Review: Back in the early-to-mid 2000s, Warren Harris AKA Hanna was responsible for making and releasing some of the most sumptuous and seductive blends of future jazz, broken beat, soul and deep house around. This 12" from Melodies International offers a neat reminder by serving up two tracks previously featured on a CD-only album from 2004. A-side "I Needed" is the clear standout: a glassy-eyed and loved-up slab of jaunty dancefloor deep house that combines the swing of future garage and the snappiness of jacking Chicago house with the smoothness of soul and the kaleidoscopic synthesizer lines of jazz-funk. Flipside "Intercession, On Behalf" is similarly minded with more of an emphasis on vibrant jazz-funk and the soul motifs and the soul-powered swing of U.S garage.
Review: Having previously persuaded some of the re-edit scene's biggest names to contribute reworks, Razor-N-Tape has now recruited the Grand-daddy of the scalpel scene: 1970s disco original Danny Krivit AKA Mr K. He begins with "Stuff", a deliciously epic revision of an atmospheric and joyous disco cut rich in snaking synth solos, evocative instrumentation and glassy-eyed vocals. Krivit teases the tune in slowly, eventually cutting loose as the nine-minute edit reaches its final few minutes. Side B is all about "The Story", a jaunty and musically complex instrumental disco number that contains some fantastic orchestration, spacey 1970s synthesizer flourishes and heady female backing vocals.
Review: Cheeky upstart label Club Of Jacks follows up on a strong opening statement with this boisterous bout of house workouts geared towards the peak time. "Follow Me" is on a serious garage flex, with rude bass, hooky sax leads and some naughty breaks chops all feeding into the melting pot. "Bring It Back" is a more soulful jam with some great vocal licks and sweet piano leads, while "Need Your Loving" keeps the heartfelt heat up with another powerful diva vocal and a buttery smooth bassline. "Don't Know You" takes things deeper without losing that powerful vocal presence, providing a perfect balance to this solid, all-rounder house 12".
Review: It's been a while since we last heard from the Mellophonia label and its star attraction, A Vision Of Panorama, but now the producer known as Mikhail Khvasko is back with a new record that expands on the soft and silky Balearic house sound he established himself with across some wonderful EPs and 2016's "Aquafusion" album. The sun is still very much shining down on this new record, which leads in with the fittingly titled "Delicious Saw". Khvasko's whole sound is geared towards celebration of gorgeous synth tones, and so it goes here thanks to that seriously tasty sawtooth wave. "Lum" cools down the boogie bump of its predecessor for something more reflective, while "Euphoria" gets into an oh-so-sweet house funk that would sound at home on Strictly Jaz Unit. "Fourth" finishes the EP off with a seriously sticky bassline squelch and some effervescent piano lines - another melodic marvel on a record full of them.
Review: Italian edit maestro Luca "LTJ" Trevisi is nowhere near as prolific as he once was, making any new EP a cause for celebration. Here he delivers his first edit-focused outing of 2019, a four-track collection packed with playable cuts in his distinctive style. Trevisi starts in confident style via the flute-laden funk-soul bounce of "Your Dick Signature", before diving further into solo-laden mid-tempo funk territory on the metronomic "Feel The Gotha Funk". He ups the tempo and intensity on B-side opener "Its Unreal Love", a distinctive disco-funk number with urgent male lead vocals and a killer bassline, before treating us to a wealth of extended electric piano solos and skittish drum fills on killer closing cut "Take Me Writer".
Review: Back in the 1990s, Pauline Henry was the voice behind the Chimes and their stunningly soulful mid-tempo hit, "Heaven". This 12", which is dedicated to the late, great Paul "Trouble" Anderson, boasts fresh, club-ready remixes of the singer's solo cover of that loved-up club classic. Masters At Work man Louie Vega handles the A-side, placing Henry's fine vocal above a bed of swinging NYC house beats, fluid piano motifs and string-laden chords. Arguably even better is DJ Spen and Reelsoul's flipside revision, a more electronic affair with jauntier synth flourishes, elongated organ solos and a bumpin' rhythm track.
True To Myself (Karizma Kaytronik Truth dub) (6:57)
Review: New label LDF clearly understands the need to make a big first impression, because this soul-flecked single from Angel-A and producer Rahaan - one of Chicago's true underground heroes - is a very impressive debut. Rahaan's A-side "Original Mix" is rhythmically tough and crunchy - think weighty drum machine kicks and snares - but also warm and woozy, with Angel-A's superb vocal rising above rich electric piano chords and jazzy synthesizer flourishes. Over on side B Karizma takes over, offering up a "Kaytronik Truth Dub" that wraps hypnotic, mangled electric piano notes, analogue bass and tech-tinged flourishes around a wonderfully locked-in but percussively lively rhythm track. It's very different to the original but exceptionally deep and floor-friendly.
Review: Is this pop? Is this experimental? These are the thoughts that will have crossed many minds when encountering the kind of baffle Jai Paul offers. A guy who seems intent on creating curveball works of art, "BTSTU" in many ways is minimalist stuff, save for the concepts behind the sounds. Or at least its structures give the illusion of minimalism. From the first waterfall of synth to the way in which vocals are allowed to (quite literally) speak for themselves - a multitude of characters with one voice - it's at once bound for the charts and your bookshelf of classic works.
Listen To The Music (Apiento & Tepper remix) (7:08)
Review: Way back in 1988, Italian label Les Folies Art put out a dreamy chunk of Art Of Noise style ambient experimentalism by Quiet Force called "Listen To The Music". It's long been in-demand amongst Balearic collectors for its unique fusion of Fairlight-manipulated vocal samples, glistening guitars, sparse beats, snaking clarinet lines, jaunty fretless bass and new age synthesizers, so this licensed reissue on Rogue Cat Sounds is long overdue. This time round, the duo's original "For Love & Emotions" version comes backed by two fresh remixes. Justin Strauss and Max Pask turn it into a deliciously dreamy chunk of acid-fired early morning house, while Apiento & Tepper re-imagine it as a slick and seductive instrumental Sade B-side.
Review: Always adept at reading the crowd and armed with decades of experience behind the decks, well-travelled man and Discoweey label boss Hotmood makes his debut on UK-based Giant Cuts with four summery tracks on "The Rhythm EP". Combining slo-mo boogie, groove laden disco and quality house sounds, he kicks things off with the sleazy late night funk attack of "The Rhythm Is There", before going deeper on the bass-driven soul loops of "My Darling (Dina)", leading up to the thumpin' B1 cut - a remix by Doc Jam that's chock-a-block with dancefloor dynamics and closing out with a fusion of jazz-funk, disco-house and evocative tropical jazz samples on "Tropical Space". Fans of Tropical Disco, Ravanelli Disco Club and Samosa will especially love this.
Review: Dualismo Sound has a great track record when it comes to unearthing and reissuing gems from Italy's small but vibrant Afro-Cosmic scene. This 12" from Meo (real name Daniele Mei) is another. Both A-side tracks were initially released back in 1987 and are appearing on vinyl for the first time since. "Cikuana" is a jolly, synth-laden affair that inhibits similar sonic territory to some of Tullio de Piscopo's 1980s work, while "Alturas" does a great job in wrapping Flamenco guitars and new age synths around a rubbery electronic bassline and gentle drums. Epic flipside "Fiesta", meanwhile, was first featured on 1986 album "Sesta Traccia" and makes great use of both evocative fretless bass (a staple of Balearic records from that period) and snaking sax lines.
Something For The Dancers (Kerri Chandler Dark mix) (8:33)
Review: On the one-to-watch list for those in the know, Lea Lisa has released on Mona Musique, Memories and Chez Damier's Inner Balance Recordings, alongside her role within the InnerDisc record store family. Presenting "The Legacy EP" for the ever-reliable Wolf Music here, she showcases her unquestionable talent across the two opening cuts. The soulful, emotive and near spiritual vibes of opener "Something For The Dancers" reaches near Ron Trent like moments with its weighty synth lines, dream-like pads and powerful bass tones, and the sensual late night deepness of "From Garage" which combines sultry vocals, analogue keys and thumping percussion doffs a cap to Chicago and Detroit deep house classics. Arguably best of all though, is the remix on the flip by the one and only Kerri Chandler - the Kaoz Theory chief serves up a heavenly slice of house with his "Dark Mix"; a shuffling garage house beat blending beneath sustained string synths and signature stabs. Classic Kerri style.
Review: The fifth release from Wilson Phoenix on his own self-titled label continues the impressive pace set by this breakout techno artist. "Analogical" opens up the A side with a heavy-hearted, emotionally charged strain of techno tough and tender in equal measure. Things get spicier on the flip as Phoenix plays around with rhythmic structures to make a deadly, bass-charged broken techno belter under the name "Gamma Meld". "Automatic Africa" finishes the EP off with a tightly wound percussive work out - just the kind of interesting DJ tool track you want to spice your sets up with.
Review: Emotional Rescue return to the music of cult British group Furniture, shining a light on this unique band's extended 12" mixes and alternate takes. In the 80s tradition, these versions shrug off commercial concerns for something more exciting - long run times and space to tease FX and processes that a radio-friendly single wouldn't allow. "I Can't Crack (Broken Mix)" is an epic crescendo, while the instrumental mix of "Throw Away The Script" locks into a scratchy percussive workout anchored by a moody bassline. The sprightly piano lines and cascading sax on "Dancing The Hard Bargain" are a delight to lose yourself in, while "Bullet" strikes a somber but stirring tone to close the EP out.
Review: Tomoki Tamura and Tuccillo are back together once again as Doublet, with both seasoned electronic champs having fun in the studio jamming out the kind of stripped back, heads down grooves you'd expect to hear them play out. "Tee's 8" is a cheeky A side jam with the kind of acid line that goes down easy and then works you from the inside out. "Three Thousand Men" has a slight dubby thread to it which sits comfortably amongst the sturdy groove of the drums, and then "Tentation" switches gears for a bright and melodic creation that skips around in funky syncopation without even needing to worry about a kick drum.
Review: A throwback to early '90s hardcore rave here, courtesy of tight knit UK producers Objekt and Call Super. Running with the story of the mythical DJ Bogdan: legend and resident DJ of Berlin's fictitious Q Bar in the city's Schoeneberg district - which ran from the early 90s until its closure in 2012. "Love Inna Basement" is presented here in its two original versions: the Morning Dub which is cited by Objekt as the inspiration behind his 2016 tribute "Theme From Q", and 'Midnite XTC', hailed by Call Super as 'the track I've taken the most garys to in my entire life'.
Yoshiko Okabe - "Tree 4" (Yamuraka club mix) (6:54)
Review: House Running are back with another of their signature compilation 12"s, calling on a host of talented producers keeping the house dream alive. Paris-based producer Colkin is bringing nothing but good vibes on piano chopping, lately bass-ing burner "Central 13". He also gets a second look in with "Gonna Be", which features none other than Detroit breakthrough star Javonntte on impossibly powerful vocals. On the flip, Meemo is on hand with the spaced out funk of "Untitled" while Yoshiko Okabe's "Tree 4" gets a 90s-style, club-ready re-rub from Yamuraka. If you're looking for high grade deep house music, look no further.
Review: Melbourne producer Hysteric is becoming a go-to man for those looking for killer re-edits of obscure, left-of-centre Italo-disco and synth-pop oddities. Here he serves up a fresh batch of reworked gems for new label Fuego International, following inspired outings on Bordello A Parigi and Public Possession. The title track is a steamy, exotic Italo-disco gem blessed with electrofunk flourishes and AOR disco guitars, while "Discotheek De Marathon" is a throbbing, synth-heavy chugger that makes great use of extended drum solos and synthesized cowbells. Flip for the sweet, Afro-Italo fusion of "Pescara Beach", and the pitched down, electro-influenced new wave shuffle of "Southend Pier".
Review: Unstoppable electro machine Carl Finlow (aka Silicon Scally) lands on Orson with more of that impeccable robo-funk he's so revered for. "Elastic Collisions" leads the charge with a tough and teasing workout that works around a heavy low end and plenty of sparkling sound design up top. "Octodecillion" keeps things on a dystopian tip, where a bleak future sounds as funky as it does ominous. "Probabilities" heads into a less floor-focused space where thick layers of buffed and polished synth wriggles collide in high-definition. "Mechanomics" completes the set with another taut belter geared towards the heads down section of the party.
Review: Johannesburg's Maboneng Precinct is the home of Afrosynth Records and for the last two years it has been an absolute hotbed of reissued African music. This latest missive is originally from 1984 by Obed Ngobeni and his backing singers the Kurhula Sisters, who helped pioneer the Shangaan Disco style that heavily influenced South Africa's bubblegum sound of the 80s. Now a go-to genre for cult favs like Antal and Hunee, they're sure to lap up the hurried funk and proto-house of "Ta Duma", which comes in three slightly different versions. "Xikhobva" closes things in loose percussive fashion with a guitar-driven groove.
Review: Studio One have put out plenty of big tunes and this is the latest to get a big reissue on a super loud-cut 12" single for extra devastating impact. It's a well-known classic every self-respecting reggae fan should know and blows up any party, especially when tweaked like these two versions. They were originally produced by Studio One bossman Coxsone Dodd and have been covered by The Clash as well as sampled by The Fugees and hip hop MC KRS One. The snaking lead synth, the rumbling drums and classic ska trumpet are all straight up irresistible.
Praying For You (Louie Vega NYC Fender Rhodes Solo) (4:55)
Praying For You (Louie Vega Vonita dub) (5:43)
Praying For You (KDA remix) (6:10)
Praying For You (album version) (6:11)
Praying For You (Louie Vega Expansions NYC dub) (5:41)
Smile (David Morales remix) (7:01)
Review: Earlier this year, DJ Spen and Teddy Douglas's long-serving gospel-house group Jasper Street Co returned to action with their first album in 16 years. It's from that album that "Praying For You" is taken, though the selling point here is not the LP mix but rather a suite of reworks from Louie Vega. Our picks of the bunch are his jazzy and breezy "Main Mix", the brilliantly bass-heavy "Vonita Dub" (think righteous call-and-response gospel vocals and a killer groove) and the sleazy "KDA Remix". The latter is a basement-bothering stomper rich in fuzzy organ stabs and spacey electronics. The smooth, slick and pleasingly colourful David Morales remix is also rather good (it reminded us a little of vintage Frankie Knuckles rubs, which is no bad thing).
Review: Best just keep coming with the Italo heat, once again tapping into that golden year of 1984. Funky Family was a one-shot studio project that left a much-vaunted record in its wake. The visionary nature of "Funk Is On" is impossible to ignore - from the noirish mood to the physical thrust of the arpeggios, the diva vocals and tough 4/4 groove, this is house music in all but name. Whether you want the vocal cut or the instrumental, Best have you covered - either is going to set the dancefloor alight.
Never Gonna Let You Go (Theo Parrish Ugly edit) (10:04)
Never Gonna Let You Go (5:10)
Review: For the best part of 17 years, Theo Parrish's legendary re-edit of Made In USA's "Never Gonna Let You Go" was available only to those willing to pay serious sums for a copy of his first "Ugly Edits" release. Thankfully De-Lite has done the admirable thing and made it available to all via this essential new edition of the 1977 jam. It allows those who've never heard Made In USA's heartfelt and surprisingly laidback original to compare the two versions, which only highlights the brilliance of Parrish's re-edit. His ten-minute take speeds up the track, adding choppy edits effects to increase energy before rolling into the most righteous and celebratory bits of the original version. In our opinion, it's one of the greatest re-edits of all time.
M&M Vs Andrei Swipe - "Analog Express" (Don Carlos remix) (7:29)
Review: There's an undeniable air of quality that lingers over the 12"s emerging on 14th Level Of Paradise, the mysterious label presenting originals, edits and repressed tracks for true house devotees. First up is a little known track from Sasha Makin and Suntetic, given a shimmering polish by Don Carlos and Steven Perri to become a heavy funking masterpiece, before Joe Claussell drops in a percussive dub delight on Monday Michiru's "Higher". On the flip, Vincent Inc and LA get things pumping with the slow but chunky, jazz-licked "Red Room", before Carlos returns for another deep house reverie as he remixes M&M and Andrei Swipe's "Analog Express".
Review: Dinky-Di is a modern disco ensemble conducted by Waq Takahashi with just a few key releases spread out across the past 15 years. Now Million Dollar Disco main man Al Kent has cherry picked one of the hottest jams from their oeuvre and given it a special rub down - the kind of treatment that warrants a single-sided 12" no less. In Al's hands, 2005 track "Gold Wave" becomes a sizzling party monster that romps along for more than 10 minutes. With scintillating peaks, heavyweight drum breakdowns and sumptuous musicianship throughout, this is how an epic disco bomb should sound in 2019.
Review: Detroit duo Aux88 always danced to a different drum than their Motor City peers, developing a ludicrously weighty trademark sound that put massive, mind-mangling analogue bass and gut-punching electro beats at the heart of the action. "Direct Drive", a 1995 release that has long been hard to find (hence this much-needed reissue), is one of the best examples of their distinctive sound. The title track (side A on this edition) is little more than a raw, thrusting bassline, snappy machine beats, spacey pads and occasional Kraftwerk samples, but it's brilliantly floor-friendly and brilliantly executed - Detroit body music for those who like their club cuts sub-heavy. Elsewhere, "Aux Express (DJ K1 Mix)" is a bouncy electro jam and the short "Bytes" tracks are wonky vocal samples for creative DJs.
Lenny Fontana, Tension - "A Place Called Heaven" (Joey Negro dub Groove) (6:58)
Jay Denes, Ada Dyer - "You Make Me Whole" (Joey Negro Rhodes dub) (5:17)
Julian Sanza - "To Love" (5:16)
Frankie Knuckles, Satoshi Tomiie, Andrea Mendez - "Bring Me Love" (Eventual dub) (6:56)
Review: Some serious no-nonsense house grooves for all true-school DJs to cop, dug out from the annals of club music history. Things kick off good and proper with Joey Negro's insanely powerful "Dub Groove" mix of Lenny Fontana's "A Place Called Heaven". Negro's on the buttons once again with the classic, pumping "Rhodes Dub" of "You Make Me Whole" by Jay Denes and Ada Dyer. On the flip, Julian Sanza drops the squelchy boogie inflected "To Love" before the record ends on a serious bang with the dream team of Frankie Knuckles, Satoshi Tomiie and Andrea Mendez's "Bring Me Love (Eventual Dub)". This is as actual house as actual house can get - the real deal, crystalised in four evergreen gems pressed on one handy record.
Review: Hold tight for another dose of seriously sassy Italo brilliance lovingly reissued on Best. This time it's Plustwo and their outrageously fun "Melody" getting the treatment, with the A side given over to the catchy vocal version and the previously unreleased dub version. "Stop Fantasy" on the flip is another sugar-coated trip through poppy dancefloor perfection, with some cheeky acidic undertones for those listening with the right ears. You'll recognize this one as a crossover hit that's snuck up in deep digging sets - now you can get your mitts on it too.
Review: There's not a lot of info about this one other than it's a "mysterious" re-edit that's been setting alight the DJ sets of some serious selectors on the European electronic disco underground. Whoever is behind it, and whatever the original source material may be - we've not got a clue - "Koy Jaye" is astonishingly good: a throbbing chunk of glassy-eyed, shirts-off Italo-disco/Bollywood fusion that layers exotic Indian vocals and snaking horn lines over druggy arpeggio style bass and a stomping drum machine rhythm. It's the kind of thing capable of sending dancefloors crazy at four in the morning, and there's always room in the record bag for jams like that.
Review: Helena Hauff returns to her own Return To Disorder label after last year's joyously received "Qualm" album on Ninja Tune. It's the first fully solo record Hauff has released herself, and it more than lives up to expectation. "Catso" is a wonderfully expressive slice of noirish electro draped in vintage synth arps and twinkling leads as enchanting as they are spooky. "Why Look At Animals" has a more low down funk, but once again sports the richly harmonic synth hooks to make this appeal right across the board. "The Brush" ups the tempo, but keeps things sparse and moody, while "Slim Filter" gets a touch more nasty and sounds utterly fantastic with it. Compared to her rabid DJ sets, these productions represent the more measured side of Hauff, but they're no less deadly.
Review: EYA Records presents a double 12" of plush techno and house spanning styles, giving four producers the chance to showcase the breadth of their sound with two tracks each. Innershades brings emotive 90s swoon and peppy acid to the A side, before Two Phase U slips in a little uptempo robo-disco sauce and a feisty jack track. Otis takes things in the direction of wiggy proto-trance and bleep techno, and then Zots finishes up with freaky synth work dripping with mischievous personality. This is a set of tracks that demands to be noticed - don't sleep.
Mahogany - "Ride On The Rhythm" (Michael Gray remix) (7:05)
Raw Silk - "Just In Time" (Michael Gray remix) (6:25)
Review: Full Intention man Michael Gray is the latest contemporary house producer to get his hands on the parts to classic cuts from the bulging West End Records catalogue. He has opted to rework two slightly deeper early '80s jams, starting with Mahogany's 1982 boogie cut "Ride On The Rhythm". His version is warm, sparkling and bass-heavy, offering the right balance between modern production techniques and the kind of effects utilized by the track's original producers. It's really good, keeping the spirit of the original track while dragging it into the 21st century. The same could be said of his boogie-house take on Raw Silk's "Just In Time", which boasts a similar balance of tidy new drums, spruced-up synths and swirling effects.
Review: Following his recent strong turn on Cocktail D'Amore, Jules Etienne makes a trip back to Apersonal Music with more of that island groove for the smoothest slack-wearers in town. "Free As A Man" is a beautifully laid back but funky offering that speaks to all kinds of good times. Jex Opolis turns in a remix of the track that has a little more bite to suit the later demands of the dancefloor. "Don't Wanna Talk About It" sees Etienne linking up with Disco D and winding all kinds of slick strutting business into his sound, and then "Rhythm For The Garden" heads off into wonderful tribal percussion that serves as a handy tool for DJs who want to get some rich drum sounds into their set.
Review: The Well Street family continue to bloom with this assured grip of adventurous steppers from Significant Other. You know you're onto something serious as soon as "Postdrome" fires up in a tangle of break slices, percussive rattles and poised kicks. The sparse drum-focused style continues in a quicker fashion with the tense and twitchy "Delos", while "Brain Fingers" amps up the bass flex to make for a dance-wrecking-ball of a track. "Memory Drum" completes the set with interlocking patterns balanced between organic and electronic and draped in tones of icy dread.
Review: The hardest-working man in West London is back! By now we've become accustomed to Kaidi Tatham offering up regular doses of soul and jazz-funk-fired dancefloor goodness, but even by his high standards "You Find That I Got It" is something special. Warm, woozy, groovy and full of intricate musical details - brief synth solos, subtle orchestration and so on - the A-side title track is a wonderfully sunny slice of instrumental boogie-soul. Tatham's world-renowned keys playing comes to the fore on the organic broken beat/jazz-funk fusion of "Mjuvi", a flipside cut that's almost as good as the exceptional title track.
Review: If you're looking for a great selection of house and disco club cuts, you can't beat Z Records "Attack The Dancefloor" Series. The latest volume begins with the revivalist disco brilliance of label founder Dave Lee AKA Joey Negro's remix of Delia Renee's "You're Gonna Want Me Back", before moving on to the slightly more house-centric modern disco vibes of Dr Packer's superb revision of vintage Dave Lee production (as Foreal People) "Shake". Over on side B, Grant Nelson offers up a filter-sporting disco-house revision of Z Factor classic "Gotta Keep Pushin", before Lee dons the Joey Negro alias one more time to wrap ear-catching church organ solos around a gospel-influenced house groove on an excellent remix of Four80East and CeCe Peniston's "Are You Ready?".
Review: This is a big reissue of some disco-not-disco weirdness as cut up and chopped, skewed and made to dazzle by the Bastedos camp. "Keep Me On Fire" is a chugging pumper with fat drums and noodling riffs that sets the groove train in motion and keeps it running. "I Tried To Help It" is even more wild and impassioned thanks to the unabashed vocal that cries in soulful falsettos while Chic-style riffs power it along. "Termination" ends in a freaky but funky fashion with twisted vocals and gauzy guitar chords layering up into a marching wall of sound that's laden with effects.
Instant Funk - "I Got My Mind Made Up" (Late Nite Tuff Guy remix) (7:21)
Orlando Riva Sound - "Body To Body Boogie" (Late Nite Tuff Guy edit) (5:30)
The Salsoul Orchestra - "Ooh I Love It (Love Break)" (Late Nite Tuff Guy Muscle edit) (6:42)
Review: Salsoul has always been good at getting contemporary producers to reinterpret classics from its bulging catalogue, with recent years bringing fresh edits and reworks by The Reflex, Moplen, DJ Pope, Dimitri From Paris and Late Nite Tuff Guy. Here the latter returns with a second helping of tastefully tooled-up revisions. The Australian producer kicks things off with a warm and woozy hybrid disco/house take on Instant Funk's "I Got My Mind Made Up" that's quite a departure from the original mix. Over on side B, he turns in a languid and groovy, mid-tempo house version of Orlando Riva Sound's overlooked "Body To Body Boogie" before successfully revising Salsoul Orchestra's much-loved "Ooh, I Love It (Love Break)" whilst retaining most of the original vocals and instrumentation.
Aurra - "Such A Feeling" (Dr Packer rework) (6:56)
Salsoul Orchestra - "Take Some Time Out" (Dr Packer rework) (6:43)
The Jammers - "Be Mine Tonight" (Dr Packer rework) (5:50)
Review: Barely a fortnight has passed since Salsoul offered up a double-pack of Dr Packer reworks of classic tracks, but the Australian producer is already onto his next batch of vintage disco and boogie remixes. He begins by subtly beefing up Loleatta Holloway's orchestrated disco classic "Hit & Run", wisely emphasizing a relaxed but bouncy disco-house groove and dubbed-out vocal section, before going dub disco crazy on a suitably spacey, low-slung take on Aurra's boogie-era jam "Such A Feeling". Record two sees him charging towards peak-time floors via fine multi-track edit of Salsoul Orchestra's "Take Some Time Out", before delivering a fine, light touch revision of the Jammers' superb, synth-heavy electrofunk classic "Be Mine Tonight".
Review: The My Rules crew is back with its first release of 2019 and doesn't disappoint: this time they've come up with a much fawned over cosmic disco classic from Belgian outfit Candy Darling & The Viscounts. The original "Movin'" is a previously Japan only 12" promo mix of a disco cover of a Lee Hazelwood surf song that has edgy stabs and a squelchy bassline to die for. The flip side houses a special rework by Mt Rules label boss Justin Van Der Volgen. He tweaks the inner workings of the tune to draw out the key bits for utter dance floor destruction. Form the bar to the cub to the afters, this one is primed and ready to detonate.