Review: Sleazy McQueen's always reliable Whiskey Disco is back with its 61st edition, featuring Ukrainian editor Alex Zuiev. The man from Mariupol first appeared on the label back in 2017 and he's become a staple of sorts - as this will be his fourth for the Florida based imprint, in addition to appearances on Editorial, FKR and Spare Change. The Flying Objects EP features the rowdy late night disco of "Trenitalia" which is sure to get the crowd dancing on the ceiling, while on the flip prepare to get deep down and dirty on the lo-slung oddity of "Soul Fire" - which is perfect for late hours.
Review: It's may seem that deviant disco champs par excellence Bahnsteig 23 are already toasting to their 50th release, but in truth their catalogue started at 23 so don't be fooled. Instead, just feast on another salvo of seedy body music from Ziggy, which leads in with the synth-soaked pump and thrust of "Trance Gigolo" before switching to the sassy 80s funk of "Yo Let Her". Things are just as cool and deadly on the flip as the slap bass electro meanderings of "Amfobia" brew up a post-punk disco delight with a schlocky horror twist, and "Freaky Leaches" leaves things on an ominous note via a swampy trip through the mangroves with only a steady ticking rhythm section for company.
Review: French producer Yuksek has released rather a lot of music over the last 15 years, though this appears to be his first ever collection of re-edits. You'll want to check tasty opener "How I Love To Dance", a lolloping rendition of a quirky and obscure disco number rich in Patrick Adams style instrumentation and well-placed dub delays, while the drum-heavy "The Beat" features waves of wonky percussion, a pulsating bassline and plenty of sweaty FX. Elsewhere, "Think Of You" is a head-bobbing revision of an AOR disco/disco-rock cut that sounds like it could have been re-edited by Eric Duncan, and "Dance In Disco" is a seductive Gallic disco chugger rich in heavily accented English vocals and jazzy electric piano solos.
Review: Matlock maestro Ant Plate (he of Rhythm Plate fame) has been turning out edits, reworks and original productions under the alternate YSE Saint Laur'Ant alias for the best part of a decade. His release rate has slowed of late, though, with this Whiskey Disco outing marking his first release for almost a year. The material on offer is very strong, particularly lolloping opener "Just As Bad As You", a head-nodding revision of a Hammond-sporting soul jam that combines samples from an obscure 1970s cut with subtle new instrumentation. Other EP highlights include the gospel/dub disco fusion of bongo-riffic flipside opener "I Know I've Been Changed" and the percussive, jazzy, slow motion bumper "New York Paris", a killer groove marked out by layered congas, ear-catching double bass and fuzzy, post-punk style horns.
Review: It would be fair to say that Young Pulse has been one of GAMM's most reliable re-editors of recent years. It's now almost four years since he made his debut and in that time he's released a quartet of must-have EPs of disco-fied, soul-fired reworks. Volume five contains just two tracks, but both are - somewhat predictably - very good. A-side "Strong Survive" is a veritable peak-time disco stomper, where punchy horns, soaring orchestration and guttural soul vocals are underpinned by a rambunctious disco-house groove. "Dreaming" sees our Parisian hero stretching out a killer SAM Records cut, making more of the seductive chorus vocals and mazy, jammed-out synth solos.
Hwe Hwe Mu Na Yi Wompena (Ben Gomori Message Of Love edit) (7:15)
Hwe Hwe Mu Na Yi Wompena (Ben Gomori Message Of Love live dub) (5:56)
Review: Afrobeat revivalists Yaaba Funk are getting a welcome new lease of life here, as the Sterns Edits crew turns in a trio of fresh reworks from their largely overlooked 2010 album "Afrobeast". Contemporary broken beat hero Danvers handles side A, turning in a swinging, hot-stepping revision of sun-kissed juju number "Oman Foa" that adds just the right amount of modern dancefloor clout to an otherwise perfect Afro-soul workout. Over on side B, Ben Gomori offers up two versions of "Hwe Hwe Mu Na Yi Wompena": a spacey Afrobeat/Afro-disco style peak-time "Message of Love Edit" and the arguably superior - and certainly impressively bass-heavy - "Message of Love Live Dub".
Review: Lecce-based Marco Erroi (Common Series) returns with more of his hot edits on the second edition of the XXXV series. There's a strong, lo-slung Blaxploitation vibe going on in this volume, opening with "B Movie" followed by some trippy acapella action on the reduced, spacey and almost cosmic "Not Just A Groove". Flip over for a respectful edit of a well-known classic ("Dancing" - no guesses there!) and closer "Karon" which goes well deep and spiritual with its sweltering Afro vibe, thanks to Erroi's on-point splicing techniques. Tip!
Review: Probably most known as the hook sampled in Zhane's breakthrough 1993 R&B smash hit "Hey Mr. DJ", it's only in recent years that it has been recognised as being from Michael Wycoff's 1982 sleeper hit "Looking Up To You". Taken from his second album Love Conquers All, Wycoff's short lived solo career sadly hit a dead end shortly after and he apparently went through tough times. That is until getting back on his feet via a new found faith and these days he is a Minister of Music at several Los Angeles area churches. "Looking Up To You" is a timeless soul classic featuring his signature vocal style, a lush string section, an even tighter brass section and powerhouse backing vocal team: you just don't get music like this anymore! B side cut "Diamond Real" (Tee Scott instrumental mix) is a more upbeat boogie number, with P-funk style elements plus neon-lit synths and disco guitar licks - wouldn't have been out of place on the Beverly Hills Cop soundtrack actually!
Review: Cologne's AVA Records present Tito Wun with his first solo record on the label. Featuring six heavy hits, it is a real label special. This will be Wun's fourth appearance on the label, not forgetting his full length with label staple Damiano Von Eckert entitled Mr. Pink, What Have You Been Smokin'? in 2013. Starting off with the low slung groove of "1023 Sunset Blvd", things make a tropical turn on "Iguacu Hash" which will take you deep into the exotic. On the flip, there's a fine edit of a good old soul classic on "NeEdit" and finally "5am" gets back into some dusty/slo-mo house action which has earned him releases on the likes of Money $ex and Tartelet.
Review: Having reissued Body, Body Love last year, Best Records come back for more of Billy Woost's late 70s grooves, all lifted from his sole self-titled album and presented here in their true 'Disco Version' format. This time around it's "Vibrations" that takes centre stage, and it sounds resplendent in its widescreen vision of disco funk production at its highest possible standard. On the flip "Baobab" sounds even more potent with its killer bassline groove, dream-pop vocal trills and all round feel-good mood. Now if Best can just do the same job with the rest of the album we'll be laughing.
Ed Wizard & Disco Double Dee - "Peoples Groove" (7:53)
Matt Hughes - "Sunshine" (6:11)
The Owl - "Pimp Talk" (6:38)
Rahaan - "Fine Feelings" (7:30)
Review: Editorial Records return with more disco infused flavours from around the world. These four nice and slow re-edits are sure fire weapons for any disco DJs crate. Ed Wizard and Disco Double Dee take on Brass Construction much like Venus did on Sunshine People 15 years ago for another nice re edit. Matt Hughes' "Sunshine" is an equally good effort; wait for the drop! "Pimp Talk" by The Owl retains the sleazy grooves of the original and Rahaan's take on fine boogie workout 'Feeling Fine' does the business, as always.
Ed Wizard & Double Disco Dee - "Spirit Power" (6:13)
Duff Disco - "Burning Hot" (6:05)
Hotmood - "I Was Born In Mexico" (6:18)
Alex Zuiev - "I Feel Funky" (6:23)
Review: While most Editorial EPs feature contributions from a range of high-flying re-editors, their latest collection of cuts boasts a particularly star-studded line-up. For example, it features a now rare outing from Jeremy Duffy under the familiar Duff Disco alias, a gently rolling disco-soul revision called "Burning Hot" that underpins a suitably glassy-eyed cut with his trademark soft-touch house drums. More up-tempo fare can be found on side B, where Hotmood's disco-funk rearrangement "I Was Born In Mexico" - think restless slap bass, eyes-shut guitar solos, bouncy drums and rising horns - is joined by the razor-sharp disco-funk sweatiness of Alex Zuiev's "I Feel Funky". Arguably best of all, though, is Ed Wizard and Disco Double Dee's woozy, sample-heavy disco roller "Spirit Power".
Review: Ali Renault's Vivod label continues to bring the goods, as recent missives from Skatebard and Monkeyshop (their first release of any sort for 11 years) emphatically prove. The imprint's latest release comes from newcomer Paul Withey, who follows up a fine contribution to a recent split E.O on Ruby Hills & Diamond Mountain, with a debut solo E.P of his own. The five tracks featured are nicely varied stylistically, but all boast the distinctive shimmer of analogue synthesizers and dusty drum machines. Highlights include the surging Italo-disco revivalism of "Pallas", cheerily positive synth-pop flex of "Yes Master", and the curious, Radiophonic Workshop style weirdness of "Beneath the Surface".
Review: Unlike some of Dark Entries' Italo-disco reissues, Wish Key's "Orient Express" is fairly easy to come across on the second hand market. It is, though, no less alluring for that, and is most certainly worthy of the deluxe repress treatment. The Instrumental version, in particular - all relentless train noises, delay-laden drum machine solos and sparkling synthesizers - is absolutely killer. Wisely, Dark Entries has chosen to back it with three versions of Wish Key's 1986 single "Last Summer", an almost Balearic chunk of mid-tempo Italo-disco/synth-pop fusion. That, too, boasts a brilliant instrumental version - this time with a pleasingly glassy-eyed ambient build- up and a surprising Go Go Mix.
Greg Wilson - "Summer Came My Way" (feat The Reynolds - Luxxury mix) (9:17)
Oddfellow's Casino - "The Ghosts Of Watling Street" (Greg Wilson & Peza mix) (5:18)
The Super Weird Society - "Gone With The Vibe" (Henry extended mix) (4:50)
The Reynolds - "Don’t You Worry Baby The Best Is Yet To Come" (Greg Wilson & Peza mix) (8:46)
Review: As the title suggests, Super Weird Select Volume 1 gathers together some of the most sought-after cuts on Greg Wilson's growing Super Weird Substance label. First up is Luxxury's deliciously languid, poolside nu-disco take on Wilson's own "Summer Came My Way", featuring the attractive and cheery vocals of regular collaborators The Reynolds. Wilson and Peza's rework of "The Ghosts of Watling Street" by Oddfellow's Casino is a gently acid-flecked nu-disco shuffler, while the Henry Extended Mix of The Superb Weird Society's "Gone With The Vibe" is a p-funk flavoured electrofunk workout. Arguably best of all, though, is the classic disco soulfulness of Wilson and Peza's closing remix of The Reynolds' Bessie Banks cover, "Don't You Worry Baby The Best Is Yet To Come".
Review: A staple selection from Strut since its Nigeria 70 collection, this momentous piece of musical history dates back to 1979 when iconic vocalist Shina brought together the likes of Biddy Wright, Fred Fisher, Saliu Alabi and more decorated Nigerian musicians for a one-off supergroup. This epic, slippery freeform 11 minute piece of pure Afrofunk was the timeless result. Having enjoyed a handful of reissues and returns in its near 40 year life, this is the first time it's been remastered and delivered with all its original artwork and a full list of credits. Perfect to the very detail.
Review: Last seen on Stilove4music back in 2008 sharing plate space with TJ Dumas and DJ Marquis, the God Son Rick Wilhite makes a welcome return to Jerome Derradji's label with The MC. This time Wilhite goes toe to toe with Tim McAllister of MC Edits fame, with the pair contributing a track each to both sides. If you want a glimpse at Wilhite's personal armoury of tough to the bone edits then this is the record for you - just witness how Rick dices the extended drum break on lead cut "My Life Is A Minimal Circle". McAllister offers Chi-town style percussive sweat to the Detroit grit of the God Son with the final cut "Catchin Sun" the track proper disco heads will always reach for.
Review: Dean Meredith’s White Light Circus returns to the 12" format with the celestial funk of "Rocket Ride" (extended version), a synth and drum work out that pays its dues to not only the robo-disco of Giorgio Moroder, but also to the Teutonic modulations of Kraftwerk and their oscillating computer soul. For the B-side, Meredith hands over the controls to Andy Meecham, who re-configures the rocket’s motherboard, presenting us with an Emperor Machine Version that spins us sideways into a meteor shower of insistent rhythms, sputnik melodies and sound effect squiggles. This is the follow up to 2005’s acclaimed "Marching Orders" which had a legion of DJ supporters including The Glimmers, Headman, Trevor Jackson, Soulwax, Prins Thomas, Rub N Tug, Pedro Ed Banger, Idjut Boys, Optimo, Stevie Kotey & Mr Scruff, etc.
Review: Amidst recent praise from a variety of individuals including Ben UFO, Legowelt and the Juno review team, the Peoples Potential Unlimited label keep up the brilliant work with yet another killer disco boogie oddity from the early 80s. This Westwood / Cash twelve is the first of two twelve's from the Washington imprint to switch the focus to the career of Detroit producer Danaan Potts who can count on studying alongside a young Juan Atkins as well as spending close to 100 hours a week studio time alongside George Clinton as influences. Here he adopts the anonymous Westwood tag to add some bizarre P Funk to the delightful Orlando Cash jams "Psycho For Your Love" and "Work Those Joints". Additional PPU tweaks of both make this one of the labels best twelve's to date!
Review: A brief glance at a high-profile second-hand vinyl website confirms that original copies of Henry Wenceslas Thenard's obscure 1985 zouk cut "Ne Dis Pas Cela" (or, as we say in English, "Don't Say That") are not only incredibly hard to come by, but also change hands for extortionate amounts. This reissue, then, is rather handy for those without super-sized record-buying budgets. Thenard's jaunty, horn-heavy and sun-kissed original version resides on the A-side, with Mr Bird providing fresh reworks on the flip. On his "Rework", the French scene veteran gives the cut a disco-zouk feel, placing choice elements of Thenard's original mix (mainly the horns and vocals) above a chunky new beat. That beat naturally comes to the fore on his admirably percussive DJ Tool.