah, so that'll be on a 12-inch, 45 RPM. So the sound should be pumping. Yeah, and also we're in the middle of recording a jazz funk album. So that's like a whole sort of new venture. And I love boogie and all that disco, but I want to move away a little bit from that and sort of be a little more experimental, a little more spacey, you know, a little bit of that Bonnie Liston Smith vibe with a touch of, you know, Blackbird and, you know, vocals like that, a touch of Roy Ayers. So, you know, the stuff we all love. [Colleen] Yeah, that sounds great. And then you'll get to sing a different way. [Saucy Lady] Yeah, it'll be different. It would probably not have verses and stuff. It'll just be more. Yeah, well, we'll see what happens. I don't want to spoil too much until it happens. We're in the middle of recording it, yeah. [Colleen] Exactly. Well, for those of you that want to find out more about Saucy Lady, definitely check out her website, but also go to her Bandcamp, because that's where you can order vinyl and download her music digitally as well. Good luck with the album. It's fantastic. I'm really happy for you. You've been just working really hard. [Saucy Lady] Thank you, Colleen. Thank you for having me and knowing so much about the album already and doing a little research. Thank you. [Colleen] I listen to all of it. And, you know, I do my research. I do the due diligence, as do you. And hopefully I'll see you in Boston sometime soon. Yes, very soon, hopefully. All right, well, take care. [Saucy Lady] Cheers.

I met Gez Dewar, member of the Random House Project, who crafted a beautiful tribute to the Late musical legend Roy Ayers. Let's dive into his musical world! 1) Hi Gez! Thank you so much for being here with us! I must say your remix of Roy Ayers’ “Everybody” took us all by storm. We really love the work you did on that one! First thing first, can you present yourself and talk about your musical journey ? Thanks Artur, glad you all dug the remix, it was a sad loss of a great musical legend, I was lucky enough to work with Roy Ayers and his band many years ago at a Soul Weekender where he played on my keyboards during an interview, such a humble and generous soul. I began my musical journey in bands in Birmingham then moved to London in the late 80's to go to Art College where I first got into clubbing and the music scene. I started working at MTV when it launched in 1987 and the following year the Acid House Summer of Love started and I got swept up in those clubs like the Wag, Spectrum, Bagleys, The Cross, Turmills and also Ibiza's clubs like Pacha where I was exposed to Dj's like Alfredo and Pipi. I started making records in 1990 with Doi-oing and got signed to Sean Mckluskey's Brainiak Records, we made a track called "Good Feeling" which sampled etta james and got us noticed , from there we were the first band to get signed to Ministry of Sound's Open label with the likes of Mr Monday , Green Velvet and Paperclip People. We then formed many other groups like Heliotropic, Tenth Planet, The Experiment, Thee Earls with Justin Robertson and Finally formed Random House Project with Mr Monday and made tracks with Robert Owens which was our first record for Darren Emerson's Underwater Imprint. I continue to work under that name on my own imprint Transmitter Recordings and mainly focus on Reworks and Edits these days as I seem to enjoy the process of reimagining classic tracks in new ways. 2) One of the first thing I noticed while listening to your remix is its delicacy, its precision, and of course its imagery which perfectly fit the 215th episode of BB! How did you end up creating such a kaleidoscopic track from that funky number and why did you choose that song, what did you want to achieve with it? Thanks glad you enjoyed the rework! I'm colourblind so maybe to compensate for this I have a very colourful musical palette and enjoy the process of creating detailed musical pictures and landscapes with my work. In a way I see the reworks as a new frame around the Artist much like the Pop Art work of Warhol and Lichtenstein; how they created those pictures of Celebrities. I grew up listening to producers like Trevor Horn, Steven Lillywhite, Peter Walsh, Flood, Ian Tregoning and Zuess B Held who created these incredible soundscapes that went far beyond just the reproduction and recording of musicians and songs and created new sonic landscapes that I felt were artistic statements in themselves.  I chose that track in particular because I loved the very simple answer and call Vibe part and the "Everybody" vocal, the track seems so inclusive to me and fits my ethos, I took a sample of an interview with Roy about his philosophy of life and how he would like to be remembered and that fitted perfectly with the sentiment of the track. I wanted to mark his death with a Portrait and that seemed the best way I could say Thanks. 3) Generally speaking, when remixing, do you have pictures that come meeting you and helping you during the mixing process or do you already have a clear idea you simply execute? When I approach an Artists work I'm generally looking for a new way to present the song which hasn't been tried before, this is the challenge. I always like to keep the vocal fairly intact and generally at the same tempo, but everything else is up for changing. I will often write in a completely different key and use chords and parts that are from completely different genres and I try not to limit or box myself into a particular or style genre from the start. I'm looking to surprise myself first and foremost by presenting the song in a totally new way if possible. The end result being the familiar presented in a way not heard before, which I think folks really Dig. 4) Was there a tougher part while working on “Everybody” (be it in the mixing or in the mastering process)?  Different songs require different approaches, not only in the palette of sounds you choose to put around them but also the structure of the track; Everybody was and interesting journey because it's primarily a Jazz track without the usual tropes of verse, chorus and lyrics or very little, so you have to create a structure which is sympathetic to the original parts you start off with, primarily Roy Ayers Vibes. Being Jazz there's a lot of crazy chord shapes and progressions in there and for me the challenge was to create a blend of Disco & Jazz that supported the Vibes but gave it that disco flavour, so many different progressions where ditched along the way to find the best fit. Tracks like jazz and funk are often less structured than Pop and rely more on the players constantly changing their patterns throughout, so injecting a more structured dynamic into the original, while retaining the overall feel of the original was the challenge.  This one is another killer, listen to how Gez has been able to slightly change the tonality of the track, especially in the verses. A True Masterpiece... BANDCAMP Page here 5) Are you already working on new tracks? What’s ahead for 2025 in your musical world? I never stop writing, it's a constant learning process. I've been lucky enough to have been asked to remix a couple of tracks for the Music for Dreams label which will be out soon and continue to explore new possibilities of reworks. I would love to be able to present my work live in the next year and create something to bring my work to a wider audience, like most artists I suppose. Thank you so much Gez for this! Thanks so much for taking an interest in my work and thanks for listening! Big Love