Review: More from top-drawer rework merchant DJ Soopasoul, whose cheeky revisions on his Soopastole label are consistently on point and dancefloor-focused. For his latest trick, the long-serving DJ/producer has decided to apply his magic to one of the greatest disco records of all time and a "foundation record" of the hip-hop scene: Chic classic "Good Times". The A-side edit sounds like it has been created using the multi-track parts, as dubbed-out vocal sections ride stripped-back grooves and portions that variously showcase the track's original strings, Nile Rodgers' guitars and Bernard Edwards' killer bassline. The flipside "Part 2" version is similarly minded but more like a disco dub in feel and execution, with the maestro drenching vocal sections in delicious amounts of delay.
Come Back To Me (Soopasoul remix - instrumental) (3:22)
Review: DJ Soopasoul has previously breathed new life into tracks by Croatian producer Funky Destination, so it's little surprise to see him putting his spin on the Osijek-based artist's latest missive. He does a terrific job, offering up vocal and instrumental versions of "Come Back To Me" rich in long, tension-building intros, fuzzy funk horns, bass-heavy grooves, swirling orchestration and hard-wired guitar riffs. While the instrumental version is tidy, our pick of the pair is undoubtedly the A-side remix. We're not sure who the lead vocalist is, but her delivery is incredible. Don't sleep on this one!
James Brown & The Wu Tang Clan - "Sex CREAM" (3:33)
James Brown - "Sex Machine" (dub edit) (3:02)
Review: It would be fair to say that the latest edition in DJ Soopasoul's "Soopastole" edits series is one of the producer's biggest yet. A-side "Sex C.R.E.A.M" is particularly potent, with the mash-up maestro layering the vocals from Wu-Tang Clan classic "C.R.E.A.M" over a chunky beat crafted out of classic James Brown samples. To our ears, it's arguably better than the Wu-Tang original, or at least a little more dancefloor-friendly. Fittingly, Brown gets the treatment on the flip with Soopasoul getting busy with the EQs on a suitably heavy but stripped back "dub edit" of all-time-classic "Sex Machine". While it probably didn't need tampering with, he's done a very good job of delivering a version that successfully takes the track in a different direction.
Kool & The Gang, Gene Redd - "Give It Up" (DJ Soopasoul edit) (4:04)
Aretha Franklin - "Rock Steady" (DJ Soopasoul edit) (3:30)
Review: Fast-fingered mash-up merchant and lauded scalpel fiend DJ Soopasoul can usually be relied upon to bring the goods. In fact, we've yet to hear an edition of his "Soopastole Edits" series that doesn't include the kind of sure-fire, party-starting fare guaranteed to get any DJ out of a dancefloor hole of their own making. Should you still doubt the validity of this statement, we suggest you check this timely reissue of the series' second volume, which has been going for serious bucks online. On side A you'll find a suitably punchy, funky and chunky revision of Kool & The Gang's Gene Redd produced 1970 jam "Give It Up" - the original source of one of hip-hops most familiar breakbeats - with a tight, club-ready revision of Aretha Franklin classic "Rock Steady" on the flip.
Review: DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from Redman and Method Man's 1995 classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie Wonder's party-starting floor-heater "Superstitious". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Redman/Method Man vocals, is a fine re-edit of the Stevie Wonder jam.
Review: The latest edition in DJ Soopasoul's "Soopastole Edits" series looks like it may fly off the shelves, and with good reason. The lead cut is not an edit per se, but rather a crafty, clever and expertly produced mash-up that places selected rap flows from the acapella version of Beastie Boys classic "Ch-Check It Out" over a tightened up and fattened up rearrangement of MFSB's disco-era jam "People All Over The World". Sometimes these kinds of mash-ups can be messy, but this genuinely isn't, with the Beasties' vocals fitting the backing track like a glove. Over on side B Soopasoul shares his tweak of the MFSB track, which is entirely instrumental bar periodic use of the band's female backing vocals. In a word: ace!