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Colleen 'Cosmo' Murphy broadcast the 212th episode of Balearic Breakfast on her Mixcloud on February 18th 2025. A Lioncub's tribute to David Mancuso... – To say that David changed many people's lives is an understatement to me. It is far more than a simple change. Discovering Music through his lens, through his philosophy (be it sonical or intellectual), is a mindblowing experience. And this experience does not simply change you. It modifies your relationship towards Music, it modifies the way you listen to Music, the Way you experience it, the way you discover it, the way you then share it through your own parties. I am not ashamed to say that David was a Musical Soother, a Musical Force. Of course, it comes down to his aura, and what he was, totally, as a human being (calm, shy, and, as a member of the family shared with me a few days ago, with a godlike figure). But it also comes down, on the musical side of the analysis, to his Musical knowledge and to the way he treated music, played it, what it meant to him and how he used it to transform the present time of a Party... David was audacious during his sets, yet, he also knew how to build a Musical Intercourse where Music made love with the dancers and he always used his records proficiently to craft an unparalleled musical unity (some of his transitions were so perfect that, when listening to them, you can't help but ask yourself how he was able to achieve such perfection without a mixer). David was not only an audiophile in the greatest sense of the term (and you know how much this term is misused today...). He was All about sharing his own reality with his friends and the dancers at his parties. He shared his soul so openly, so freely, and with such musical and technical knowledge that, to this day, no one can come close to him. His Musical Aura always hit the listener in a pure moment of freedom and uncontrolled excitement without chasing away his own momentum... Thanks to him, I discovered that you didn't need to be a DJ to be a Great Musical Host... I felt all this when I listened to the Prince St Reels in 2009 for the first time. To this very day, David mesmerizes me and when I think of how many things I discovered thanks to him, and how he expanded my Musical journey, I always get very emotional... About today's episode. – In today's show, Colleen beautifully presents David's Legacy as she selected quite long songs (thus proposing one of the shortest playlists we ever had on a 2-hour Balearic Breakfast episode! ). Thanks to this wonderful musical trip, you'll discover why I wrote these Lines. Close your eyes, the Loft is waiting for you... "This morning’s Balearic Breakfast is the annual Loft Anniversary special and it’s now up on my Mixcloud. On Valentine’s Day 1970, my late friend David Mancuso opened the doors to his 647 Broadway home for a weekly private rent party called Love Saves the Day and which evolved into The Loft. The party’s influence was ubiquitous, inspiring others to share friendship, music and the dance. But it wasn’t easy for David, and he met a lot of challenges on the way including a court case against him by New York City as the officials wanted to shut him down. But David won. He also suffered from gentrification and neighbours who wanted him out of the ‘hood so he just picked up and moved. He was also met with personal challenges, betrayals by people he trusted and sycophants intent on serving their own interests who took advantage of David’s trusting nature. And yet the Loft persevered. When I started going back in ‘92 David lived and held the parties on East 3rd street in NY’s East Village. It was a rough time for David but I deeply felt and understood the magic that was happening as soon as I went through the doors. I fell in love with the party, the music, the sound system, the people and later with David. He became a dear friend, a mentor and the two of us worked together on the parties in NY, musically hosting together, starting a Loft party here in London, compilations, his label and documentaries until his passing in 2016. Each February I reflect upon The Loft and David and invite members of the global Loft community to choose one of their favourite Loft songs and to give us an anecdote. It’s a life-affirming musical celebration. Today in London we continue David’s legacy and vision at The London Loft and our next party is on the 9th March – we welcome people with positive energy and a loving spirit to join us and if that’s you, hit me up via DM for an invitation. And I’m also hosting a listening party featuring some of David’s favourite records at Devon Turnbull’s Hi-Fi Listening Room installation at 180 (swipe for more info). Thanks for listening and love saves the day." Listen back to the 212nd episode of Balearic Breakfast: PLAYLIST ( 1972 ) Cymande – Dove ( 1981 ) Donald Byrd  – Love Has Come Around ( 1978 ) Brainstorm  – Journey to the Light ( 1974 ) Tower of Power  – Squib Cakes ( 1978 ) The Winners  – Get Ready for the Future ( 1978 ) Easy Going  – Baby I Love You ( 2004 ) Depeche Mode  – Enjoy the Silence (Timo Mass Remix) ( 1981 ) Steve Miller Band  – Macho City ( 1982 ) Mike Anthony  – Why Can’t We Live Together (Part II) ( 1977 ) Lamont Dozier  – Going Back to My Roots ( 1976 ) Charles Earland – Drifting ( 1982 ) Pat Metheny  – Are You Going with Me? COLLEEN'S NEWS For your information, Colleen will be playing live on : March 6th (Listening room session / celebrating The Loft, tickets here ); March 8th at La Discothèque ( tickets here ) ; March, 9th 2025 at the London Loft ( tickets here ). THE LISTENING EXPERIENCE Presentation. – Colleen's show is not your usual Balearic Breakfast show, you don't have a lot of mixes as usually. Yet, Colleen is able to create a mesmerising Musical Flow, leading you to The Loft. As always, the way the songs are put together allows the listener to plunge effortlessly into David's sonical journey... For instance, the three first tracks share a common tonality with Love Has Come Around and Journey to the LIght sharing a common sonical color and structure although their rhythm differ. The unity between Journey through the Light , Squib Cakes , Get Ready for the Future and Baby I Love You is Splendid too! Although Colleen's interventions are longer, the music simply Flows right until the end, with Are you Going with Me having that same kind of "Freed Tension" and beautifully ending this great episode! I also love how Colleen ends her introductions before she starts playing the tunes, listen closely, you'll see what I mean... The Wow Moment. – One of the most beautiful moment of today's 212nd episode happens when Colleen plays Steve Miller Band's Macho City followed by Mike Anthony's Why Can’t We Live Together (Part II) ... It's one thing to mix, it's another one to let the listener Feel your Intentions... That's exactly what happens here, and something David was able to do the same way... COLLEEN'S PRESENTATION Good morning, Balericans! I'm Colleen Cosmo Murphy, and it's great to be back hosting Balearic Breakfast, live until 12 noon, and greetings to all over on my Mixcloud Live. Thank you for joining me, as always. Today's show is special, as it's the annual Loft Anniversary special. Way back on Valentine's Day 1970, my late friend David Mancuso opened the doors to his 647 Broadway home for a weekly private rent party called Love Saves the Day , and which later evolved into The Loft . The party grew not only in size, but also in influence, inspiring others to create their own parties and clubs, from the gallery to the Paradise Garage. And The Loft even exerted some influence over Studio 54 , believe it or not, as the glitzy club's promoter was Carmen D'Alessio, who was a lofty, and she tried to recreate the wide mix of people she had encountered at The Loft. Of course, they did it in a much less democratic fashion, though. But it wasn't easy for David, and he met a lot of challenges on the way, including a court case against New York City, as the officials wanted to shut him down. David won.   He also suffered from gentrification and neighbors who wanted him out of the hood, so he just picked up and moved. And he was also met with personal challenges, betrayals by people he trusted, and sycophants intent on serving their own interests, who took advantage of David's trusting nature. And yet The Loft persevered.   When I started going back in 1992, David lived on East 3rd Street, that's where he held his parties in the East Village, and it was a rough time for him. But I deeply felt and understood the magic that was happening immediately. I fell in love with the party, the music, the sound system, the people, and later with David himself. He became a dear friend, a mentor, and the two of us worked together on the parties in New York, musically hosting together at different parties, starting a loft party here in London. We did compilations, worked on his record label and documentaries, all up until his passing in 2016. And today in London, we continue David's legacy and vision at the London Loft, and our next party is the 9th of March. And we welcome people with positive energy and a loving spirit to join us. So you can hit me up on my socials if you're seeking an invitation. Now with regards to today's radio show celebration, each February I reflect upon The Loft and David, and invite members of the global loft community to choose one of their favorite loft songs and to give us an anecdote. And the song that opened the show, Dove by Cymande , was chosen by Antonio Ocasio. He remembers: "David Mancuso played so much amazing music at The Loft, and throughout the years there were those certain jams that really moved me, and one of them is Dove by Cymande. He would play it in early in the morning around 7 a.m., and he played it from beginning to end as he did all the music he presented. What a jam! Dove would transport me to a whole other place, and I could not help but close my eyes and move, however the sounds made me move. It's medicine. David played Dove when the album was released, and he flipped at the album, and he flipped the album over and played Dove when everyone else was playing brah. Think about that. That was David" . And of course, Cymande have come back strong with a recent documentary and a new album, so that's a great story. And we have more stories lined up, including this next one and song. It's from one of my dearest and best friends, Jenny Taylor, and she called it " A Love Story at The Loft ": "Like many lovers who came before us, the love of my life I met at The Loft. It was one of those nights in the summer of 1995 when the city seemed to hum with endless possibilities. My roommate Colleen, that's me , who has always introduced me to new sounds, was the music selector at The Loft for the evening. As I climbed the steps to the party, I could feel the energy building. It was a collective buzz, that kind of electricity you feel in your chest when something magical is about to unfold. Inside, The Loft was alive with dancers being completely free in their environment. The whole place was pulsing with the rhythm of the music. A mix of people of all ages and cultures, each immersed in their own world, yet all connected by the beat. I danced, lost in the sound, in the crowd, in the joy of the night. I met David Mancuso, who complimented Colleen's musical choices to me. After a couple of hours dancing, I took a break on a sofa at the end of the room. There next to me sat a tall, dark, handsome man. He had a huge smile and a kindness that made me feel like I'd known him forever. And it was as if we were the only two people in the room. We began to talk. At first it was small talk, music, the vibe of the night, the usual chatter that fills space between strangers. But it didn't take long for the conversation to shift. We shared our thoughts on what it meant to be truly alive, to embrace life with a sense of expansiveness, to feel that there were no limits to the possibilities ahead. The music, the energy of The Loft, and the way our conversation had flowed so effortlessly, it all felt like fate had conspired to bring us together. That night, amidst the crowd and the rhythm, I found a life partner. From that moment on, our life together was about music, love, travel, family, and endless possibilities. We never stopped dancing to our own unique rhythm". And this is for Jenny Taylor and the late Niles Ford, Donald Byrd , Love Has Come Around . You're tuned into the Balearic Breakfast Loft special, and this next selection was chosen by a long-standing London Loft member, Darren Morgan. And he says: "This song, his selection, holds a deep resonance for him, bringing back memories of some of the most euphoric moments with David at the Sunday sessions at The Light in Shoreditch. More than just a song, this was a portal, a breakthrough moment where energy became boundless. Step into the light, there's no need to be afraid. This line became a mantra on the dance floor, an invitation to surrender, to push beyond physical limits, and to let the rhythm carry us higher" . Darren says, "My 40th birthday trip to the New York City Loft was a transformative experience, witnessing the true essence of love as a message, where the dancer's energy was a focal point, where a movement became an expression of deep connection. It left me with a renewed sense of purpose, a need to bring back to my community, not just music, but a new understanding of how to be, how to lose ourselves, and find each other in the dance. In the parties that followed, the positive corner at the London Loft became more than just a space on the floor, it was a conduit for something greater. As a crew of close friends, we weren't just moving, we were soaring, lifting each other higher with every pulse of the bass, every shimmering key change, the room, the people, the sound, all of it fused into an unstoppable force. Moving through the darkness, guided by the light, we found strength in the music, feeding off each other's energy, pushing through exhaustion, and embracing the purest joy. After more than 20 years of contributing to the party, I still wake up with butterflies on the morning of a loft gathering, until that moment of release when I take my first step onto the dance floor. I hold my role in high regard, knowing that each time I step into that space, I'm part of something much bigger, something that connects us all. And right now, I'm literally busting at the seams to get back on the dance floor at the next London Loft party on March 9th" . This is Brainstorm , Journey to the Light , as requested by Darren Morgan on the Balearic Breakfast Loft Special. Thank you to Darren Morgan for this suggestion, and that brings him back to the light as well. I'm looking forward to gathering at the London Loft on the 9th of March. This next selection is from DJ True in New York City, and he says: "In the 80s and 90s on East 3rd Street in New York, the crowd had thinned out considerably at the loft, leaving us with just the diehards, which also happened to be some of the best dancers on the planet. With all the extra room we had on the dance floor, the dancers would practically turn into full-fledged acrobats, which also led to the occasional falls and heart smacks on the floor. Occasionally, one might unwittingly time the smack perfectly with the quiet part of the song, and everyone would applaud the person that just took the spill. It was a bit embarrassing to bust your ass and have everyone look at you once you scraped your body up off the floor, so I guess that's where the applause started. But at the same time, I might have been sarcastic, being that's how us New Yorkers rock. We love our sarcasm. Either way, it was hilarious, and a testament to how much harder they rocked back then. Ain't nobody busting their asses on the dance floor anymore unless they're messed up. They just don't put in that level of work anymore. But Squib Cakes by Tower of Power was one of those songs that people were busting their asses in over-excitement halfway through the record" . And thank you to DJ True in New York City for that wonderful selection. This next one is from Stefano Fumanti, who is from our Last Note Parties in Italy, a party that was started by our dear late friend Giancarlo Bianchi with the support of David. And the parties are still going strong. And the next Last Note Party will be held on the 7th of June, and you can find more. I think it's infolasnote@gmail.com . So I just wanted to give you all that information before I tell you Stefano's story: "My musical adventure as an amateur DJ began in the early months of 1990 when I was still underage. A dear friend from Perugia asked me to go with him to a club, the Red Zone. A bolt from the blue initially struck my ears and quickly hit my heart. That's how until 1998, I kept going to that magical place where music, friendship, and love reign supreme. Discreetly, I positioned myself around the console and enjoyed the night between a drink and new friends who shared the same passion. One above all was our beloved Giancarlo Bianchi, who out of his great passion for music, came from Rome every Saturday to the Red Zone. The musical selection of Souto Cosimetti, the resident DJ at the Red Zone, was insane. And I also want to send regards to Souto's memory as well. Moreover, we loved staying until the last hour from 5 to 6 a.m. when Souto would pull out some truly incredible gems from his magical bag. The years passed, needs changed, but beautiful friendships remain. Indeed, despite marriage, family, and two children, and thanks also to social media, after about 10 years, we found ourselves even more passionate. So much so that Giancarlo told me he would go to London to the legendary Loft with David Mancuso. I was stunned because for me, it was a dream. The party per excellence, the loft. Giancarlo had befriended David Mancuso when he had come to Perugia to play at the legendary Red Zone, and a few years later at the Urban Live Music Club, also in Perugia. After that, Giancarlo had attended all the loft parties in London for several years, and that's very true , and he invited me to the loft party in London at the iconic Light Bar. So my dream came true. He introduced me to the maestro David Mancuso while Get Ready for the Future by The Winners was playing on the dance floor. Could it have been a coincidence? No one dies on earth as long as they live in the hearts of those who remain. Rest in paradise, David and Giancarlo. We miss you so much. Love saves the day" . And thank you to Stefano Fermante for that beautiful, beautiful request. Now this next request is from a lovely dancing couple in New York City, Ed and Deb Lopez, and I just love this one. Ed says: "I remember hearing this song for the first time alongside my buddy Greg. We started digging the track right away, but the version that David played had a break, and in the background, out comes these horns that sounded like cows. We must have laughed for a half an hour. Of course, we were in high spirits at the time, and next time he played the track, I went and asked David for the name of the track, and as usual, he obliged and gave me that great smile of his" . Easygoing . Baby, I love you . And thank you to Ed Lopez for that request. This next one is from Ian Mackie. And when we bought our sound system for our loft parties here in London, David requested, no, he demanded that we bring a professional sound engineer he had met in Glasgow when he was doing a party up there. Ian Mackie, and as David always told me, "don't lose Ian" . And Ian started coming down for every single party, and well, try as I might, I haven't been able to lose Ian. I'm just joking. He's become a dear friend and part of my family, and my daughter even calls him Uncle Ian. So I have so many incredible friendships from the Loft and David, and I'm so thankful. And this is from Ian: "I ended up having a massive debate with David one night about remixes and re-edits, and he claimed to not be a fan of either, as it took away how the musicians felt the song should be in the first place, and that that was disrespectful. I, on the other hand, was saying sometimes they elevated the original. When I pointed out that one of his current favorites was a remix, it led to much debate, argument, and whiskey drinking. Being it was a tune I lost my virginity to, and Ian, I hope you're talking about the original, not the remix, which came out in 2004. It was a prominent memory. So then we went into a whole debate about tracks that remind you of a sexual encounter, and the rest of that conversation is not for radio. From that conversation on, whenever David played this track, he used to turn around and give me a cheeky smile" . It's the Tima Maas remix of Depeche Mode 's Enjoy the Silence . The wonderful remix by Tima Maas of Depeche Mode's Enjoy the Silence, as chosen by Ian Mackey for today's Galera Breakfast loft anniversary special. And I just also wanted to mention one other thing I'm doing in London in tribute to David. On March 6th, I'll be hosting two listening sessions at Devin Turnbull's Hi-Fi Listening Room Dream No. 1 at 180 Strand in London , and I think it's at 7 and 8.30. In any case, you can find out more information at 180 Strand, where you can book a reservation. And yeah, I'll just be kind of going through some of David's song choices and why he chose certain things, and even to the, you know, talking about the sonics of different songs as well. So that's happening on March 6th. And three days later, we're hosting our London loft party here in London as well. And you can always get in touch with me if you would like an invitation. Now, this next one I decided to choose because I was just in Washington, DC, and it will all make sense. In any case, I'm from a rock background, and that was a really strong connection between David and myself. And I loved it when he would play like Jimi Hendrix's Electric Ladyland at like 11 in the morning on a Sunday, or Van Morrison. And when I first heard this next song at the loft, I was absolutely blown away. It's a long and groovy and somewhat psychedelic track with a political bent. And it came to mind as over the past weekend, I was in Washington, DC, where macho men are shooting up history's pages. Steve Miller Band with Macho City . Mike Anthony with a cover of Timmy Thomas's Why Can't We Live Together? That's the part two. And I just love the funky break at the end. And that one really seemed appropriate. In this divided world we are now living in. And yeah, I remember when I heard that first at the loft, especially that funky break just absolutely loved it. And thank you to David Mancuso for turning me on to that. You're tuned in to the Loft Anniversary Special on Baleric Breakfast. I'm Colleen Cosmo Murphy taking you until high noon. It's another half an hour left to go. We have a few more songs for you. And this next one is a request from Matteo Tidaldi, who is part of the Last Note Party in Italy, our loft party in Italy. He says : "The first time I discovered the story of the loft, it was like finding my origins. And over time, I realized why. I love the loft because it's family and community. It's music and vibes. It's a journey, freedom of expression. It's considering the differences of individuals, a wealth, it's connection. And as David said, all this is social progress. I believe that today's world is making us lose contact with ourselves and the loft in its form of musical purity and expression. It's as if it took us back into time when we were children, reconnecting us to our roots. Music is love forever. Thank you, David" . And this is Lamont Dozier  with Going Back to My Roots . I never get sick of that song. I never get sick of this next one too, is chosen by my husband, Adam Dewhurst. And he says this: "I remember both David and Colleen playing this song at the loft parties. It's one of those perfect loft classics that truly makes sense when everything comes together between the musical host, the music, and the dancers via that transcendental sound system at the right time of the night. This memory is from the London Lofts Party's Memorial Party for David shortly after his passing in 2016. So many of us were missing him deeply and grieving, whilst also feeling the elation of the message being transmitted and the higher collective energy being created by the dancers, becoming as one, as David always reached for. Colleen was playing deep, focused on the musical journey to celebrate our dear friend and started playing Charles Earland 's Drifting . Whilst instantly thinking about David, I saw a balloon break free from the thousand or so that hung from the ceiling. Usually on high alert, watching out for any rogue balloons that could fall and damage the precious Kwetsu cartridges, this balloon was different, if you could say such a thing. It just hovered there, above the heat of the dancers, vibrating directly above them, almost wobbling like a jelly. Over the course of the next few minutes, it slowly hovered its way across the dancers, just beyond their reach, and I was grinning away, watching it, feeling like David was with us, with goosebumps all over. Eventually, the dancing balloon came to settle, hovering above, about one meter above one of the clip-shorn speakers, where it stayed, swaying to the rhythm of the song. That balloon stayed there, dancing away for the remainder of the song, and then fell back to earth as the song came to its end. One of those loft moments of which there are so many. I love and miss you, my dear friend David. Thank you for everything you share with us. Love saves the day" . Oh my gosh, that is just one of my favorite songs, and I also want to dedicate that to the memory of our late dear friend, Giancarlo Bianchi. That was his copy, and he gave it to me shortly before his unexpected passing in October of last year, and of course Giancarlo was the founder of the Last Note Loft Party in Italy, and we'll be remembering him and David on the 7th of June, and if you want to find out more, just email infolasnote@gmail.com . Well, this is Colleen Cosmo Murphy, getting ready to sign off another edition of Balearic Breakfast, this time our loft anniversary special. I want to thank everyone who contributed to this show. There were so many, so many great songs, and it just brings me back onto the dance floor. The first time at the loft way back in 1992 is just amazing. A reminder that next week we will be streaming live again, and this time it will be back to the request line on Saturday, so if you have any song suggestions, save them up and put them in the post comments on my Instagram and Facebook when the request line goes up this Saturday, and also a few more announcements. Don't forget our London Loft Party is the 9th of March. You can always email us if you want to get onto the guest list, onto the, I should say, the members list, and also I'll be hosting a couple special listening parties on the 6th of March at Devin Turnbull's Hi-Fi Listening Room, Dream No. 1 at 180 Strand, kind of talking through some of the more obscure tracks that David loved and championed and playing it on a lovely sound system.   We have one more song left for you, and this is a choice from our friend Roberta Cutolo, who is one of the members of the London Loft Party, and she also had the pleasure to book David once for a private party in Italy, and all she can say is that "This was the one time only in my experience of booking artists that dealing with David was extremely easy in the sense that the man was very clear, honest, and so specific about his terms and requests that our responsibility was to professionally fulfill with no delays, so we did that, and the party was a success" . She chose this song, Pat Metheny , Are You Going With Me . She says : "It was the song that made me understand how music for David was a complete journey, full circle, where the dance floor was conceived as a place that belonged to all dancers coming together to raise frequencies and to be part of the transcendental effect music has on body, mind, and spirit. A beautiful way to close the show" . Thank you all for joining me, and remember, Love Saves The Day...

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

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

Colleen 'Cosmo' Murphy broadcast the 221st episode of Balearic Breakfast on her Mixcloud on May 6th 2025. About this episode. – A few hours before hitting the stage at Queen's Park Spring Weekender '25, and a day before playing at 1BTN's 10 Birthday bash at Patterns, Colleen launched the request line for the 221st episode of Balearic Breakfast. And, as we shall see in the listening section of this post, today's selections showcased, both in the music and in the lyrics, and in a certain way, some positive uncertainties... This morning’s Balearic Breakfast is now up on my Mixcloud. Today’s show is mainly your requests along with some new music from @younggunsilverfox @ musclecars.nyc @alex__kassian @thevendettasuite , @the_mighty_zaf and a new @robot84music rework. This Saturday it’s the Balearic Breakfast Day Party at NT’s Loft in East London and I’m looking forward to playing with my buddy @joe_hot_chip . We’re going to do some back to backs along with solo sets and we’re going to debut our Cosmodelica Electric Eden remix of the Cure so that’s where you can hear it first! Thank@you to @jaynewinstanley for the ace jacket ❤️ THE PLAYLIST ( 2002 ) Andy Bey – Saidas e Banderias ( 1978 ) Shirley Caesar  – Message to the People ( 2023 ) Elisapie  – Taimangalimaaq ( 1988 ) Tanita Tikaram  – Twist in my Sobriety ( 2023 ) Jaakko Eino Kalevi  – Chaos Magic ( 2020 ) Joel Sarakula  – Sunshine Makes Me ( 2025 ) Young Gun Silver Fox  – Stevie & Sly ( 2025 ) Thompson Twins / Robot 84  – Dub Inside ( 2025 ) All Seeing I & Crooked Man – The Return of the Crooked Cat ( 2001 ) Charles Webster  – Forget the Past ( 2025 ) Alex Kassian x Spooky Orange  – Coloured Liquid (Part 1) ( 2025 ) The Vendetta Suite  – The Jam Answer ( 1980 ) Linx – You're Lying ( TBR ) Invisible Man’s Band  – All Night Thing (Alien Disco Sugar Rework) ( 2025 ) Disco Combine 2001 – Disco Party (Dave Lee Psychedelic Funk Mix) ( 2020 ) Joaquin Joe Claussell – With More Love (GTR Version) ( 2025 ) Annie & The Caldwells – I Made It (a musclecars production) ( 2025 ) The Mighty Zaf & Linkwood  – Yokai ( 2021 ) Sun Palace  – Rude Movements (Moodymann Remix) COLLEEN'S NEWS Do not forget to subscribe to Colleen's website ( https://www.colleencosmomurphy.com/ ) to get updates about her upcoming events! Here are some dates where Colleen will be spinning over the next few weeks: 10th May: Balearic Breakfast Day Party at NT's Loft, London 18th May: All Night Long at Pikes, Ibiza 23rd May: Cosmodelica x Love Injection at The Good Room, Brooklyn, NY 28th May: Dantes HiFi in Miami, Florida 7th June: Last Note Party in Perugia, Italy  ( sign up for our mailing list ) THE LISTENING EXPERIENCE Sometimes, an episode directly reflects what you're going through in your life. That's just how I felt when I listened to this 221st Balearic Breakfast's episode. From the openning track, Andy Bey's "Saidas e Banderias" , to All Seeing I & Crooked Man's "The Return of the Crooked Cat" , including songs like Tanita Tikaram's "Twist in my Sobriety" or even Charles Webster's "Forget the Past" , A Loy of today's songs had that worried feeling, that unexpected evolution, and, in the end, that somehow "Positive Uncertainty". This strange equilibrium revelas itself, as I said in today's post introduction, in the music itself, but also in the lyrics. If you take for instance Tanita Tikaram's "Twist in my Sobriety", the song really is about not understanding, and, as Tanita explained it in an interview, "when you're 18, you've got a very particular emotional relationship with the world, you feel very isolated, and everybody else is so distant and cold. And I think I was singing about not feeling anything or not being moved by things around" . Of course, Shirley's Caesar's "Message to the People" directly spoke to my soul too, the lyrics being so evocative: "Do you find yourself in the deepest hole, that you can find, well? / Listen, your life is spinning around and your up seems to be down / You're in deeper than you've ever been / You're time is not yet, oh you'll regret it / If you're too late / Let me tell you, young man, you need to be saved / I've got a message for the people, will you please hear my message / If you can't find your way / You've got to hold on to something / I know of a friend, he'll reach out and pull you in, save your life" Of course, as far as the music is concerned, we can also take for example The Vendetta Suite's "The Jam Answer" which has a worried feeling to it, just to show that the main intellectual theme of the show is nicely extended to the second hour too. But, as often, there's a beautiful equilibrium which never lets enter darkness totally, each song, each track having its own light, its own dose of Hope (including the show, with its last 6 songs beings beautiful danceable moments, Colleen's mix between "Disco Party (Dave Lee Psychedelic Funk Mix)" and "With More Love (GTR Version)" being simply splendid, and the Ultimate WOW Moment of the show...). COLLEEN'S PRESENTATION Saidas e Banderias by the late American jazz singer and pianist Andy Bey , who recently transitioned to the next realm. Known as a musician-singer, the four-octave vocalist got his start in the 1950s, singing with Louis Jordan and with his sisters as a trio, extensively performing in Europe and releasing albums throughout the 60s. His emotive voice was a natural choice as a collaborator with Horace Silver , Gary Bartz , Dee Dee Bridgewater , and Stanley Clark . And Bey released the solo album Experience and Judgment in 1974, which was more of a cult classic. And he didn't release another album until the early 90s and then was quite prolific for 25 years or so. We heard Saidas e Banderias from his 2001 LP Tuesday in Chinatown . And thank you to David Puzzi for that request. Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast until high noon on my MixCloud Live. And greetings to the family gathered in the chat group right now. Lovely to see you as always. I had a fun-filled May Day holiday weekend up in Glasgow on Saturday, playing with Horse Meat Disco for Melting Pot at Queen's Park. And then on Sunday, celebrating 1BTN's 10th birthday at Patterns in Brighton, which was a lot of fun. And thanks to all who joined us and to those who said hello. It's really great meeting listeners face to face. I really appreciate your support. And this Saturday, it's the Balearic Breakfast Day Party at N.T.'s Loft in East London. And I'm looking forward to playing with my buddy Joe Goddard of Hotship . And we're going to do some back-to-backs and some solo sets. And we're also going to debut our Cosmodelica Electric Eden remix of The Cure . So that's where you can hear it first. So excited to hear that one out. Now, today's show is mainly your requests, along with some new music from Muscle Cars, Alex Kassian, Young Gun and Silver Fox, Crooked Man, The Veneta Suite, The Mighty Zoff, and a new Robot 84 rework. So let's get on to the music with some requests. This is from our friend Bert in Brooklyn, who says this legendary gospel singer has a message for the Balearic Breakfast family. Shirley Caesar has had a 70-year career, starting when she was 12 years old, and she's won 11 Grammy Awards. So it's no wonder she's known as the first lady of gospel music. She sang with The Caravans in the 1950s and then went solo, releasing her debut album, I'll Go , in 1967. She's had a stellar singing career, and she's also a preacher, and she acted in a few films, including Why Do Fools Fall in Love? and Fighting Temptations . From Shirley Caesar's 1978 album From the Heart , this is Message to the People . Pop folk singer-songwriter Tanita Tikaramam with her hit Twist in My Sobriety . And that's from her 1988 debut LP, Ancient Heart . And she released a bunch of albums in quick succession, including Everybody's Angel . And I got to interview her for that album for my syndicated radio shows back in the day. And I also got to see her perform at the Beacon Theatre at that time, and she was so good. She seems very self-possessed. She has the courage to kind of take intermittent breaks from the music business, so good for her. And then she comes back with more music. And I just checked her Instagram this morning, and tomorrow she's hosting a social event in Hackney, just down the road from me. And it looks like she's having painting and sandwiches. It looks really sweet. And she's also playing at the EFG Jazz Festival later this year. And thank you to Karl Banitov in Montreal for that request. Ahead of that, Inuk singer-songwriter Elisapie with an Inuktitut version of Cyndi Lauper's classic Time After Time . And she grew up in the Inuit community of Saluit in Quebec, Canada, and she started releasing albums in 2009. And the song we heard is on her award-winning 2023 LP, an album of covers sung in Inuktitut, which is one of the principal Inuit languages. And she started singing at the age of 12, and she's also a broadcaster, documentary filmmaker, actress, and activist. Just an all-around interesting person and artist. And thank you to Tom Torres in Vienna for that request. And Bert on the chat just said Cyndi Lauper was inducted into the Rock and Roll Hall of Fame . And that song, Time After Time, is just such a great song. It's been covered so many times, including by Miles Davis . He has a version on You're Under Arrest , that 1985 LP. Now, this next one is pretty tripped out, and it was chosen by our tripped-out friend, Virginia Tsioti in Athens, Greece. It's by Finnish musician Jaako Eino Kalevi , and he's released loads of albums since 2007, both solo and collaborations. And this next one is from his 2023 LP, his wildest statement yet, a double album of elemental pop and Baroque electronics that plots a thrilling course through the Jakko universe, drawing on cosmic jazz, dub reggae, neon synth pop, tender ballads, and psych rock nirvana. Here is Kalevi with the album's title track, Chaos Magic . You can thank Sarah Joseph for turning on to this latest nugget from Young Gun Silver Fox , the tune Stevie & Sly . And of course, we know who they're talking about, although I think it should be called Stevie, Sly and Steely. Anyways, it's the opening song from their latest album, Pleasure Young and Pleasure . And the Young Gun Silver Fox is Andy Platts and Shawn Lee , and they're touring in the UK right now. And then heading over to the States in June, and they're absolutely fantastic live, a really tight band. In fact, if you've seen Ashla Puthli last year, you would have seen Shawn Lee playing drums. He's also her musical arranger, such a talented lot. Ahead of that, the UK-based Australian artist Joel Sarakula with Sunshine Makes Me from his 2020 album, Companionship . Sarakula is a songwriter who has traveled the world in search of his muse, experiencing everything from being a victim of Caribbean carjackings to performing in the remote fishing villages of Norway before finally establishing his career in the UK and Europe. He's released several albums of his breezy Californian-styled soulful pop, Nine to be exact, including his latest, Soft Focus , released last year and which I listened to this morning. It's fantastic. I'm now a fan. And thanks to Victor Olteanu in Romania for that request. OK, this next one is for Luigi in Houston who asked for the Thompson Twins ' Come Inside , the opening track to their 1991 LP Queer . And it was a big record as a white label in the clubs and should have signaled a comeback for the band. But when it was commercially released, it didn't do as well as expected. And in fact, the British release of the album was canceled. But Robot 84 didn't forget about this tune and put a little twist on it, which I hope Luigi is going to like. Oh, loving this one. Sheffield's All Seeing I & Crooked Man with a tune called The Return of the Crooked Cat . And All Seeing I was Richard Barratt , Dean Honer and Jason Buckle . And they released one album, Pickled Eggs and Sherbet , in 1999. And Buckle went on to be a part time member of Fat Truckers and form Relax Music with Jarvis Cocker . And Crooked Man , of course, is Richard Barratt , a.k.a. DJ Parrot, and is the Sheffield based DJ and producer, who is one half of the duo Sweet Exorcist alongside Cabaret Voltaire founder Richard H. Kirk . I just love the Crooked Cat sound. His remix of Cymande is fantastic, too. And thanks to Matt Raistrick for that request. I'm Colleen Cosmo Murphy on Balearic Breakfast. And this next one is from our friend Barry Bernitz in Washington, D.C., who says it's been a tough week in the USA. And I'd just like to add, I think it's been a tough 100 plus days. So he suggested this one with a very apt title. It's by British Deep House producer Charles Webster . And I just love his stuff. He's gone under many monikers, including Furry Freaks and presents, and has been releasing singles for nearly three decades. This is from his debut album Born on the 24th of July , released on Peacefrog in 2001. And it's called Forget the Past . A new one from The Vendetta Suite , who is Belfast DJ producer Gary Irwin . He's released several singles and an album on Italian imprint Hell Yeah! And is back with this one, which is a great slice of Italo and Balearic. We're listening to The Jam Answer . And I really can't wait to play that at the Balearic Breakfast Day party on Saturday. And the flip is also good. The title is called Island Hill Microdots . So that should tell you all you really need to know. Ahead of that, a new one from Alex Kassian after last year's standout E2, E4 rework. And he returns to test pressing records with the next installment in the series. This time turning his attention to Spooky's Orange Coloured Liquid , taken from their debut 1993 LP Gargantuan . Alongside acts like Underworld and Leftfield , UK duo Charlie May and Duncan Forbes helped reshape the early 90s progressive house sound under their spooky moniker. And now decades later, Cassian delivers two versions designed to serve Dancefloor and Sunset respectively. With the rolling breaks of Part One, and that's the one that we heard, beautifully complemented by the ambient swells of Part Two. And there's also a John Beltran Placid Angles remix. Okay, let's slip into something a bit soulful. A special request from London House Music Works. The early 80s Brit funk group Linx , which featured David Grant , who went on to a solo career, and bassist Peter Martin , who joined 23 Skadoo . Linx were in the same scene as Freeze and Level 42. And a quick aside. I'm hosting the 40th anniversary celebration of Level 42's World Machine with members Mike Lindup and Phil Gold next week for Classic Album Sundays . It's sold out in minutes, but if you want to join us for future events, sign up at classicalbumsundays.com . As our next one is with Graham Massey of 808 State , and we're featuring Xcel . In fact, I interviewed him for that one the first time around when it came out in 1991. Anyways, back to Lynx. This is You're Lying from their debut album Intuition. An old request from Tomohiro Yamada in Osaka, Japan. For Jo, or Joaquin Joe Claussell , With More Love , the GTR version of his lengthy 2009 song that came out on 7-inch in 2020. Ahead of that, a great slice of psychedelic soul disco funk from the UK's Dave Lee . It's called Disco Combine 2001 with Disco Party , and it's out now on vinyl, so don't wait. Ahead of that, All Night Long , the 1979 single by American disco funk act Invisible Man, given a rework by Alien Disco Sugar . And it's the title track of Invisible Man's debut 1980 LP. And the band was made up of the Burke Brothers , and Kenny Burke, of course, went on to an illustrious solo career. And that was requested by David Stoddard, who is going to be there at Pikes for my All Night Long debut on the 18th of May. And I'm doing three All Night Long sessions at Freddy's at Pikes. Also there on the 29th of June and the 28th of September. Okay, Annie and the Caldwells is a family that plays a powerful disco soul from West Point, Mississippi, led by singer Annie Caldwell and her husband of the last 50 years, guitarist Willie Joel Caldwell . Now you can pre-order their forthcoming I Was Living in a World of Sin Part 1 , and you can get the Muscle Cars mix . They turned out a great mix of I Made It , and I played it on Sunday night, and people loved it. So you have to head over to the Annie and the Calwells Bandcamp to pre-order. And you'll also get remixes by Nicky Siano and Justin Strauss . And those two DJ producers will join Annie and the Calwells at Public Records this Thursday. So you'll want to check them out, and they're over here in the UK in August. This is I Made It , a Muscle Cars production on Balearic Breakfast. Absolutely loving this one by The mighty Zaf & Linkwood with YoKai . Requested by Rick Van Veen in the Netherlands. And the mighty Zaf is the man behind the record shop, Love Vinyl and Hackney . And Linkwood is the Edinburgh DJ producer Nick Moore . And that's out now on vinyl. And, of course, we had Annie and the Caldwells before that, I Made It , a Muscle Cars production. Well, we nearly made it to the end of the show. I went a little bit longer because I have one more for you that I really wanted to play. This is Colleen Cosmo Murphy getting ready to sign off. Until next week, I will be streaming live again next Tuesday and playing some new stuff. I'm going to catch up on some old requests as well. And don't forget Saturday is the Balearic Breakfast Day Party with my friend Joe Goddard over at NT's Loft. And we'll be debuting that special Cure remix as well. Okay, leaving you with an old favorite but a real twist, you know. It's Sun Palace , Rude Movements . Loft classic and, you know, one that I thought, hmm, it really shouldn't be a remix, but it was. And it was remixed with aplomb. I've played Francois K's mix so many times. I decided not to go for that one this time. But BBE did this whole package of remixes and along with Kenny Dope and also François . And I think Opoloppo , there's a great Moody Man mix. And I think it's really great because it's really faithful to the original but really adds some beautiful instrumentation. And I heard Hands On Family play it when we were playing together over at BBE. So I thought it was kind of apt. It was requested by Herbie King and Brighton. And thank you all for joining me. Thanks to all over on the MixCloud Live. It's always great to see you. It's a very lively conversation over there. Have a wonderful week and thanks for listening.

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

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

Colleen 'Cosmo' Murphy broadcast the 177th episode of Balearic Breakfast on her Mixcloud and Twitch TV socials on May 28th 2024. About this episode. – For obvious reasons, and I let you find them (laughs!), I could have entitled this very post "The Double Trouble Sessions"! But since I'm here to facilitate your navigation through the musical ocean that is Balearic Breakfast, I'll respect the naming system I set up on the blog! After playing at the Good Room in Brooklyn last week, meeting her friends Paul Raffaele and Barbie Bertisch for another incredible musical experience (their first commune Cosmodelica party was held some 10 years ago "in the Bad Room", time flies! – and, should I add, Paul and Barbie are awaiting a Baby, so heartfelt congratulation to them!!), Colleen returned home and streamed this 176th episode of our beloved show, sharing great news about the Balearic Musical scene with the release of another splendid compilation ! As Colleen shared on her socials: "This morning’s Balearic Breakfast is now archived on my Mixcloud for your listening back pleasure and please give me a follow while you’re over there – trying to smash that 10K ceiling! On this show I’m joined by cratediggers @djkelvinandrews and @balearicmike who each contribute an exclusive one hour mix which will have you heading to Discogs. They also chat about their new compilation Down to the Sea and Back – Volume Tres: The Continuing Journey of the Balearic Beat which is coming out this Friday on @musicfordreams" Listen back to the 177th episode of Balearic Breakfast: PLAYLIST Balearic Mike Mix: ( 2010 ) The San Sebastian Strings – Gypsy Camp (Danny Mekanik Edit) ( 2013 ) Josete Ordonez  – Objetos Perdidos (Dagobert Böhm's Las Estrellas Y El Interminable Sonido Del Mar Remix) ( 1971 ) Amancio D'Silva  – What Maria Sees ( 2021 ) Mario Rui Silva  – Dembita ( 2022 ) Greg Foat  – Tropical Love ( 1975 ) Thijs Van Leer  – Street Rondo ( 1970 ) Airto  – The Tunnel ( 1978 ) Robert Williams  – I Believe You’re The One ( 2020 ) Lady Blackbird  – Collage (Greg Foat Remix) ( 2023 ) Steve Cobby  – Everything Is Moved By Time ( 1996 ) Sade  – Somalia (DJ Duke remix of “Pearls”) ( 2013 ) Heikki Sarmanto & Jeanine Otis  – Magic Song (Ashley Beedle's Heavy Disco Joint) ( 2019 ) Larry Manteca  – Hanuman Kelvin Andrews Mix: ( 2023 ) Habitat Ensemble  – Rounded Edges ( 2016 ) Steaua De Mare  – Babadag (Khidja Remix) ( 2021 ) Marten Yorgantz  – Ammenain Serdov (De Tout Coeur) (Fundido Edit) ( 2024 ) Alex Kassian   – E2E4 (Mad Professor Qantas Crazy Remix Beats 2024) ( 2021 ) The Slits  – So Tough (Party Nails Don’t Be So Serious Dub Version) ( 2021 ) Sal Asrula  – Poor Boy (Dub Mix) ( 2022 ) Wham  – Where Did Your Heart Go? (CJ Giovanni Edit) ( 2023 ) Creep Show  – Bungalow ( 2016 ) Atom TM  – Magic Sofa ( 2020 ) Anak Anak Abu  – Korkap Mestap ( 1983 ) Car Crash Set  – Fall From Grace THE INTERVIEW [Colleen] Good morning, Balearicans. I'm Colleen Cosmo Murphy, hosting your weekly Balearic Breakfast on my MixCloud Live until high noon. And greetings to all over there on the chat groups. Always great to see you. Today, we have a special takeover by a dynamic duo of esteemed crate diggers and purveyors of that obscure, elusive, hard-to-pin sound that we like to call Balearic. They've been rightly described as chroniclers of a scene assembling lost gems and unheard marvels into Balearic mythology. Today, I'm with Kelvin Andrews and Balearic Mike in advance of their new down-to-the-sea-and-back volume Tres, the continuing journey of the Balearic Beat compilation, and it's coming out on Music for Dreams . And I'm overjoyed that they've both given us an exclusive mix because they're fabulous DJs. Hello, Kelvin. Hello, Mike. [Balearic Mike] Hi.   [Kelvin Andrews] Hi, Colleen.   [Colleen] How are you doing?   [Kelvin Andrews] Fine.   [Colleen] Good. Good to see you. Thank you so much for joining me.   [Kelvin Andrews] Absolute pleasure. Thank you. [Balearic Mike] Thanks for asking us.   [Colleen] I love the compilation. I wanted to first just talk a little bit about the history of this compilation, and then we'll kind of take a deeper dive into your backgrounds and also what's coming up. Now, this is volume Tres. Tell us first a little bit about volumes one and two and how they came about. [Kelvin Andrews] Mike and I kind of, I think we met around 1993, four, did we?   [Balearic Mike] Yeah, 92, 93. It was early 90s, wasn't it?   [Kelvin Andrews] We actually met playing in a five-a-side tournament between clubs at Keele University , which was quite an interesting way to meet. And I think the first thing I said to Mike was, nice shorts.   [Balearic Mike] No, you said shorts of the tournament.   [Kelvin Andrews] Oh, shorts of the tournament, yeah.   [Balearic Mike] Yeah, I had these big kind of like boxing-style black shorts with big white stars all over them from the boys' shop in London. Because, yeah, at the time I didn't have any football hits or anything like that. So, yeah, as I was walking off the pitch after a hard-fought game against Golden, Kelvin said to me, yeah, shorts of the tournament, they are, mate.   [Colleen] Who won?   [Balearic Mike] Neither of us. Yeah, we were absolutely awful. We'd all been in back-to-basics the night before and come straight there or something. Yeah, it was not very high standard of soccer.   [Kelvin Andrews] I believe the cream team won because they had loads of Liverpool football players playing for them.   [Colleen] Oh, that's cheating. That's absolutely cheating, isn't it?   [Balearic Mike] Yeah.   [Colleen] And how did you end up coming to DJ together? Did you start doing parties together first before you did your first compilation?   [Balearic Mike] Well, I was kind of DJing with a group of guys in Manchester called Love Dot and Kelvin was obviously already resident at Golden and was like really quite huge, or he was, you know, him and Danny were, she was pure and they were remixing everyone and stuff. Yeah, so I let Kelvin tell you what Golden was.   [Kelvin Andrews] Yeah, Golden was a party started by one guy who was in my art class at school, a guy called John Hill and a couple of his friends. And they were coming along to a regular Saturday night thing called the Freetown and they approached the DJ booth and said, we're starting a new club. We want you and the other guy, Pete Bromley, to be residents. Are you interested? And we said, yes. And they just caught a wave really that the whole, the super club era was about to come in, and papers like MixMag were just starting to have this national hold on the clubbing public. And this wave swept in and within a year we were collecting Club of the Year at the Royal Albert Hall. It was quite mad really. It kind of took off very, very quickly. My first paid DJ gig was a 17 year old in 1982. So, and it wasn't very hip when I started DJing at all, especially in the UK. People were like, what are you doing? I said, I like it. I didn't know why I liked it. I just love sharing music. And so I was in the right place at the right time really. And I got, you know, I'd been DJing a few years when that happened. And when the club thing really took off, I was just sort of there and ready. And that's how I met Mike because he was involved with a crew in Manchester and we sort of got chatting.   [Balearic Mike] Yeah, we liked partying very hard and Kelvin and I were both really, really, really, really obsessed about records. And so after the club's finished, because you know, back then in the UK things still finished at sort of two, maybe four. So the after party was very important. And Kelvin and I would invariably just end up honished over the deck, like ignoring everyone else, going, have you heard this? And then Kelvin would go, that's great. Have you heard this? And we did that a lot, like every weekend when we'd meet up after DJing at various places. And then one day I think Kelvin said, we should do a compilation of some of these records, shouldn't we?   [Colleen] Let's talk a little bit as well about what you were doing at the time because you were working in a record shop in Manchester and you were also part of the Loved Up crew. If you could tell us a little bit about what it was like at that time.   [Balearic Mike] Yeah, so I was just really lucky. I kind of bulged up my fine art degree in Brighton by going out clubbing all the time and buying too many records and not really painting any pictures, which is what they were expecting me to do there really. And yeah, I'd been living in the Northwest of England. So I went to Manchester quite a lot. My mum was living in Warrington in the Northwest and I was in Manchester shopping one day and suddenly a job in vinyl exchange and applied and was lucky enough to blag my way into that. And yeah, again, it was sort of right place, right time. It was really early 1991 and it was a really good record shop but it had only been open a couple of years and it was just starting to get its head around the fact that people really wanted house music and dance music. And so I was brought in to sort of help. There was one guy who kind of knew about house music who was Adrian Loved Up and they just said, right, we need more people who can buy this stuff because it's obviously really taken off. And so, yeah, I got the job and yeah. I mean, I was already kind of really immersed in music and clubbing and kind of, I DJ'd a bit when I was back at school and I DJ'd a bit when I was away at art college in Brighton and stuff. But yeah, I was just mainly just dancing and buying lots and lots of records, and the dancing and buying lots and lots of records kind of went into overdrive really when I got a job in a record shop because yeah, I mean, you think you know a lot about music when you start working in a record shop and then within about a day, you realize that you know absolutely nothing.   [Colleen] This is what I always say. I say the same thing because I was so full of myself. I wasn't really full of myself, but I was 16 and I got it when I started first working in a shop. And then I realized I will never be able to even crack the tiniest bit of all the music in the world and it's great. I was just on the phone with François before this interview. We're turning each other onto records the whole time. He's 70, you know, and it's just this kind of passion never really stops, does it? There's just limitless music and working in a record shop certainly does kind of, wet that appetite and feed it and it's sort of a bad way too. Do you two remember any of the early records that you turned each other onto?   [Balearic Mike] Well, you know, it's weird because the one of them is on Dancy in Back Volume 2, it's Jago , isn't it? Jago was the one that I think when I played it to Kelvin, he went, you know, we should do a compilation with these records. Summer 1989, and the clubs and raves are filled with this new, dreamy lighter sound: the sound of Italian house music. It was one of the longest, hottest summers in memory, and my first living away from home. After the grim Northern wastes of Warrington, Brighton in the sunshine seemed, to this young gun, like the Italian Riviera. The Zap Club had been closed for most of the winter, undergoing a major refurbishment and extension, which took it from two rather small arches into four, encompassing a huge, cathedral-like dance floor. I went as often as I could. The week after it opened I remember Soul II Soul DJing there, which was amazing, but all summer long they had a terrific roster of regular nights, with Harvey & Choci’s Tonka Soundsystem on a Monday (I think it was?), an insane new gay midweek night which I can’t remember the name of, and of course Chris Coco’s Coco Club every Saturday night. I heard this record at all of them. I can’t remember exactly how I found out what it was called or who it was by. If I asked a DJ it must have been at a Tonka night. The Zap Club’s DJ booth was high on a balcony above the bar, overlooking the main dance floor, and so it was a pain to get to, but at Tonka, Harvey and co set up the decks on the stage, right in the middle of the dance floor, so you were literally dancing around them. Much easier to pester them. I bought it from Rounder records in Brighton some time that summer - the reissue with the brown label. I remember at the time Mark (I think his name was?) and the other staff in there all thought that it was a new Italian house record and that the Frankye Knuckles (miss-spelt) mention was just a cunning ruse to get people to buy it. None of us had any idea that it was actually an old Italo-Disco track from 1983, or that it really had been remixed in Chicago by the godfather of house three years later. That’s part of the enduring appeal of this record for me. It sounds like it could have been made at any time over the last thirty- plus years, right up until today. Hence no surprise when I relocated to Manchester and found everyone I met here loved it as well. It’s also one of the reasons why it rarely, if ever, leaves my record box. Back in the early 90s when I first met Kelvin, we were back at an after party in the house in Withington I shared with Adrian LuvDup and Chris Sheep. As usual we were hunched over the decks, deeply involved in a game of musical top trumps. When I played this track we both decided we should release a compilation LP, with this on it. It only took us twenty years to get round to it. My friend Oscar’s son is named Jago. [Kelvin Andrews] Mike had a habit of playing me things. I saw, you know, when you think you've got a hot record box and this guy comes along and starts pulling things out and you're like, he's like, yeah, this is promo only. And it's a Colombian B-side seven-inch. I'm like, what, who is this guy? You know, so I was immediately hooked and, you know, and we were just like, we were probably quite rude to everyone else because we were just talking to each other about records, you know.   [Balearic Mike] Ignored the party going on really, didn't we? And yet by putting records on, we're helping facilitate it at the same time, but you know, we're definitely an audience of one rather than everything else in the room.   [Colleen] Well, believe me, I mean, the music that the both of you play, it really does translate. It's a, don't think, it's not that kind of Trainspotter-ish, Trainspotter-ish kind of situation where some people are just pulling out records that are rare just for the sake of it, but they're actually not very good. We do see quite a bit of that because we've excavated so much already, I suppose. But literally every selection, every selection on this double album is fantastic.   [Balearic Mike] Well, thank you very much. We're really pleased with that, actually, aren't we? It's like...   [Kelvin Andrews] Yeah, very much so. It was kind of like, you know, oh, let's do this, because we talked about doing Volume 3. There's been a bit of a gap, as you may know, but... [Balearic Mike] Ten years! [Kelvin Andrews] Yeah, yeah. And I don't think it's really the fact that, you know, we don't have the records to put on there. I think licensing slows things up. This time around, in the past, we put it all together ourselves. This time, we've got a label to help us, and that made such a difference. It was so great. You know, we could concentrate on, like, picking things out and then giving it to licensing people to take care of, you know, which is great. I think when you listen back, you don't know when you're in it, but when you actually listen back to the comp, you think, oh, this is quite good. It's bizarre, isn't it? You know, when you're... I think when you're DJing... When you're DJing, you don't... I'm certainly the same. I'm thinking about the next record.   [Colleen] Yeah.   [Kelvin Andrews] And I'm not really listening to the record that's playing. So when I... Particularly when I hear a mix back, I'm like, oh, that's pretty good, that is. That's what gives me my confidence, and it always has done. I think back to, like, the first time I got mixtapes recorded. When I listened back, it made me go, actually, I'm all right, I can do this. I think it's the same with the comp. You know, the choices are... And we don't really consult each other. We just come up with two lists, chuck them together and see when we've licensed it, what we can get, and then we make the comp. [Colleen] And then when you do that, do you have one person does one disc, one does the other? Is it back-to-back? How do you sequence it?   [Balearic Mike] I think we both just like it to flow like as if we were playing together live. You know, it's like when we DJ, we often do sort of two-on, two-off, or three-on, three-off, or something like that. But we wanted it to work like... We'd like all of them to work like a DJ set almost, haven't we, I think, Kelvin?   [Kelvin Andrews] Yeah.   [Balearic Mike] Have a kind of beginning, middle, and an end, really. You know, like a flow in a kind of sensible, musical way. And it's really weird, actually, when we were putting the running order together, we both came up with separate running orders, and they were almost identical, I think, weren't they? [Kelvin Andrews] Yeah, yeah. And actually, they've only really changed just to facilitate having the right amount of music on a side of a record and stuff like that. You know, it's the only reason that it had to be moved around, really.   [Colleen] Yeah, that's one of the kind of bloody awful things about vinyl, right?   [Balearic Mike] Well, I mean, the worst thing is not being able to get things. I mean...   [Colleen] That's the worst. And then somebody else gets it.   [Balearic Mike] Thankfully, that hasn't happened to us yet, that something's come out that we wanted that's on someone else's comp.   [Colleen] Actually, it's fine. At least it's out there, right? I mean, there's so much great music, and the two of you are proper, proper crate diggers. Why don't we get back into the music for a little bit, and we'll come back and speak some more. Right now, we're listening to a one-hour exclusive mix from Balearic Mike. I should also say he has a radio show on 1BTN, which is really good, so you should check that out, too. [Colleen] You're listening to Balearic Breakfast, and with me right now, I have Calvin Andrews and Balearic Mike, and they have a brand new compilation out called Down to the Sea and Back, Volume Trace, the Continuing Journey of the Balearic Beat. In fact, it's not out right now. It's coming out on Music for Dreams on the 31st of May at the end of this month. And right now, we've been listening to Balearic Mike's mix. We have Kelvin Andrews' exclusive one-hour mix coming up afterwards. I just love the way both of these guys play. We were talking earlier about the methodology of how you created this compilation. I mean, we have two different people. I did a similar thing with Ashley Beedle a long time ago (ed.: on " Dark Star " - Discogs ). Now, when did you actually start DJing together?   [Balearic Mike] It would probably have been sometime in the mid-90s, wouldn't it? I think, did I play at Golden with you, and you played at Loved Up Nights with me? [Kelvin Andrews] Yeah.   [Balearic Mike] We played together at things like Wobble and stuff in Birmingham, and then we had a club that we ran together in Stoke called Sound in some 96.   [Kelvin Andrews] Yeah, 96. So it's like the sort of 94. We were sort of occasionally playing at different clubs. We'd show up at a club on the circuit, and we were playing. When I think back about how we communicated without mobile phones at that point as well, it was quite weird. But we always used to see each other, didn't we?   [Balearic Mike] Yeah, it's mad, isn't it? You see each other like every weekend, and it's like you'd be DJing in Glasgow, and we'd be in London, and we'd meet in Birmingham. It's like, how do you do that without tracking devices and stuff? But yeah, we just did, didn't we?   [Colleen] Kelvin, what was it about Mike that really struck you as a DJ?   [Kelvin Andrews] Well, he was playing at a level with the digging, which I wanted to be, because I didn't know many people like that. It was like, this is how I see it, like obsession, detail, and just... And it was always about the music too. You're playing a record, I don't really go with the idea that if it's rare, it's good, like you mentioned before. It's got to be good. It's got to be exciting. On top of that, if it's obscure and rare, even better, because it kind of gives you something to play with, and not everyone's playing it. And if I learn that 20 DJs are playing this record, I kind of shy away from it, because I'll be looking for something else. And this was a guy who was, he always had music that I wanted. Luckily, because he was in a record shop, he would buy me copies of stuff. [Colleen] They tried to have. [Kelvin Andrews] Yeah, which is really helpful.   [Colleen] Or not, not on your bank balance, that's for sure!   [Kelvin Andrews] Well, no, but I did get a discount, generally, so. But we both had the same kind of appetite for records as well. And it was just like, he would make a call to me in an afternoon and go, we've had these tracks in, there's three, do you want me to put one aside for you? I'm like, yeah. I didn't even need to hear it, because I knew I needed it. Because if he was having it, I wanted it as well. It's a bit like that. And I was running a couple of labels as well, Bits and Bobs coming out. I was in the studio doing that side of my thing.   [Colleen] Why don't we say what that was? Because not everybody knows exactly what you did at the studio, because you did some pretty big things.   [Kelvin Andrews] Well, I worked with my brother, Danny, and we started off by making some house tracks. I was in bands and stuff. It was a very, quite a musical background. My dad was a musician. So we were all into music. My dad said to us, don't go into the music industry. And all three brothers ignored him. We, and it wasn't by design. We were sort of like, we just fell into it because we were into it. You know, it was just the exciting thing to do. You know, you either formed a band or you played records or you, you know, as I was growing up, my parents were into the music that we played. So in 79, we were obsessed with Earth, Wind and Fire, you know, and I was the eldest. My two younger brothers, they were having it drilled into them. So music was everywhere, really. So making music was the next step. So first of all, Danny, younger brother, I was working in 86 for Polygram Records. And I got a cassette of the House Sound of London, Chicago house music. And it was a promo cassette. And I play, I play Jack Your Body to Danny. And he had an epiphany right there. He just went, that's it. That's what I'm doing. Within six months, he'd enrolled into the School of Sound in Manchester. And he was programming drums and, you know, using a mixing desk within, you know, when he was 18, he released a record called Ride the Rhythm by This Ain't Chicago, which almost crossed over. It got to number 41, but it was a big club hit. All of a sudden, remixes started to come in. Then I started to get involved with him. He was like, come in the studio. And then brothers, by 92, we were releasing house records on our own label and stuff. Then we blagged a couple of remixes and then the major started knocking and we were doing remixes like weekly for a while. Some good, some bad. [Colleen] I just want to say some of the names. I mean, Danny was also in Candy Flip.   [Kelvin Andrews] That's right, yeah. Danny was a pop star, age 20.   [Colleen] And then you were doing Sure is Pure. And that is massive. I remember getting those records over in Dance Tracks. Very well-crafted, melodic, lovely arrangements. [Kelvin Andrews] Yeah, it was great because we've just put all our love for music in these records. And a lot of the time, we were putting in our love of disco and boogie and those things that we grew up with into these house records that were becoming very popular. And the club I was playing at, Golden, when I was resident, they loved that sound. It was like, we'd go from, I remember what, because I was digging out records from my dancing past and one track that springs to mind was the Fat Bat Band's Backstroking. And that's like, not many people mention that record, but it was an anthem at a super club, at a house club in Stoke. [Colleen] WOOW!! [Kelvin Andrews] You know, and we had 2,000 people going. So the minute you played that first, that bendy synth riff, hands were in the air. And it was nowhere else either, which was really cool.   [Balearic Mike] Yeah, I'd never heard that record. And like seeing Kelvin play at Golden and 2,000 people go absolutely mental. So it was like, how have I not heard this record before?   [Colleen] You know, it's interesting. It's these regional, the regional hits, because we won't have this anymore with clubs, you know, because of everything being online and everything is available for everybody. But the regional, there was one club I used to play in Perugia called Red Zone . It was massive. It was a huge club (ed. . They had all the American DJs there. 6,000 people in the suburbs. And they had their own anthems. The first time I went to a Northern Soul night, I was just visiting. And you know, I thought I knew something about soul music. I was already a DJ. I was visiting in the 1990s and I went up to Glasgow. I wanted to go to the sub club, wanted to check it out. And that night was the Goodfoot. And I didn't know a single song. Everybody was singing all the lyrics. And I just love how there's regional hits like that, where people really rally around a certain song and it's their song.   [Kelvin Andrews] Yeah. It was buying records as a teenager, before sort of I started buying 12 inch singles in 79, 80 with pocket money. And then, you know, just things that I could get hold of. And we'd go to a local discotheque called The Place. And then The Place was The Place basement.   [Colleen] The Place ?! My husband's parents used to go there in the 1960s.   [Kelvin Andrews] My parents met at The Place.   [Colleen] Oh my, they probably knew each other then. Because, yeah, that was like the place. Well, it was the place to go.   [Balearic Mike] The Place was The Place.   [Kelvin Andrews] Stayed open right through the 70s and the 80s. And then in the, when I was a teenager, they had a teen scene there. And it was like an under-18s thing. But the guy who used to play records on the Saturday nights, in The Place basement, is a guy called Trevor M . Trevor was my DJ mentor. He used to play import, US import, funk, jazz, soul, that kind of vibe. And the jazz-funk fusion-type things. And there was a whole subculture of these working class, mostly black kids, UK kids, getting their sisters to sew up clothes for them so they had their own look. It was like, it was a brilliant thing because they didn't have the money to buy, you know, fashion labels. They would make their own stuff and they, and the music was the best. It really was. I was quite grown up when you're 14, you know, listen to Ronnie Laws and, you know, and Diodato and Al Jarreau, you know, I mean, quite sophisticated when you're 14, really. But I was already tuned to this because my dad was a musician and he had a decent record collection, not a large record collection, but a decent one. And he, when he stopped being a recording artist in the 60s, he then joined tour management and he worked for a company called Danny O'Donovan Enterprise, he's in the mid-70s. And so he, they used to bring over the black American acts to the UK. So I saw Rufus and Chaka Khan's soundcheck when I was 10. Oh, it was? Right, when you're 10, you don't, all I wanted to do was play the pong machine in the corner. Rufus are playing a soundcheck with Chaka Khan and I'm ignoring it, playing the pong game, you know. I look back, it's like, what were you doing? You know, but that's when you're 10, that's the thing. I was kind of lucky in that sense, but my taste, well, the time we'd been to the basement, we were listening to like grown-up music and that was having an influence on us. Cassette culture was prevalent. We were all sharing cassettes. There was a guy in the basement and there was a guy in town who would, his big brother was buying all the hot imports, putting them onto cassettes and selling them for four quid each in town. So we were-   [Colleen] The entrepreneur.   [Kelvin Andrews] We were having the best music, you know, on our little ghetto blaster. And it was like, and you were learning how to dance and, you know, it took a while for me because I was a bit stiff. You know, my other brother, Richard, is a great dancer and I wasn't quite as good as him. So I had to work hard at being a good dancer. The first time I heard Trevor M play in the basement, I heard Harry Thuman, Underwater, completely blew my mind. Literally, it was just like one of the greatest things I'd ever heard. I heard Slicks, Face Bass. I heard, and just on the first night this was, my head was like, I want to do what that guy does. And I'd already made my mind up that I was going to be a DJ. So he collected records, played a couple of parties and then someone said, I'll pay you so much to come and do a gig. This was in 82. And that's when I started.   [Colleen] Professional DJ career.   [Kelvin Andrews] I think I got 15 quid. Yeah. [Colleen] Wow!   [Kelvin Andrews] Yeah. Which bought you about, bought you three imports if you're looking.   [Colleen] That's more than I got for some gigs. [Kelvin Andrews] Yeah. [Colleen] I started in 82 as well, but it was on the radio, on a 10-watt radio station. And I wasn't getting paid, so I can't call it professional, in any of these. We've been, we've been chattering quite a bit. Why don't we get back to the music and when we come back, I'll be speaking with you, Mike, about how you, what you thought about Kelvin when you first met him and what kind of DJ he was. [Colleen] You're listening to Balearic Mike's mix right now on Balearic Breakfast. [Colleen] And we're back and I'm here with Balearic Mike and with Kelvin Andrews, talking about their new compilation, Down to the Sea Volume Tres. And earlier I asked Kelvin what he felt about you, Mike, as a DJ, when you first started playing together. And now I want to ask you the same about Kelvin. When you two started playing together and you started discovering music with him, what were your thoughts about Kelvin as a DJ and musical selector? [Kelvin Andrews] Do I leave the room now? [Colleen] Yeah, you bet. Yeah, I think you should.   [Balearic Mike] Well, I mean, we were at very different stages in our career, really, because Kelvin was already a huge star, really. He had a huge residency, he DJed for years. And so I was just a bit in awe of him, really. He had amazing records, you know, I mean, this is what we really bonded over. We had similar tastes, but really, you know, if you can call such eclectic tastes similar, it's basically like anything that's good, anything that will make people dance, anything that's kind of got something original about it and something interesting, something that's different to what everyone else is playing. So we kind of really bonded over that. But I mean, Kelvin was just like light years ahead of me in his DJ journey at that point, you know. He could take an audience of a couple of thousand people and just have them absolutely in the palm of his hand. So I actually, I've learned so much from kind of studying Kelvin.   [Colleen] So how do you feel the two of you complement one another?   [Balearic Mike] Well, it's just really strange that we just dig around, we have such similar tastes. And yet when we get together, I mean, we haven't DJed together for a couple of years now, have we? What with COVID and everything that's been going on in the world. And we'll come together and we'll both have completely different bags of records. And yet I'll love everything Kelvin plays and he'll like everything I play, you know. And it was the same when we were putting the comps together, you know, we both came up with lists and there was no duplication at all. It was like, you know, you just think some of us, we're going to suggest some of the same records, but no, it's like, you've just got all these records that, you know, some of them I'd heard because we DJed together and I'd heard Kelvin play them, but some of the things on there that I hadn't heard before. I mean, you just, you realize that it's just never ending, isn't it? You never hear everything, you know. So it's good to have something else, a good pair of ears out there that's putting you on to things all the time.   [Colleen] Yeah, exactly. A filter basically, a curator.   [Balearic Mike] Yeah, exactly.   [Colleen] Now, how did you two fall in love with the sounds that are usually associated with the White Isle? Mike, it's in your name, Balearic Mike.   [Balearic Mike] I mean, I only heard the name, the term Balearic Beats in sort of 88, you know. There was the article in ID and then the compilation came out and I liked that, but I didn't really understand what it was. You know, I'd never really been abroad before. I wasn't in a position where I was going to go on holiday to Ibiza and hear this DJ play in this magical club or anything. But I've always had just really quite varied taste and I've always, I mean, growing up during the 80s, I kind of, I moved into sort of listening to clubs and went into dance to music in the sort of, around about 86 when I was about 15, I suppose. So it was before the sort of behemoth that is house music kind of came and washed everything else away before it. And in those days, you just heard lots of different kinds of music. On a dance floor, you know, you'd hear kind of hip hop and electro records and you'd hear kind of smoother sort of jazz funk and things like that. And like electronic pop records and all those kinds of things. And that's basically what Balearic Beats is, isn't it? I mean, it's a kind of, it's a great term, but it's really inaccurate, isn't it? Because actually the DJs in New York were doing exactly the same thing with just slightly different records. DJs in Italy were doing the same thing again with just a slightly different, you know, selection of records. DJs in Belgium were doing it with, you know, a slightly different sound. So, you know, but yeah, so I heard about it then. And I think summer 89 was my first summer kind of living away from home. I was at art college in Brighton. I got a job on the pier selling ice cream all summer and basically went out clubbing every single night to the Zap club in the escape. And again, I heard the term Balearic Beats a lot again that summer because Soul to Soul was such a huge sound. And so, you know, even if you went to hear a DJ who predominantly played house, you'd hear Soul to Soul records and you'd hear De La Soul being played and things like that. And so that kind of, it wasn't just a steady kind of four, four, 120 BPM rhythm that you were hearing all summer. It was all over the place. So there was really unusual records being played. And I went to the Tonka parties at the Zap . I think it was like the first Monday of every month. Yeah, and some of those records were just mad and strange and really interesting. It was like Gaelic Show, Dance Forever and stuff like that. So it'd be strange sort of somewhere between Italo Disco and the Italian house that was just starting to emerge, I suppose. And yeah, and so I've just always liked that kind of stuff that's really hard to categorize. I mean, that's the thing with Balearic, isn't it? It's like you don't know what this is. It's so strange and unusual and it's not really house. It's not soul, it's not funk, it's not a synth pop record. What is it? Oh, I know, it's Balearic. [Colleen] Exactly, it's so much easier.   [Balearic Mike] So yeah. [Colleen] If you just have like a record shop, it's just one category. [Balearic Mike] Yeah, good record.   [Colleen] Balearic. [Balearic Mike] Yeah, so... and then when I went to Ibiza.... [Colleen] But when did you finally go to Ibiza? [Balearic Mike] I didn't go to Ibiza until 94, the first time. So I was like 23. Kelvin was out there DJing. A friend, Graham, was out there for the summer DJing for Jose. Because we'd all met Jose. We'd all got, Jose had come over to Manchester and- [Colleen] Jose Padilla, everybody. But I'm sure most people listening to this show know that by now, but just- [Balearic Mike] We'd all met Jose and he did a good winter residency at the back room of Golden, Kelvin?   [Kelvin Andrews] Yeah, yeah. [Colleen] Really?!! [Kelvin Andrews] He was there as a guest of a few clubs, wasn't he? He had a winter residency.   [Balearic Mike] They played at like a few parties for Love stuff and he did a residency for Kelvin at Golden. And then he, when he went back for the summer, he took one of our friends, Graham, with him. And Graham became resident at a couple of parties that he was promoting on the island. And so, yeah, Kelvin had gone out to DJ at the clubs Jose was promoting at Passion and Space, wasn't it?   [Kelvin Andrews] Yeah.   [Balearic Mike] That order. And Graham said, oh yeah, come. He was staying at Jose's flat in San Antonio. And he said, oh yeah, there's a spare bed. You can come out and I'll get you a gig. And so I just grabbed a bag of records and went out as well. So that was my first visit. And I already, I think actually we had a great time, but we went to like KU one night and it wasn't called KU anymore. It was, they changed its name to Privilege or something revolting like that. And I remember thinking, this is over. This is done. This is like nothing that I want to be involved with. Whereas Passion had been brilliant. I mean, I'd got there, we'd got straight off the plane and went straight into Passion. Caught Kelvin just starting his set. And that had been everything I'd hoped Ibiza would be really. But yeah, it was obviously becoming something else at that point, I think.   [Colleen] Well, I think there's different things that pleases different people. That's a nice way of putting it, at least. Kelvin, was that about the time that you started playing at Ibiza or had you been to Ibiza before that? [Kelvin Andrews] No, I'd just heard this myth about this place and you were hearing about Alfredo and the Balearic Beats Comp came out on FFRR . So, and there was also around that time, just a bit previous to that, 91, around that period. It was like all these little Balearic clubs popping up in England. Cause like, the weather in England isn't Balearic, is it? Far from it. But like, I remember- [Balearic Mike] It's kind of Balearic, it's quite Balearic in Brian.   [Kelvin Andrews] Yeah. Yeah, it is definitely more Balearic than here right now. But I saw that it was something special. So I romanticized about the whole thing. It was like, in my head, this is what I wanted it to be. So when I got the chance to DJ there, it was like, that fed into what I was playing. Funnily enough, one of the records, which is on the new comp, I played that evening. And the very first time I played at Pasha, when Mike came along, that was the pressure drop record. The reaction was the same as I imagined it would be. It was so brilliant, you know? So in my head, I was keeping the Balearic beat alive, somehow. Well, I went into space and tried a similar approach and got booted off the decks. The same time as Andrew Weatherall did as well at Pasha, didn't he? Because he was over there at the same time as us.   [Balearic Mike] Yeah, I miss him being dragged off.   [Kelvin Andrews] One of my greatest claims to fame was when I was booted off the same day as Andrew.   [Balearic Mike] Yeah, he tried his panel beaters of Prague set at Pasha, didn't he? Yeah.   [Colleen] Very well. Oh, I can't see that happening. That doesn't seem like a very good mix. Well, why don't we get back to the mix now? And actually, we are listening to Kelvin Andrews' mix right now, his exclusive mix that he's done for us, which is wonderful. And we'll come back in a few minutes. Right now, sit back and enjoy the music on Balearic Breakfast. [Colleen] And we're back. We've been listening to Kelvin Andrews' exclusive mix for Balearic Breakfast. And I'm here with both Kelvin and with Balearic Mike because they have a new compilation, if you don't know by now, called Down to the Sea and Back Volume tres . And it's coming out on Music for Dreams at the end of the month. Now, this compilation, as I said earlier, is fantastic. And I didn't know the songs. I knew maybe a couple, but most of them I didn't. I mean, there's all different types of sounds. There's 80s Dutch pop, there's 80s Kiwi, electronic Zymoc sounding band. It sounded just like Zymoc to me. You have kind of Sunshine Jones, who's from Dubtribe sound system , kind of bouncy, kind of ping pong electro house, I like to call that. There's a lot of different sounds, but it flows together really well and the two of you did a great job sequencing. I was just wondering if we could talk about some of the individual records, if there's certain ones that have great discovery stories and maybe I can ask about one of my favorites. Was the Lee Ryder or Lee Rita?   [Balearic Mike] Yeah, Lee Ryda. Yes, that's mine. So in 2014, coincidentally the last, the summer that the last Down to the Sea and Back compilation came out on, I got invited, I think I got a message on Facebook from some guys in Athens. And I've been to a DJ in Athens once before, but it was at some big music festival. I've not done any sort of clubs or anything. They ran a record shop and they seemed like nice guys. And so yeah, I went out to Athens and I think I did a gig on the Friday night outside the city at some sort of coastal bar, which was quite nice, but it wasn't very busy. But then the next night Giannis, the next day Giannis took me into Athens to meet Dimitris who ran the record shop, Cassetta Records. And we spent the whole day in the shop, just like rooting through all his stock, playing records, drinking beers, having a great time. And then we went to the gig and it was like in this, Athens is an amazing city. It's a bit like Berlin was sort of 20 years ago where basically if a building's empty, people just move in and do things in it. So it was like this empty sort of office block with like big kind of mezzanine floors. And someone just started a bar on one floor and then put sound and lights in the basement. It was just like squatted almost. It was amazing, but yeah, it was fantastic sort of space. And they DJed before me and they warmed up for me. We kind of went, you know, also went on all night till like basically everyone's left basically in the morning. And yeah, so Giannis was warming up and he played it, he played that record while he was warming up for me to go on. And I was just like, what the hell is this? You know, I was stood on the dance floor just going, oh my God, this is incredible. And it's like, and it's a great sign when the people warming up for you are playing music that you think is great and you don't know. You just think, well, if they're getting away with this, I'm gonna get away with murder here, aren't I really?   [Colleen] And they're also setting it up nicely for you too.   [Balearic Mike] Yeah, I mean, it's just perfect. You just think, wow, this is sort of, if I was playing this warmup set, this is the sort of record I would want to play. And so I immediately ran over and saw what it was and couldn't believe that, yeah, it was a British library record. It's on Bruton and it's like, you see, you know, used to see millions of Bruton library records lying around but not very much. I'd never seen that one before. And yeah, so when I got back, I managed to track what they had on the internet and bought it and kind of hammered it ever since really. It's just an incredible record, isn't it? [Colleen] That's fantastic! [Balearic Mike] Yeah, I was completely, yeah, unaware of it until 10 years ago when I went to Athens.   [Colleen] Well, I was straight onto Discogs and then I was like, this is coming out on vinyl anyway, so I'll get it that way. You've done the work for me. [Balearic Mike] Yeah, that's it, yeah. [Colleen] Kelvin, if there's a tune, an obscurity on this album that you picked that has a great story, could you tell us?   [Kelvin Andrews] The one track which I was like, like, double fingers crossed that we'd get, and that was a car crash set record, the Kiwi Watch.   [Balearic Mike] I knew he was going to say that one!   [Kelvin Andrews] I've been obsessed with this record, but this is another recent discovery, really, you know. A friend of mine who used to be a promoter friend who books both me and Mike back in the day from Plymouth, a guy called Dave Green or DJ Verdi, he was on a late night. [Colleen] Yes Dave. I've heard of him.   [Kelvin Andrews] He was on a late night chat. He said, hi, mate, have you ever heard this? And he sent me a YouTube link to this track. And I was just, I put it on and I had, the kettle was on and I was just like, oh my God. So it's a Car Crash Set, Fall From Grace, and it's a private released record that did nothing in New Zealand when it got released. They only ever played it once live, this band, and I've got the recording, because I ended up finding the guy, Nigel, the vocalist. I found him on Facebook, which was amazing. And I contacted him and he was really lovely. And he told me the story about how the track came about. It was one of the first conversations I've had of a track from 83. And he talked about a 303 being on there and they used the 303 on there. So it's quite a historical track in that sense. You know, they were using it purely for the fact that they could take it out live with them because it was only small. So it was like, and I'm hearing this track and I'm just going, this is unbelievable. It's like one of the best, it was instantly one of the best things I'd ever heard. So it was just like, it was like a double fingers crossed that we'd get it. And I'm amazed that we did quite easily, you know. And if you look on Discogs, it's pretty rare. The 12 is non-existent. The last one I saw go for was about $300, you know. So that was, that's the, you know, for me the gem in the crown, you know, it's like a, you know, a beautiful thing to have on there. And the many tracks on there that I got excited about, things that we were, we wanted to be on the last compilation we've managed to grab for this one. And some that we, some that I was hoping for didn't make it as well. The Car Crash Set one, the reaction I get, it backs up my enthusiasm for it as well. It's incredible.   [Balearic Mike] Yeah, I remember the first time we played it, Mark, that I'd heard it was on one of our dancing team boat and backboat parties at Love International in Croatia . And the reaction to it live, I was just like, oh my God, what is this record? I mean, it's from New Zealand. It's like from the other side of the world. And the only, I think the only reason that Dave knows, he lived there for 10 years or something, didn't he? [Kelvin Andrews] Yeah. [Balearic Mike] So Dave moved out of New Zealand and lived there and he just must have come across a copy of the secondhand shop or a charity shop or something.   [Colleen] I was just looking at the track list again and I just realized Tri Atma. I just have to take a quick look. I think I saw a Tri Atma record in my collection today. And I'm like, you're looking for something? I've been looking, I found it. Yeah, yeah. This one. Do you know that one?   [Balearic Mike] No, I haven't got that one.   [Colleen] This has to be some great stuff on here.   [Balearic Mike] Well, wait a minute.   [Colleen] It must be the same Tri Atma, right? Yeah, I think so. The yummy moon long version.   [Kelvin Andrews] Yeah, the yummy moon from a 12.   [Colleen] Yeah. Yeah, it says : 'an effervescent fusion of buoyant Eastern rhythms and electronic popular music. Danceable, hummable, enjoyable. Probably some of the happiest music to come from Germany in a hundred years!'   [Balearic Mike] Wow, that's a review, isn't it?   [Colleen] That is hilarious. Oh, there's some good stuff on here. Microcosmos is one that I liked.   [Kelvin Andrews] Yeah, that's the other one. I've got a copy of that. [Colleen] Do you?! [Kelvin Andrews] Yeah, I found a copy of, I've got a, it's like a radio seven-inch single I found in a junk shop and that's on that, right? Couldn't believe it.   [Colleen] Really? Wow. I can't recommend this compilation enough. And I know that you said the two of you haven't played together in a while. Will you be playing some more festivals together at all this summer? Is there anywhere else that people can look out for the two of you?   [Kelvin Andrews] Mike and I are playing together in Brighton on the 14th. And we're also playing- [Colleen] 14th of June? [Kelvin Andrews] 14th of June, yeah. That's at the Flower Pot in Brighton on the seafront. And that's gonna be like a release party for the comp. And we're also doing a thing in Newcastle-on-the-Lyme at the Carlton on the 24th with James Holroyd and the pair of us. So yeah, we're making up for lost time, hopefully.   [Colleen] Yes, well, good luck with it. I mean, honestly, I love the way both of you play. It's great to hear you doing this together. Hopefully I'll be able to catch one of your live sets. But for now, the compilation will have to do. Thank you so much. And thanks for your exclusive mixes for the radio show as well. Your exclusive Balearic Breakfast mixes. I really appreciate it. I know the listeners are loving it right now as well.   [Kelvin Andrews] Thank you. Thanks for the invite, Colleen. [Balearic Mike] Thanks for having us.

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

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

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

Colleen celebrated "Balearic Breakfast", our beloved show streamed every Tuesday morning on Mixcloud alongside Joe Goddard at NT's Loft on May, 10th 2025. Colleen ‘Cosmo’ Murphy has cut her craft as a highly respected and experienced musical selector, establishing herself as an authority on music, sound and the vinyl renaissance. She joins us for a special Balearic Breakfast day party, joined by Hot Chip’s Joe Goddard . Find more information about Tickets here , and about NT's Loft here ( 207, 1 Westgate St, London E8 3RL, UK ). Here are a few pictures from the party that took place at NT's Loft, and I want to thank Amie-Jo (first 2 pics) and Simon Ellis (rest of the pics) for sharing their photographical memories with me!

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