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

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

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

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

Colleen 'Cosmo' Murphy broadcast the 230th episode of Balearic Breakfast on her Mixcloud on July 08th 2025. About this episode. – Despite her sinus infection which forced her to end the show a little bit earlier today, and after playing at the NT's Loft last Friday alongside Family member Virginia Tziotti and Daisy Bell, Colleen proposed a new episode of Balearic Breakfast. As you'll hear, this episode is very relaxed and has a few musical twists and turns including the one that led to today's post title when Colleen did a mistake letting the wrong CDJ play the wrong song, laughs! Still, it turned out beautifully and it was a good show indeed (as our dear Friend iSelector said "Leaving it all, even with the infection... heroic broadcasting i'd call it" ), and also featuring Colleen's last Cosmodelica remix of Saint Etienne's "Alone Together"! No wonder I have hay fever. This morning’s Balearic Breakfast is now up on my Mixcloud (and please give me a follow while you’re over there). Today’s show is mainly your requests with music from Vinocio, Madredeus, Mixmaster Morris, Norman Connors and more along with a great old remix of @incognito_world  as Bluey will be my special guest at July’s @classicalbumsundays  event. On Thursday the 24th July, we’re celebrating the 30th anniversary of 100° and Rising at KEF Music Gallery - tickets are free but must be reserved on the CAS website. And of course, there is a Stevie song as he’s playing at Hyde Park this Saturday (can’t wait!). The requests will continue on next week’s show, which I’ll stream live on Mixcloud Tuesday the 15th July from 10am to 12pm BST. And if you’re in Ibiza this weekend, I’m playing at @glitterboxibiza  with a fab line up including @moodymann313 , @melvobaptiste  and @danshake_  – happy to be on this impressive line up. Listen back to the 230th episode of Bakearic Breakfast: THE PLAYLIST ( 1991 ) The Irresistible Force – Space is the Place ( 1967 )  Nina Simone  – Come Ye ( 2025 )  Silent Poets (ft. Lady Blackbird)  – Something Kind ( 2022 )  Hannes ft. waterbaby  – Stockholmsvy ( 2023 )  Prince Fatty (ft Shniece)  – Expansions ( 2000 )  Madredeus  – Oxalá ( 2025 )  Saint Etienne  – Alone Together (Cosmodelica Remix ft. Alina Bzhezhinska) ( 1974 )  Main Ingredient  – Summer Breeze ( 1976 )  Norman Connors (ft. Phyllis Hyman & Michael Henderson)  – We Both Need Each Other ( 2025 )  Modern English  – Voices (Sundowners dB Remix) ( 2024 )  Auntie Flo  – Walk DF ( 2013 )  Jaki Whitren & John Cartwright  – This Time (Al Usher Remix) ( 2025 )  Vinocio (ft Javi Burin & Maxi Sayes)  – Colibri ( 2024 )  The Mighty Tiny & The Many Few  – Young World ( 2022 )  The Tikiyaki Orchestra  – Shaka Huka Bossa Nova ( 2025 )  Durand Jones & The Indications  – Really Wanna Be With You* ( 2025 )  Lauer  – Felt Bat ( 1995 )  Incognito  – I Hear Your Name (Roger'S Ultimate Anthem Remix) ( 1980 )  Norman Connors  – Take it to the Limit ( 1976 )  Stevie Wonder  – Knocks Me Off My Feet COLLEEN'S PRESENTATION The Irresistible Force with their second irresistible singer single, Space is the Place , which came out in 1991. And thanks to Jim McCormick for requesting that. The Irresistible Force was mixmaster Morris , along with singer-songwriter Desdemore . And Morris is a tour de force, a hugely knowledgeable and experienced DJ, who transcends musical boundaries time and time again. A fixture on the free party and rave scene, Morris's name became synonymous with far out DJ sets and chill out rooms. And in fact, he made one of the first chill out compilations, Give Peace a Dance , the ambient collection for the campaign for nuclear disarmament. Thankfully, mixmaster Morris is still playing and posting mixes. And I think he's just great. We definitely need to get him up on the show sometime. Ed. Note: See a nice interview here https://insheepsclothinghifi.com/mixmaster-morris/ Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast until high noon. And greetings to all over on my MixCloud Live. Thanks for being with me. And thanks to all who came along with their vibes and moves to NT's loft last Friday night. It was a lot of fun. I had two special guest DJs, Balearic Breakfast family member, DJ and jewelry designer Virginia Tzioti . And also DJ Daisy Bell . I've played one or two of her productions on the show before. I have one more Balearic Breakfast day at NT's loft. And the next one is on Saturday, the 13th of September, another day party. And I'm looking forward to revealing my special guests in a few weeks. Buy Tickets Here It will also be the London record release party for my Balearic Breakfast 4 compilation , which is coming out a couple of weeks prior to that on Heavenly Recordings . And if you happen to be on the White Isle, I'm also hosting a Balearic Breakfast release party at Pike's on Sunday, the 28th of September . And if you happen to be there now, I'll be playing at Glitterbox this Sunday along with people Melvo Baptiste and MoodyMann also on the bill. So you can probably hear I'm still having an ear sinus issue, but it is getting better. Thanks to those in the chat who've been asking the neti pot is my new best friend. It's it's an American word neti pot. I don't know what you call it here in the UK, but kind of gross, but really, it's really doing the business. So any of you that know, you know, now I know some of you have also been ill. So I'm wishing you a full and speedy recovery as well. Seems like there's lots of bugs going around. Hopefully today's show will give you a little relief. And thanks to all who made requests this past weekend, we had a lot so they will be spread out over a couple of shows. And I made some new discoveries as well. I really appreciate your contributions. Thank you so much. Steve Clark is looking forward to the forthcoming La Torre Vol. 5 compilation that's compiled by Mark Barrett and Pete Gooding . They are the residents at Hostel La Torre where you can watch the sun go down a beautiful spot. And their previous four comps are fantastic. They really transport you to another place. Like the others, their next double album is chock full of sonic treats including tracks from Mousy Star, Talk Talk, and this next song by one of my favorite artists of all time. With a song she wrote for her 1967 album, The High Priestess of Soul. It's Nina Simone with Come Ye . A cover of the classic 70s jazz-funk pro-peace anthem by Lonnie Liston Smith , Expansions . A reggae version by London-based producer Prince Fatty with vocals by Shanice . And that came out a couple of years ago on Fatty's own label, Love Dub Limited . And thank you to Victor Altenew in Romania for that request. Ahead of that, Swedish singer Hans along with Water Baby with Stockholmsvi , which translates to Stockholm Scene in Swedish. And that was released three years ago. And thank you to Tom Torres in Vienna for that request. Before that, we heard a track from the forthcoming album by Silent Poets , which is Japanese artist Michiharu Shimoda . It's the 10th Silent Poets album. And this one gathers a global roster of collaborators for a collection rooted in unity, resistance, and healing. Something we could all use right now. We heard Something Kind featuring the incredible vocals of Lady Blackbird as requested by Barry Bairnitz in Washington, D.C. The album is called Hope , and you can pre-order the vinyl now. Ed. Note: See a recent interview here https://a-indie.com/silent-poets-interview/ Okay, Madredeus are one of Portugal's most successful groups since they formed in 1985, selling millions of albums globally. They crafted a unique blend of Portuguese folk music and fado. Here they are with a single they released 25 years ago as requested by Antonio Santana, Madredeus with Oxalá . Oh my gosh, grooving to this one. Philadelphia jazz drummer and composer Norman Connors with the almighty singer Phyllis Hyman , and bassist and vocalist Michael Henderson with We Both Need Each Other . And that was released on Connors' 1976 LP You Are My Starship , which has a star-studded cast of players, including Hubert East, Lee Ritenour, Tom Scott, Don Elias, Gary Bartz, and thanks to Bert Francois for sending me on a deep Norman Connors dive over the weekend. I have several albums of his, but he has so much amazing work, so many styles, and his drumming is just unreal. And we have some more Norman Connors later in the show, so keep it locked here. Ahead of that, a cover of Seals and Crofts ' Summer Breeze by The Main Ingredient , and I think this may be my favorite version, although it's just a great song anyways, also covered by the Isley Brothers . Harlem funk outfit The Main Ingredient released their version on their 1974 album Euphrates River , which also features their dance floor burner Happiness Is Just Around the Bend . And Herbie King requested Summer Breeze , saying it got loads of airplay when driving through Umbria with said jasmine really blowing his mind. And I know what he means because when we host our last note parties in the summer in Perugia and Umbria on the mountainside, it's just beautiful. It just smells like jasmine. It's all you can smell. One of my favorite, favorite scents. Ahead of that, we had my Cosmodelica remix of Saint Etienne 's Alone Together , featuring the harpist Alina Bzhezhinska . I brought her in for that remix because I wanted to kind of give it a Dorothy Ashby vibe. I hope you heard that. And that's finally being released on vinyl on the next Balearic Breakfast compilation, Balearic Breakfast 4 , coming out on the 29th of August. You can preorder via the Heavenly Bandcamp. And there's a bunch of stores listed also where you can order it. That's via the link tree on my Instagram. And there's also volumes three and four coming out together as a double CD. And it has great artwork by Ardneks as well. And really, really proud of this one. And thank you all who have supported the series so far. Okay, British new wave post-punk stalwarts, Modern English formed in Colchester in the late 1970s. I released their first single on their own Limp Records before signing to 4AD, home of Cocteau Twins and Dead Can Dance. And I'm sure you know their single I Melt With You when it was released in 1982. Well, last year, they returned with an album of new material, their first in eight years called 1, 2, 3, 4 , which featured the single Voices . And Sundowners DB did a remix. That's a Suffolk based DJ and production trio, David Freeland and Black and Ben Horner. And here they are on Balearic Breakfast. Absolutely loving this one. Sounding like New Order joint edition definitely sounds like Peter Hook on bass, but it's not. It's called Felt Bat by Lauer, who is Frankfurt, Germany based producer and DJ Philip Lauer , who's released albums on Running Back and Permanent Vacation for over a decade. And it's from his latest EP, 77-0-0-77 , released back in March. And thank you to Matt Raistrick for that request. Ahead of that, the Indiana based soul group Duran Jones and the Indications with Flowers from their latest and fourth album, Flowers , which was released just a couple of weeks ago, which you can find in their bandcamp. And they were early. The Chicano lowrider community were an early champion of the Indications. They began circulating their music a decade ago. And in tribute, Duran Jones and the Indications released the B-side single Cruise into the Park , also released a version in Spanish. Thanks to Constadinos Folias in Greece for that request. Ed. Note: The track requested by our friend Constadinos l. Folias and effectively played by colleen was Duran Jone's "Really Wanna Be With You" from the Flowers album. Thank you Folias for that precision! Ahead of that, the Los Angeles outfit, the Tiki-Yaki Orchestra . They've crafted a song. They've crafted a sound, I should say, that fuses traditional exotica with Hawaiian surf music, lounge music, and space age pop. And they've performed at some of the most significant Tiki festivals like the Hukilau. And I really want to go to that. Never check one out. Thanos Katronos in New York requested that one from their debut album, Stereo Exotique . The song was called Shaka Huka Bossa Nova . Before that, we had the Mighty Tiny and the Many Few with Young World from their album, Be Good the People , released last year. It's a fabulous debut album. I love the whole thing. Very soulful. And the group features Walshie Fire , along with Grammy winning composer and writer, Randy Valentine , and jazz improv visionary, Steve Jesborth II , along with the creme de la creme of Danish jazz talent. And Be Good the People is both a statement and a declaration of revolutionary love, a bold call to action. And thank you to John Tattersall in Copenhagen for that request. Before that, Colibri by Vinocio featuring Javi Buren and Maxi Saez . It's a group from Buenos Aires, Argentina, featuring Lucien Mamy and Fermin Carpena . And that's from their Tostados LP. I've listened to the whole album a couple of times in the past few days, and I need to delve into their previous work, which you can find on the Vinocio Bandcamp. And thank you to Steve Wakley for putting that group on my radar. Ahead of that, we have Jackie Wittron and John Cartwright with This Time . And that's singer-songwriter, the late singer-songwriter, Jackie Wittron , and her husband bassist, John Cartwright . You know, they both actually passed away in 2016 within days of each other. And the song This Time was found on their International Times LP, originally released in 1983 and more recently reissued by Emotional Rescue. Wittron debuted in 1973 with her solo album, Raw But Tender . And she also contributed to the Alan Parsons cult classic, I, Robot . And we heard a version of This Time, given a rework by Scottish producer and DJ Al Kent . And that was requested by David Puzzi, who correctly asserted, this one resonates at the moment. And then before that, Chris McGowan requested something from Auntie Flo , who is Brian Tassuza . And we heard Walk D.F. from Auntie Flo's fourth and last full album, 2024's In My Dreams, I'm a Bird and I'm Free . Tickets are availiable here Well, we have about 20 more minutes to go here on Baleric Breakfast. And this month, Classic Album Sundays is hosting an event with John Paul Bluey Moenig , the founder of Brit jazz funk group, Incognito . We're going to celebrate the 30th anniversary of Incognito's classic album, 100 Degrees and Rising . And it will be held on Thursday, the 24th of July at the Keff Music Gallery in London. Tickets are free, but must be pre-reserved via the Classic Album Sundays website. And I'm really looking forward to digging deep with Bluey. I'm a big fan of the album. I'm also a big fan of the remix album that came out just afterwards. So I thought I'd play something from that today. One of the originals that's found on 100 Degrees and Rising , but given a rework by Roger S., who called it the ultimate anthem remix. This is his spin on Incognito's I Hear Your Name . An extended version of Norman Conner 's Take It to the Limit . And that's the title track to his 1980 LP featuring Adaritha on vocals. And I want to thank Chris Morgan for that request. I also want to dedicate it to Tomohiro Yamada, who requested the Joe Claussel remix of that. So maybe we'll play that sometime on another show. This is Colleen Cosmo Murphy getting ready to sign off with my bad sinuses and ear infection, as you can probably still hear. But that's not going to stop me from going to see Stevie Wonder this Saturday at Hyde Park for British Summertime. I'm so looking forward to it. I've seen him play before. Absolutely amazing performer, amazing person, amazing musician, such uplifting vibes. Also playing is Ezra Collective. And I don't know if you saw their performance at Glastonbury, but it's on iPlayer right now. And it is steaming. Absolutely incredible. So I'm really looking forward to seeing them as well. And so David Stoddard requested this next one. And Tomohiro Yamada also requested some Stevie. But this one I wanted to, I thought it'd be a lovely way to kind of wrap up the show. From Stevie Wonder's classic Songs in the key of life . This is knocks me off my feet . Thank you so much for joining me. Hope to see you at Glitterbox this weekend if you happen to be in Ibiza. If not, I'll be back here on the airwaves on my MixCloud Live next Tuesday from 10 to 12. Have a lovely week.

Colleen 'Cosmo' Murphy broadcast the 231st episode of Balearic Breakfast on her Mixcloud on July 15th 2025. About this episode. – After her Musical trip to Ibiza, Colleen came back to the UK all set up and ready for another episode of Balearic Breakfast. When you'll listen to that episode, I'm sure you'll have that same feeling as I did live, and, when closing your eyes and listening to the whole show, you'll picture an immense and firy sun rising up above land, in an unknow place. Even in the "darker" and "tougher" part of this incredible mix that Colleen proposed us in the second hour of the show, this imagery will not leave you... And, speaking oif the "darker" part of today's set, I could not share here what my dear Ana told me on instagram when Colleen played her request , Derrick Carter's Boompty Boomp Theme which is not one to find easily and which Ana initialy requested for the Pride show. With her usual Kindness, Colleen searched high and low and went on to contact Defect records who sent her the track, despite their servers being hacked recently. This is the Family Spirit I was talking about earlier in one of my posts. We're all together in this musical quest that is Balearic Breakfast under the tender and loving care of our Captain. Come one, play the show and Feel the Love! This morning’s Balearic Breakfast is now up on my Mixcloud and its made up of your requests and some new music – starting off a bit mellow and then picking up the pace. Swipe for the tracklist. I rarely take selfies but couldn’t resist this blurry and multi-angle-mirror pic when I arrived back at the hotel after Glitterbox (kind of how I felt and wearing my new gold boots to boot). That was my last club date for the summer as now it is all about FESTIVALS! Here’s where you can catch me: Sunday, 20th July: @homesteaduk  Somerset Sunday, 27th July: @wearelove_festival  in Brighton Friday, 8th August: @flowfestivalhelsinki in Finland Friday, 8th August: @clubkaiku - B2B set with Antal Sunday, 10th August: Stallions at @houghtonfestival  in Norfolk Saturday, 16th August: Cosmodelica at Love Dancin’ at @weoutherefest  in Dorset Saturday, 23rd August: @ifyouknowfestival in Ireland Wednesday, 27th August: @jazzrefound2k25  Festival in Italy Thanks for dancing and thanks for listening. Listen back to the 231st episode of Balearic Breakfast: THE PLAYLIST ( 2025 ) Huess – Hair on Fire ( 2002 ) Carleen Anderson – Don't Look Back In Anger (Live) ( 2025 ) The Sure Fire Soul Ensemble  – Corporatocracy ( 2025 ) Santino Surfers  – The Soul Echo ( 1984 ) Moondata  – Let The Moonshine In (Dub) ( 2024 ) Dead Sound  – Pure Blue ( 2025 ) Tar Blanche  – Iguana (from Balearic Breakfast 4) ( 2020 ) The Straits  – Follow Me (Sophie Lloyd Edit) ( 2021 ) The Rolling Stones  – Miss You (Random House Project Rework) ( 2002 ) Derrick Carter  – Boompty Boomp Theme ( 2017 ) Sasha  – A Key to Heaven for a Heavenly Trance (Night Dubbing Mix) ( 2024 ) Vincent Arthur & Dagomba  – Travel with the Music ( 2025 ) Jo Boyer  – Isabelle and the Rain (Da Funkie Junkie & Cosmic Girl Edit) ( 2025 ) Aroop Roy ft Andre Espeut  – Let Me In ( 2025 ) Sirsounds Edit  – Tokyo Fantasy ( 2025 ) Philippa  – Many Nights ( 2024 ) Toribio ft. Sharin  – Daylight (Crackazat Remix) ( 2013 ) Bryan Ferry  – Don't Stop the Dance (Todd Terje Remix) ( 2024 ) Sidestreets  – Cologne That Smells Like The Beach (M1 Remix) ( 1974 ) Kool & The Gang  – Summer Madness COLLEEN'S PRESENTATION British beat-making bedroom producer, Huess , with Hair on fire . And that blends 1970s and 80s ambient and modern classical influences with instrumentation and field recordings made in the Norwegian wilderness. According to Huess, the title is inspired by the sound of wind through the trees, blowing out the cobwebs as a cleansing renewal and is a metaphor for the reaction we have to experiencing strong emotions like fear or excitement when your hair stands on end, even so much it feels like it's on fire, which are definitely appropriate feelings for someone expecting their first child, as the producer was whilst making his ambient album, Safe One . And you can find that on Bandcamp. And thank you to AJ Elliott for that request. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic breakfast on my Mixcloud Live until high noon. And greetings to our worldwide family, joining in from all corners of the globe on the chat. Thanks for joining me. I hope you had a great weekend since we were last together, and I certainly did. I made another trip to the White Isle, this time for Glitterbox , which also featured Melvo Baptiste, Moody Man, and a PA from Julie McKnight . And I got to see her doing her soundcheck before I went on, and I didn't take any videos as I wanted to respect her privacy, but she came over and gave me a big hug after she saw me singing along with all of, or at least what I believe to be all of the correct lyrics to her song, Finally , that she did with Kings of Tomorrow . I remember when that came out, gosh, and 25 years ago, I can't believe that I played it all the time. Anyways, now I'm all prepped for a busy festival season. And this Sunday, I'm heading over to Homestead Festival , being held on a farm in Somerset, just outside of Bristol. And I'm headlining along with my buddies, Luke Una and Errol Alkin , which is a privilege. And the following week on Sunday, the 27th of July, I'm heading down to Bristol for We Are Love Festival , which is being held in conjunction with 1BTN Radio. I always love playing in Brighton. Then in August, I'm at Flow Festival in Helsinki, also doing an after-party, a back-to-back with Antal as well, which should be a lot of fun. Then over to Houghton Festival , and this time I'm playing at Stallions Tent early evening on the Sunday. And then it's We Out Here . You probably know the score, but I'm co-hosting the Love Dancing Tent along with my husband, Trojan Sound System's, Daddy Ad. And Saturday is the Cosmodelica Takeover. And after that, I'm heading over to Ireland for the If You Know, You Know Festival , and then wrapping up August at Jazz Refound in Italy. So if you're able to make any of those dates, please say hello. Today's show is catching up on your requests and some new music, starting off a bit mellow and then really picking up the pace later in the show. This next one is a request from David Stoddard, a request for an Oasis cover by an American soul singer and composer, the Texas-born Carleen Anderson , who landed on our radar as a founding member of acid jazz group Young Disciples . They had a hit with Apparently Nothing from their 1991 album Road to Freedom . She then went solo and has had an illustrious career. She released her third solo album, Alberta's Granddaughter , on her own label, Dusky Sappho, in 2002, and it included our next song. This is Carleen Anderson's live version of Oasis 's Don't Look Back in Anger . Moondata with the dubbed version of Let the Moon Shine In , which originally came out in 1984, and original copies are eye-wateringly expensive. You took a look on Discogs this morning. But don't despair, because it's featured on the forthcoming Rotation Sound System Presents Everything You're About to Hear Is True Vol. 1 , which will be released on the 18th of July on Lange Records, and it's a compilation from the Rotation Garden Party residents, Dean Meredith , who is also in Chicken Lips, Ben Shenton, Rob Jay, Stuart Robertson, and Rich Hall, and I'm looking forward to getting a copy. It's a lovely audiophile party in Staffordshire, Rotation Sound System and Garden Party , and I was honored to play for them many, many moons ago, and I'm happy it's still going strong today. And their next one is the same weekend of their compilation release, so that's the 18th, I think it's the 20th of July, up in Staffordshire. Well worth a visit. Ahead of that, Santino Surfers , which is Danish guitarist Jonas Krag , with his latest single, The Soul Echo , now out on Kenneth Bager's label, Music for Dreams, and that's from Santino Surfers' forthcoming second album being released at the end of the summer, and it's a follow-up to the 2023 self-titled debut. And thank you to Barry Baronetz in Washington, D.C. for that request, and I'm letting you know first, I have also remixed one of the forthcoming singles from Santino Surfer's second album, and hopefully I'll get to preview that for you in the near future on the show. Ahead of that, Corporatocracy , sounds like a great name, by the Sure Fire Soul Ensemble , a live nine-piece instrumental funk group from San Diego whose first two albums debuted in the top 15 on Billboard's Contemporary Jazz Chart. They started releasing albums a decade ago, and Corporatocracy is from their fifth studio album, Gemini , released in March, not during the time of Gemini, I should say. It should have been Pisces or Aries. Anyways, Gemini was released in March, and you can find it on Bandcamp, and thank you to Sue Forrest for that song suggestion. I love that one. And you know, that's what I really love about this show and the Balearic Breakfast family. You are always turning me on to great artists and tunes, so thank you so much. And this next one is a similar thing. It's a request from our friend Virginia Tzioti in Athens for Dead Sound , a collaborative project by Marco Sterk , which is a.k.a. Young Marco , and Berlin-based pop auteur John Moods , and it's a song from their album Into the Void , which was released on Dutch label Music for Dreams. Oh, not Music for Dreams, Music for Memory . I'm sorry. Music for Dreams is the Danish label. The Dutch label is Music for Memory. In any case, Young Marco and also John Moods are no strangers to the label. Young Marco forms one-third of the Trio Gaussian Curve , and while Moods released the 2022 album Hidden Gem with The Zen Men , and they got together, and over the course of a few days of really charged creativity, they produced an entire album of textured, dreamlike, psychedelic soundscape songs. This is Dead Sound with Pure Blue . Ed. Note: A very interesting article about " The new wave of ambient music and its emotional powers" by Skye Butchard can be read here , Gaussian cuve is mentionned of course. Balearic breakfast with 2 imaginative balearic reworks of some 70s tunes from some classic rock bands. This one, Miss You , the 1978 disco single from The Rolling Stones , but this time given a fab and very creative rework from one of Balearic Breakfast's favorite reimaginers, Random House Project , and I know I played one of his other edits recently, but I couldn't resist playing this one, and then John Boakum also requested it, so there you go. Ahead of that, a rework of Dire Straits ' classic song Follow Me Home , the original from their 1979 LP Communiqué , but we heard Follow Me by the Straits, the Sophie Lloyd edit , and Sophie Lloyd did that edit. She's a British DJ and producer, and it came out on the late Yamhoo's label Midnight Riot about five years ago, and thanks to DJ Hefe or Dan Edwards for that request. Ahead of that, we had Iguana by Tar Blanche , the down-tempo house project of Charlie Ryder , who's also in alternative rock group Yumi Zouma , and as Tar Blanche, she debuted with the album Granada School of Motion in 2023, and then his ambient, chilled-out house sound found a home on New York label Nervous Records and then Delicia Records , and he has a new single called If You Can't Trust Your Heart . Iguana is also featured on the forthcoming Balearic Breakfast Volume 4 compilation, coming out on Heavenly Recordings at the end of the summer on the 29th of August, and as always, I always play one song a week from the forthcoming compilation up until its release, and also Volumes 3 and 4 are being compiled and released on CD for the first time, and you can find out more on the Heavenly Bandcamp. Okay, this next one is an older request from Ana Sancho in Barcelona, and I was finally able to snag a copy, so thanks for your patience, Ana. It's by Derrick Carter , a seminal figure on the Chicago house scene, where he got his start as a DJ in the late 1980s, and then he started producing for labels like Cashmere's or Green Velvet's label Casual , such an influential label in the 1990s. Carter also worked at Chicago's best dance record shop, Gramophone , and so did DJ Heather , so I'm giving her a shout-out as well. Here he is with Boompty Boomp Theme , the opening cut from his Square Dancing in a Roundhouse LP, which came out on Classic Recordings in 2002.   Loving this one from UK DJ and producer Aroop Roy , along with British soul singer Andre Espeut , which, with the song Let Me In , very deep, jazzy, soulful offering. And it's Aroop's second outing on Kerry Chandler's Chaos Theory imprint, and it came out last week. And I've had the chance to get to know both Aroop and Andre, fabulous guys and talents, and I've recently played with Aroop quite a bit and really love his sets as well. Ahead of that, we had the funky, junky, and cosmic girl edit of Isabelle and the Rain by the late French jazz trumpeter and bandleader, Jo Boyer . The edit is featured on the compilation Caviar Jazz , a journey into the jazz-inflected house music, which came out last month on Right Tempo . And the comp also features some great tunes by Crico Castelli, Frankie Knuckles, iQube, and also the classic Soufflé H by Mondo Grosso. It was put together by Da Funky Junkie , which is Malaysian DJ Donovan Tho , along with Cosmic Girl, who is Julia Nicholson , and they've really pioneered the disco and soulful house sound in their native Malaysia. And I played for them a few times in Kuala Lumpur many moons ago. The last time, I was just about six months pregnant and already looking like I was ready to burst, much to everybody's kind of amusements and possibly fear as well. So thank you to Donovan and Julia for sending that one over and congrats on the compilation. Ahead of that, Vincent Arthur & Dagomba with Travel With The Music . And that's originally from an album called Essi Vivian , which came out in 1986 and is very, very expensive. And it was, until recently, a very underappreciated album until DJ Diggers started to unearth the song that we just heard, Travel With The Music . And Sam Don put out three songs on an EP on his Sweet Free Association label, so you can pick that up and you don't have to pay as much as you would for the original, so definitely, definitely worth that. Ahead of that, Sasha with A Key To Heaven for a heavenly Trance night dubbing mix . And that was the Italian house producer, not the UK DJ Sasha or the Eurodance Act. And Sasha, the Italo house producer, released seven singles between 1992 and 93. And that was requested by our friend Kieran McCann in Glasgow, who enjoyed a lot of Italo house while he was on holiday in the Umbrian heat. Sounds wonderful. Okay, now I have to give a little bit of a disclaimer for this next one. I was sent over a bunch of great, great new re-edits by Sirsounds , the DJ and re-editor who is based in Berlin. And I loved all of them. And I picked this one for today's show. While I've been hosting the show, I looked up the original and so I had to find out who actually did the original and found it was a 1982 single from Alessandra Mussolini, the granddaughter of the fascist dictator Benito Mussolini and sadly, I hate to say it, she's a right-winger herself, so I don't endorse her politics. That is my disclaimer. And nor do I obviously endorse fascism, which is sadly rearing its ugly head in my native homeland. But it's still a great rework of a cool song, so I hope you will like it. This you can find on Sirounds' Bandcamp. It's Tokyo Fantasy , which is a rework of Alessandra Mussolini's Tokyo Nights on Balearic Breakfast. Loving this one, the M1 remix of Cologne that smells like the beach . Definitely want some of that. That's by Side Streets and that's the debut release by the Brooklyn-based DJ, multi-instrumentalist and producer Side Streets, a.k.a. J.D. Slater IV . And the remix we heard by M1 is exclusive to Bandcamp. Ahead of that, a request from London House Music Works for Brian Ferry's Don't Stop the Dance , which came out on the Roxy Music Frontman's sixth solo LP, Boys and Girls, released in 1985. But I'm sure you can tell I didn't play the original version. But the Tod Terje remix , which came out on the Vinyl Factory label in 2013, along with remixes by the Idget Boys and Grasshopper. Ahead of that, we had Toribio featuring Sharon with the Crackazat remix of Daylight . And that's the Brooklyn-based DJ, producer and musician, Cesar Toribio and his sister, Sharon Toribio . And that came out at the end of last year on my friend Paul and Barbie's label, Love Injection , which also has an accompanying fanzine. Toribio began releasing singles nearly a decade ago and has been gracing dance floors with his soulful, percussive, Latin-tinged sounds. And I had the pleasure to hang out with Cesar and his partner, Ada, when they were here in the UK a couple of weeks ago. A very lovely, creative couple. And they had a good time at Glastonbury, too, where Toribio was performing. Ed. Note: Paul, Barbie and Cesar Toribio did an interview together, read it here . Ahead of that, we had DJ and producer, Philippa , who cut her teeth in New Zealand before relocating to Berlin over a decade ago. Her groove-riding productions have been featured on Jimster's label, Free Range , and Sloth Boogie, and Lazy Days. And we heard her latest, Many Nights , which came out at the end of June and is part of her Bandcamp-only Quiet Fire series. So look out for that. Well, thank you for joining me, Balearicans. This is Colleen Cosmo Murphy, and I'll be back hosting your weekly Balearic Breakfast next week. And I think I'm gonna do one more request line this month. So please keep your eyes on my Instagram and Facebook this Saturday. Also, please follow me over on my Mixcloud. And if you have the means, you can subscribe for three pounds a month, as that really helps me out as I do these shows on my own, also with my husband, of course, and it's hosted on my own platform. So your support is greatly appreciated. But if you can't, don't worry. You can still listen to these shows for free. Okay, I'm gonna leave you with one last one requested by DJ Tak, who wants to escape from a crazy hot Tokyo summer. And I know they are hot in Tokyo, also in New York as well. This is the 1974 single from Kool and the Gang from their album, Light of Worlds . And it's a song that sounds exactly like it's labeled on the tin. Here they are with Summer Madness . Thanks for listening. Ed. Note: Sadly, Kool and the Gang's longtime member, stylist, choreographer and hype man Michael Sumler (known as "Chicago Mike"), 71, died in a car crash in Cobb County, May 24. This request was dedicated to him, obviously.

On July 04th 2025, Colleen, alongside DJ Daisy Belle and Family member Virginia Tziotti, proposed a nocturnal Balearic Party at the Night Tales Loft. Following a sold-out Balearic Breakfast day party with special guest @joe_hot_chip , @colleencosmomurphy  returns for her debut club show at NT’s Loft on July 4th. This time, she takes things into late-night territory, joined by guests  @daisybelledj  and @virginia_tzioti , two selectors known for their deep, soulful, and cosmic sound. If you were there last time, you already know how special these sessions are, and if not - the clip speaks for itself. Thank you so much dear Virginia for sharing these pictures and videos with us!

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

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

Heavenly Recordings just launched the preorder campaign for Colleen's "Balearic Breakfast" Vol. 4 double LP and CD compilation. Colleen ‘Cosmo’ Murphy presents ‘Balearic Breakfast’ Volume 4 Limited edition 9 track double 12” vinyl Limited edition 19 track double CD 'Balearic Breakfast' Volume 3&4 Released 29th August 2025 ***Please note that due to licensing stipulations this release is not available for purchase digitally, however a free download of the full album will be granted with physical orders on release day.*** “There are curators, and then there's Colleen 'Cosmo' Murphy.” - Resident Advisor - The sun has finally come out. It’s the first time something like this has happened for months and months; the first glow of an approaching summer, whatever date the calendar is currently saying it is. The whole thing acts as a curative meditation, miraculously wiping away all the greyness of the past few months. Right now, optimism abounds, outlooks change and your daily soundtrack has shifted from spiky and uptight into a kind of cosmic space where songs ebb and flow and drift on like rivers run on forever towards the glimmering sea. Bliss, right? If you’re reading this, we’re assuming that you’re the kind of person who views summer as a state of mind rather than a good looking day on the BBC Weather app. With that in mind, we reckon you already know all about Heavenly Recordings’ series of untouchable, utterly essential Balearic Breakfast compilations, each one lovingly compiled by visionary DJ, producer and broadcaster Colleen ‘Cosmo’ Murphy - the genius club legend whose radio show of the same name (broadcast 10am to high noon every Tuesday via Mixcloud) began as an escape route from the pandemic before rapidly building a global community of dedicated Balearican listeners. Each Balearic Breakfast album has provided a spiritual getaway from the greyness of the everyday through a handpicked selection of glorious, psychedelically coloured, expansive music. It doesn’t matter where on the planet the music hails from, or when it was made, it just matters that it fits like a jigsaw piece into the musical whole. Be it off world jazz music or vocoder led robo-disco music; whether decades old or pressed to vinyl for the first time, everything on these flawless Balearic Breakfast collections just needs to flow together and bring the listener into the sunshine, whatever time of year they’re listening. Due for release this August, the fourth Balearic Breakfast compilation sees Cosmo take this head trip further than ever before. From the opening track’s swoop and glide that nods to Vangelis’ Blade Runner soundtrack before gliding into it’s own expansive voyage to the stars (Kandeen Love Song) to Cosmo’s own glorious Parisienne stroll through Saint Etienne’s recent Alone Together to Ilya Santana’s Spanish space disco anthem Cosmovision - a track that rolls through like a turbo powered Supernature - and the phenomenal 2015 disco version of Gloria Ann Taylor’s early ’70s classic Love Is A Hurtin’ Thing, this Balearic Breakfast offers the perfect soundtrack to the summer, whether it’s actually happening outside or just taking place in your head. After all, they don’t call breakfast the most important meal of the day for nothing.  PLAYLIST 1. Paz - Kandeen Love Song 2. Santino Surfers - Freedom Surfers 3. Saint Etienne - Alone Together (Cosmodelica Mix) 4. Paqua - Akaliko 5. Tar Blanche - Iguana 6. Bryony Jarman-Pinto - Moving Forward (Cosmodelica Remix) 7. Troy Kingi - Chronophobic Disco 8. Ilya Santana - Cosmovision (Disco Version) 9. Gloria Ann Taylor - Love Is A Hurtin' Thing (12" version)

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

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