Review: Frank Booker returns for his second outing on the evergreen Disco Deviance label offering up another pair of glorious disco reinventions seen through a raver's eye. "World Of Make Believe" is a fancy, down the line disco churner with plenty of strings, a hard punch, and a fabulous but of vocal riding over those kick drums; "Sequence Of Movement", instead, is all funky and down on the floor, boasting a sublimely phased out guitar serving as one mighty, groovy, delicious bassline. Yes please Frank.
Review: Deep house producer Frank Booker is no stranger to the re-edit game, having previously released a couple of killer 12" singles of scalpel works on Razor 'N' Tape and KAT. Here he pitches up on Dicky Trisco's long-running Disco Deviance imprint with a couple more peaktime treats. Opener "Spiral" reworks an electric-piano and vibraphone heavy instrumental disco killer, stretching it out and emphasizing the touchy-feely elements of the original. Flipside "Get Here" is a little chunkier, utilising dubwise effects to tweak and stretch out a slamming jam defined by its' excellent walking bassline. Great edits are getting harder to come by; thankfully, these are both superb.
Review: Grab another spiked punch and hit the dance floor with two slices of discotheque gold from disco devotees Disco Deviance. "Feel The Love" is all you could want from a disco edit; sing-a-long vocals, catchy piano riffs, pumping beats and stand out claps, while "What We Got" features a shimmed guitar riff, Joe Strummer sounding vocals and carefree vibes all round.
Review: The amusingly named Dicky Trisco returns to the Disco Deviance helm for two more expertly sliced retro rarities embellished with his much called upon production talents. Pressed up loud on satisfyingly heavy vinyl, "Night Dancing" is a searing vocal electro funk boogie track revolving around late night neon synths lines, slick bass that hits you between the baby maker and the baby feeders and a bumping groove. Flip over for the more classic disco sounds of "Got To Have Your Dub", all fully orchestrated Philly groove vocal refrains neatly spliced with the main foot stomping thrust. Quality as you'd expect from the much travelled Autodisco resident.
Review: ** Repress ** Disco Deviance surface for the first time this brandishing a pair of highly prized edits from the man, the myth, the maverick that is Dimitri From Tokyo! Dimitri goes where celebrated Frenchmen Alex Gopher and Etienne de Crecy have been before, re-arranging a seasonal classic from Miss Donna Summer on "French Affair" in suitably slinky style. Flip over and our Dimitri drops a rather dynamic tweak of a Bob James classic - there's no higher ideas at play here both edits are meant for the floor!
Review: Consummate editors Ed Wizard and Disco Double Dee let loose with two more finely crafted disco reversions. "Get On Up" takes T.S Monk's disco funk classic "Get On Up & Dance" and gives it a full strength contemporisation with big hip-snapping beats that forge a groove that stomps well into the next century. "Need U", meanwhile, is a more subtle take complete with an infectious series of loops and cosmic overtones. Both absolutely kill it.
Review: Killer tour edits on Disco Deviance including a re-working of El Coco's 'Afrodesia' and 'Coco Kane' which are transformed into a single epic edit. Also featuring an ace edit of Jimmy Ross' 'First True Love Affair'.
Review: Get Down Edits continues to hold the crown as one of the most prolific editors with two more essential nu-disco funk jams. "Feel The Fire" is a cosmic, spaced out take on The Osmonds' "I,I,I" while "Play With You" turbo charges Carrie Lucas with an uptempo glitter-sprinkled groove with full emphasis on the tight, bright guitar riff. Both, like all his previous editions, rock. Get down tonight!
In The Disco Last Night (Pete Herbert & Dicky Trisco edit)
Disco Brothers (Pete Herbert & Dicky Trisco edit)
Review: With the Ableton grasping fad hunters having lone ridden off into the sun set in search of the next bandwagon to saturate, the art of the disco edit has been left in the expert hands of those methods are tried and tested. Chief amongst them is the Disco Deviance label who crank out a thirtieth transmission here, with two long term contributors at the helm in the shape of Pete Herbert and Dicky Trisco. Both "In The Disco Last Night" and "Disco Brothers" will be familiar to the diggers and come with the following glowing recommendation from Disco Godfather Ashley Beedle: "Both cracking renditions and the right amount of gayness ?. Big support!" Nuff said!
Review: Amsterdam's smoothest boogie operator Mendel follows up a string of well-received edits on Basic Fingers, Lumberjacks In Hell and Street Edits with a debut on Disco Deviance. "On The Way" is a furiously funky case of looped up momentum that teases more and more before culminating in a big key crescendo. "Higher" plays the same game but with original disco source material where a juicy bassline underpins larger than life gospel-level soul vocals. Chicago in their construction, New York in their delivery, these are two Mendel's best edits to date.
Review: After unleashing two edit bombs from The Revenge archives, Disco Deviance look to the South Coast for DD015 with the Nocturnal Music crew at the controls for two Greg Wilson approved cuts. Love Explosion reworks "Sweet Thing" by Convertion, giving the drums some extra weight and laying down some boogie bass heat before the drop into the track. The real treat is the B Side reworking of Goody Goody's "It Looks Like Love" which is turned into a sultry dubby seven minute delight.
Review: The Revenge man Graeme Clarke dons his OTherlover guise for cheekier edit adventures on Disco Deviance. "Sweet Caress" is a thumping, snaking, twisting jam that builds with dynamic orchestration that has all the dramatic hallmarks of Whitfield and Strong. "Live & Let Live", meanwhile takes Charles Earland's "Coming To You Live" and adds a funkier cosmic sheen by way of synth overlays, filters, crowd noises and cheeky reverse flexes. Otherlovely, more like!
Review: The mighty Disco Deviance and the mighty Popular People's Front join forces for a righteous slab of dancefloor wax. Leading the way is a splendidly dirty extension of Five Special's "Why Leave Us Alone" which discards with the original's song based structure in favour of that final part, teasing out new levels of dirt from that break and turning it into an electro funk bomb worthy of a full floor. On the flip, "Love Itch" sees the iconic Fad Gadget make their Disco Deviance debut with "Love Parasite" brilliantly transformed into a grubby proto house monster. Those expect Frank Tovey's voice might be disappointed but you can't front on what PPF have done to the track with this edit, which could happily fit into a house or techno set.
Review: **Repress** Chicago disco legend Rahaan gets busy with two on-point edits for the long running Disco Deviance label. "Sweet Stuff" is Rahaan's take on Nino Tempo & 5th Avenue Sax. Warm chords, wheezing horns and a lolloping groove that builds and builds from smooth soul to straight up jazz funk. Flip for "You Got The Right To Dance", a fizzy take on Muzic Box, the horns are buried deep under an array of disco FX and heavy reverb while the vocals cut through with syrupy charm. Show stopping.
Review: Brazilian scalpel fiend Selvagem has been on fine form in recent times, delivering essential EPs for Disco Halal, B.I.S (Beats In Space's lesser-known re-edit offshoot), and Barefoot Beats. Given this impressive track record, it's little surprise to see him starring on Dicky Trisco's long-running Disco Deviance label. "Chitty Disco" is a grunting, throbbing, horn-heavy delight, with Selvagem successfully beefing up the bottom-end whilst retaining the original's natural swing. Flipside "Pontonic Por Favor" is an altogether more South American flavoured treat, with lazy tumpet lines tumbling down over carnival-ready disco beats and a slick, synth-heavy groove. There are occasional chanted vocals, too, which should have the more enthusiastic dancers singing along on the dancefloor.
Review: SHMLSS are two Dutch dudes with a clear aversion for vowels, a fondness for dusty old disco and Zubrovka vodka and a production approach they refer to as Future-House. With the genre detectives still investigating the validity of this latter claim, the Amsterdam-based pairing of Bart van Manen & Michiel Lancee are free to make their debut on the trusty Disco Deviance with a right pair of gems. Lead track "Club Cruise" is a laser guided disco bomb driven by low bass, scratchy guitar licks and intergalactic clav breaks and the pleasant midtempo bump of this is complemented well by the swifter B Side. SHMLSS tackle a Debbie Jacobs classic on "Bang the Gong" focussing entirely on the instrumental arrangement and demonstrate fully their talent for the edit.
Need Some Love (Beaten Space Probe & Dicky Trisco edit)
Make Me Whole (Rahaan edit)
Viva Las Vegas (Ray Mang edit)
Get To You (Pete Herbert & Dicky Trisco edit)
Zulu Nation (Eddie C edit)
Glow (Late Nite Tuff Guy edit)
In The Disco Last Night (Pete Herbert & Dicky Trisco edit)
Don't Stop Me (The Popular Peoples Front edit)
Sfunky (A Dimitri From Tokyo edit)
Ball Games (Otherlover edit)
Review: Over the last seven years, Dicky Trisco's Disco Deviance label has become one of the most reliable sources to top-notch disco and boogie re-edits, delivering a string of must-have, vinyl-only releases. Given that their last CD roundup of 12" releases dropped back in 2012, Digital Deviance Volume 4 is well overdue. Predictably, it's packed with dancefloor dynamite, from the lolloping disco bump of Rahaan's "Make Me Whole", and Pete Herbert and Dicky Trisco's "Get To You" (a near perfect instrumental rearrangement of France Joli's "Gonna Get Over You") , to the organ laden madness of Dimitri From Tokyo's "SFunky". Best of all, though, is "Don't Stop Me" by The Popular People's Front, a heavily percussive romp through bumpin' disco-funk pastures.