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: The Fantastic Voyage label kicks off with a summery joint from RFX, otherwise known as Pharmacy Records mainstay Romain FX, straight out of Hong Kong. There's an undeniable African lilt to these tracks, shot through with a classic 90s house twist - just check the infectious bump of "Indaba Kabani". "Gambian Neptune" has a snappier feel, channeling the vibe of 80s extended dubs with its strident drum section and bombastic atmosphere. "Nigerian Charon" has an interesting mixture of vibes going on, part Art of Noise mash up and part peak time synth sizzler, while "Sudanese Xena" heads into the heat of night, conjuring up a seductive, swirling mood to get truly lost in.
Review: After taking a year out (presumably to rotate his head 360- degrees and hoot at the moon), wide-eyed re-editor The Owl returns to action with another essential collection of reworks. Check first the hot-stepping James Brown style funk strut of "On It" - all rubbery but thrusting grooves and guttural grunts - before switching to the slick and rising disco goodness of "Boogie". There's something of a switch on the flip, where he works his magic on the low-slung disco tune that Paul Johnson sampled for his classic house cut "Get Get Down". Best of all, though, is the filter-sporting disco-house bagginess of "Sly Lovin", which rounds off the EP in fine style.
Just An Illusion (Ilija Rudman Night Institute mix) (3:04)
Don't Look Any Further (Ilija Rudman True Colours mix) (4:38)
Review: Off the back of the awesome "Sagittarii" LP on Stevie Kotey's Bear Funk earlier in the year, Croatian deep disco hero Ilija Rudman is back with a couple of sweet re-edits on Brooklyn Highs. He takes on Imagination's classic "Just An Illusion" for a "Night Institute Mix" where he pitches this sexy late night lovers anthem down a few notches for that good ol' low slung effect. On the flip, he delivers a respectful edit of Dennis Edwards and Siedah Garrett's 1984 classic "Don't Look Any Further" for a "True Colours Mix", which again goes for that slo-mo vibe just nicely.
Review: Cannon & Mirrorball may not be the disco edit scene's answer to moustache-sporting 1970s/80s comedy heroes Cannon and Ball, but they certainly serve up tracks that will put a big goofy smile on your face. Their latest Disco Bits adventure begins via "Black Rhythm Rap", a chunky, hip-hop friendly rework of an obscure, late 1970s disco-rap bomb rich in funky guitar licks, cut-glass strings and party-starting MC flows. On the flip they get even cheekier, placing Loleatta Holloway's incredible "Love Sensation" vocal over a stomping, Blaxploitation-era disco-funk backing track and all manner of familiar soul and funk samples. Purists will no doubt sneer, but they really shouldn't: this is tastefully produced disco heat of the highest order.
Review: Hot on the heels of a re-work of Bobby Caldwell, edit stylist Caserta is back with another golden nugget. This time he turns his attention to the one and only Luther Vandross and serves up two equally essential but very different tunes that pay homage to his unique voice. The King Street Mix is all hip swinging claps and nodding bass riffs that are organic and heartfelt, whereas the Henry Street Mix nods to the '90s heyday of New York. With warm neon organ stabs that will get any floor pumping, both interpretations have Luther's soulful voice front and centre.
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: Disco Fruit come correct once again with that bright and bold house sound to get everybody shaking their thing. 84Bit's "Mamma Jamma" is an impossibly catchy, diva-led funky house jam with pristine production that harks back to the glory days of radio-friendly house music with more hooks than a fishing tackle shop. Hotmood keeps the vibe of the original intact but edges a little more club-ready bite into the mix, master editor Dr Packer takes a subtle approach that keeps the disco vibes front and centre, while Tonbe cools things down with a filter riding version.
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: Not An Animal regulars Ess O Ess are back with an effervescent 12" that spans starry-eyed electro and pastoral electronica. "Voice Inside" comes in French and English versions, depending on what flavour you want from the sultry spoken word turn on the top of the plush harmonics of the production. As well as the killer original track, there's choice remixes on offer too from The Backwoods and Craig Richards. The former takes a cosmic, trippy approach to the track, but keeps the focus sharp thanks to a snapping 4/4 beat. Craig Richards meanwhile takes things far away from the original with a brilliant slice of discordant electro weirdness for the after hours crowd.
Review: The Dessert Island Discs series continues with yet more arch remixes from across the disco and boogie spectrum. Bubbles The Pimp kicks off the A side with a tasteful treatment of Gil Scott Heron's "Winter In America," which gets rustled up into a sweet and sassy house number with a cheeky acid b-line underneath. Nelly Wilson whips up a storm on the tightly clipped, peak time-oriented "Trapped & Confused". Pierre Pressure's "Love & Beyond" takes it easy on the B side with plenty of fluttering synth wobbles to offset the choppy funk of the guitar - it's a cosmically enhanced floor burner to get you all astral under the collar.
Review: The bushy-tailed bandits strike again! This time they're hitting with some serious Latin fire as both sides look towards central America for source inspiration. "Track One" takes an upbeat Joe Cuba classic and slows it down to let us really chew into the warm, pumping groove. Trust us, one listen to this and you'll never want to go back to Georgia either! "Track Two" meanwhile flips the disco/funk Joe Bataan classic "Mestizo" with a little uptempo twist and some precision-placed disco bubbles. Go nuts and add this to your stash.
Image Pour Image - "Where Is The Love In This World" (3:20)
Attrition - "Beast Of Burden" (3:05)
Zazou, Nodland, Lema - "Stranger In The New Light" (4:02)
Kastrieste Philosophen - "Playin The Fool" (3:05)
Instead Of - "Bad Angels" (4:43)
Review: Emotional Rescue continue to mine hidden corners of esoteric music to bring your rarified delights in a freshly mastered form. This time the label has turned to cult Spanish label Auxilio De Ciento, who have been quietly picked up by more tuned in heads for their excellent new wave, synth pop and industrial wares. La Caida De La Casa Usher present the most abrasive material on here, but largely it's a relaxed affair. You can lose yourself in the bubbling synthesizer goodness of Bene Gesserit and Danny Alias, or trip out to the pattering drums of Zazou, Nodland, Lema.
Don't You Want My Love (Joe Claussell 1986 Reel To Reel edit) (8:54)
Don't You Want My Love (Cratebug More Love remix) (9:06)
Review: Defected's fabulous Glitterbox off-shoot has thankfully repressed these two fist pumping disco remixes of Debbie Jacobs' classic "Don't You Want My Love". Stepping up on the a-side is the master of the mix, EQer extraordinaire and founder of the legendary Body & Soul party, Joe Claussell. His remix is perfect for said New York party with its loose percussion, big string stabs and relentless disco drums. Cratebug strips things back to a more functional and contemporary club track that builds in layers, with subtle filters bringing the tension until finally he lets the groove drop, no doubt to devastating scenes on the dance floor.
Review: Exploring the sounds emanating from South Asia, Masaala is a new label with a fresh outlook. The first release features Manchester-based producers Raheel Khan and Adesi turning in some powerful edits that will appeal to anyone seeking invigorating sounds from further afield. Khan's twist on "Mast Qalandar" sounds like a striking version of Nusrat Fateh Ali Khan's "Mustt Mustt". Adesi offers up the lions share of the edits though, channeling South Asian sounds through grooves ranging from the fierce disco stomp of "Sansani" to the low slung funk groove of "Nah Nah Nah". "Kammata" has a more dense rhythmic complexity at its heart, and "Kuchi Kuchi" collides traditional sounds with contemporary broken beat to brilliant effect.
Review: Way back in 1999, Acid Jazz Records launched an offshoot dedicated to disco edits: Original Sound Track Recordings. The best of the series' many superb reworks were later gathered together on a compilation album on EMI that now changes hands for significant sums online. Happily, they've decided to reissue some of their early releases, beginning with this 7" of Family Tree featuring Sharon Brown's "Family Tree". You'll find the peerless original - a breakbeat-driven chunk of lolloping funk brilliance - on Side A, with the label's 2002 "Super Disco Break Beat" version on the flip. Inspired by hip-hop DJs doubling up the track's brilliant drum breaks, it's a killer percussion workout with a few quick blasts of funk energy and carefully placed special effects (think flanged drums, reversed sections and so on).
Good Good Lovin' (Hifi Sean & Yam Who? edit) (3:58)
Review: Recently, legendary American dance producer Arthur Baker discovered two tracks in his storage on 1/4" tape recorded in 1979. He asked Hifi Sean (aka Sean Dickson of The Soup Dragons) to rework them - who brought on board Riot Recordings boss Yam Who? and they quickly got to work resurrecting these soulful disco anthems. On the A side, we have the souled-up disco power of "Reachin'" featuring Minnie Gardner's powerful vocals, then get prepared to get down proper to the group vocals and epic brass section in the uplifting "Good Good Lovin'" (Hifi Sean & Yam Who? edit) all accompanied by Baker's immaculate production style.
Tecumsay Roberts - "It Makes Me Dance & Sing" (5:44)
Commy Bassey - "We Want Togetherness" (4:37)
Review: Triassic Tusk's "Screamers, Bangers & Cosmic Synths" series of crate digging comps has seen the Scottish crew showcase some seriously hot, little-known music. Mukatsuku have joined forces with the imprint to give a 12" release to two potent Afro-disco smashers that recently featured on volume two of the ongoing compilation series ,now remastered and sounding better than ever. On side A you'll find Liberian artist Tecumsay Roberts' bouncy 1979 Afro-soul/Afro-boogie number "It Makes Me Dance & Sing", where spacey Moog solos rice above a funk-influenced dancefloor groove. On the flip, the fun continues via Commy Bassey's Clav-happy, Nigerian sounding Afro-boogie roller "We Want Togetherness", a positive plea for unity that's as relevant now as it was way back in 1980.Juno copies come in an exclusive branded card sleeve with an additional obi strip not available at other retailers .As played/charted by Red Greg,Joe Claussell,Marcel Vogel, Craig Charles,Faze Action,Kalita,Cedric Woo,JKriv,Prins Thomas,Floating Points and Dom Servini so far.
Review: Disco Dub Band's "For The Love of Money", a one-off collaboration between producer Davitt Sigerson and reggae musician Mike Dorane, has long been considered something of a classic by those who like their disco to come with a big dose of dub-wise flavour. Here the instrumental O'Jays cover, which originally appeared on the Movers label in 1976, is given the remix treatment by long-time fans Mr Bongo. The superb A-side, in which Dorane's instrumental talents take centre stage, naturally comes accompanied by the frequently played Dub interpretation, a typically wild and bass-heavy affair that sounds like it was mixed "live" in one take in true Lee Perry/King Tubby style. If it's not already in your collection, it should be.
Review: Danny Krivit's officially sanctioned re-edits of Earth Wind & Fire's "Brazilian Rhyme" and "Runnin" have been sought-after since they first appeared on a Japan-only 12" back in 2004. In fact, such is demand that even later bootleg pressings now go for silly money online. As this reissue proves, though, they're arguably amongst Krivit's strongest scalpel works. Certainly, his three-minute revision of the always too short "Brazilian Rhyme" teases it out to just the right length, in the process delivering a sweltering, sing-along summer anthem. The flipside revision of the equally as summery "Runnin" is every bit as good, with Krivit making merry with the original's life-affirming scat vocals and killer piano solos.
Review: Eccentric, California-based imprint Take Away has put out some impressive 12" singles since launching earlier in the year. Predictably, this two-tracker from the little-known Soul Reductions is another stone cold killer. A-side "Got To Be Loved" - a bouncy, pitched-up disco-house floorfiller that sits somewhere between Tiger & Woods and late '90s "French Touch" house - leads the way, sounding like the kind of cut that will quickly raise the temperature out on the dancefloor. Flipside "A Rose Is A Rose" is a deeper and woozier offering, delivering a rolling house re-interpretation of a boogie-era electrofunk gem with added filter effects.
Review: UK funkateers out on the cosmic frontier in the early 80s Atmosfear let this synth-stroking, bass-slapping star-gazing escapade loose in 1982 and OG presses have been known to fetch a fair a penny among collectors in the past. A proud piece of UK jazz boogie, it's not heard to hear why it's been in such demand. Timeless, spacious and laced with intoxicating vocals and a superbly trippy dub version on the B that was way ahead of its time. Grab it while you can.
Review: REPRESS ALERT: The unstoppable march of Dan Shake continues apace as he storms Lumberjacks HQ with some of that refined sample-a-delic house music that is fast making him a marquee booking for those who want their party started right. He sounds right at home on "Magic Marcel", throwing down an addictive bass hook and looping up the woozy romanticism of classic disco and filter house into a thoroughly potent brew. "The Bee Won" takes a more urgent approach, reaching towards a kind of jazz funk energy with some tumbling percussion shaken into the mix for good measure. Taking a cooler approach to round the record off, "Wake, Bake & Shake" lets the funk take centre stage and leaves the samples plain as day for that breezy Sunday afternoon feeling.
Review: Faze Action last teamed up with Zeke Manyika, formerly of 80s funksters Orange Juice, for the effervescent "Mangwana" back in 2016. Now they're back in collaboration for more classically rooted house music with a deeply infectious African twist. "Kubatana" is punchy where it counts, but it's a light and springy proto house burner first and foremost, with Manyika's vocal sounding as smooth as silk in the middle of the mix. "Hapana" is equally rich in musicality and personality, albeit on a more simmering, meditative tip. On the B side, "Kubatana" gets reworked by Rudy Midnight Machine and Paradise, who turn in distinct versions without losing the overall 80s aesthetic that powers the release.
Review: Helmed by Asaf Samuel and Katzele, Malka Tuti transmits cosmic boogie sounds from Tel Aviv that come from lesser-known sources. On their fifth release they turn to The Kloom, a loose-fit operation of unknowns making a debut appearance with the powerful strut of "40 Gram Beton". Mixing slow disco grooves with ranging synths and warm piano notes, it's an infectious track that provides a prime jump-off point for the cast of remixers that round out the release. Die Wilde Jagd adds a more mechanical coldwave pulse to the track while Khidja gets lost in a swirling trip of a version, with the label throwing in a radio edit as a bonus on the B2.
Review: Multi-track re-edits, where producers utilize the instrumental and vocal parts found on studio master tapes, are all the rage right now. While the Rephlex crew and Joey Negro are the most famous exponents of the art, Galaxy Sound Co regular Kadena has previously proved to be rather adept at it, too. Here the little-known producer channels the spirit of original disco remixer Walter Gibbons, first to provide a lolloping, groove-based revision of Instant Funk's intergalactic Salsoul classic "I Got My Mind Made Up" (side A), and then to deliver a similarly minded take on First Choice's "Let No Man Put Asunder". Like its A-side companion, it's warmer, looser and predominantly instrumental, with judicious use of key vocal passages.
Review: Solomon's Diynamic label has become one of the most visible host outlets in the world. It has a very focused sound that is often progressively melodic, with linear drums working up to a grand crescendo. Elax is the latest to add his own slight spin on that tried and tested format with these two elongated grooves. "Bescio" is littered with percussion and slapping hits that demand you move your body in subtly persuasive ways. "With Lou" is more textured, with a rasping synth lines rumbling over hiccupping drums and hits that are all designed to get big rooms under their spell.
Review: Sheffield's Bitter End crew has always been a little blurry about which producer - or producers - is behind the consistently excellent 12" series, though different versions of some previous releases have ended up on Crooked Man albums. It appears that this EP is the work of Richard Barratt and co, too, with A-side "Incapable" - a warm, woozy and disco-flecked chunk of happy-but-sad dancefloor goodness - featuring the (un-credited) lyrics and vocals of his old buddy Roisin Murphy. That track's the standout, though piano-laden disco-tech cut "Feeling You Feeling Me" and "Princess", seemingly a rework of the A-side featuring blissful jazz guitar solos rather than a headline vocal, are also superb.
Review: Don't get mad, go nuts... The sneaky Secret Squirrel team return for their 21st mission and it's every bit as bright-eyed and bushy-tailed as everything else they've ever stashed. The A-side leads with a peppy horn-fired strutter that shoves us deep in the heart of the hottest dancefloor imaginable. Flip for an intimate, smouldering piece of end-of-the-night soul from 1979. Trust us, once you get a close hold of it, you'll never want to let go.
Review: Together Melbourne pair Amin Payne and Sean Deans form APSD, and they debut in quite impressive form with this Digital Dust album for Hot Shot Sounds. Inkswel and Benny Badge's label has developed into the prime source for what they call "drum machine soul music" and APSD are a perfect fit. Some 11 tracks deep, Digital Dust features contributions from the voice of Fat Freddy's Drop himself, Joe Dukie, as well as Miles Bonny, Cazeaux OSLO, Silent Jay and more. Yet it's Deans and Payne's innate mastery of a glistening brand of funk across various tempos which shines through on this album.
Review: Having given the Dream 2 Science album the wider audience it richly deserved earlier this year, Rush Hour dig out another NYC garage classic from the archives of Ben Cenac for a much deserved reissue. Unlike that album, this Sha-Lor record Cenac recorded in collaboration with vocalists Sharmelle and Lorrie back in 1988 gained wider success, becoming a Summer Of Love staple. It's not hard to see why "I'm In Love" proved so enduring on the A Side Caught Up mix either, with the duo's vocals still retaining a power to move some 24 years on, while Cenac's stripped back bass heavy production is NYC garage at its finest. This being Rush Hour, there's also the bonus of a previously unreleased instrumental version occupying the flip.
Review: "Give Me Your Love" was produced by Roy Ayers and James "Jaymz" Bedford in 1981, this digger's delight was the one and only single by American singer Sylvia Striplin. It is an irresistible serving of soulful disco that really captures the spirit of the times. The track has been sampled on numerous occasions, but most famously on the classic track by Junior M.A.F.I.A. (Notorious B.I.G. production) on their song "Get Money" in 1995 and also by Armand Van Helden on "Full Moon" in 2000. On the flip is the sexy and lo-slung "You Can't Turn Me Away" featuring some sexy funk guitar licks and bass beneath Striplin's powerfully seductive vocals.
The Quiet Before The Red Stop (Selvy remix) (5:22)
Review: Stuart Leath flexes his contacts book with an all-star cast of producers and respected scalpel artists called on to rework cuts from the recent Never Seen The Dunes EP by Khidja. Any 12" featuring the collective talents of Discodromo, In Flagranti, Red Axes and Selvy on mixing desk duties should get you excited and this crew bring the disco heat. "Never Seen The Dunes" is given the Discodromo treatment, adding pulsating bass, driving arpeggio, all while allowing the bump of the original to keeping pushing things on. This is followed by In Flagranti's inspired 'Autobahn' retake of the deeper vibes of "Aura" which is apparently a huge favourite of the label. A matured cruiser that keeps the swing, it all leads to those strings and Eastern flavours gliding over for the perfect finale. Things head darker on the reverse, with Tel Aviv's shinning stars Red Axes, manning the controls for the scatter bounce of "Indecis" for the stand out remix. Twisted vocals, brooding FX and reversed guitar all atop a mesmeric kick, things just keeps going higher and higher. Finally "The Quiet Before The Red Stop" is tweaked by Selvy of The Very Polish Cut Outs and Transatlantyk fame, adding some club bump to Khidja's Balearic original.
Review: Danny Krivit's fine re-edit of Gary's Gang classic "Let's Lovedance Tonight" first surfaced on Nervous Records back in 2007, and has been something of an in-demand item with disco DJs ever since. This, then, is a more than welcome reissue. The genius of Krivit's scalpel job is that it merely emphasizes the sections of the original that dancefloors want to hear; specifically, the acoustic guitar and organ-heavy groove, killer drum breaks and winding saxophone lines. It's simple but devilishly effective. For those seeking the full vocal experience, the original 1979 12" version is included on the flip.
Review: Nebraska's Friends & Relations series continues to deliver the goods as another no nonsense slab of sample-a-delic house delights lands on our platters. There is a fine balance struck between familiarity and obscurity on these edit-esque productions, where you might well recognise the odd break or sample, but Nebraska applies a deft touch to keep things mysterious and fresh. There is funk spilling out of the grooves like you wouldn't believe, from rugged basslines to heavy vibing keys, with splashes of dub FX and a little cosmic dust sprinkled on top for good measure. Heads down business for serious dancers, and the DJs that love to keep them locked in.
Review: During the "rare groove" boom in London during the 1980s, Linda Williams' 1979 album track "Elevate Our Minds" became something of an anthem. Curiously, it was never released as a single at the time, making this surprise 7" edition something of a bonus for those still searching for the track. It remains a fine song, with Williams' brilliant vocals rising above bossa-influenced beats, warm bass, luscious boogie orchestration and gentle Latin style horn lines. The flipside features "City Living", the title track from the very same 1979 LP that "Elevate Our Minds" was taken. It's far funkier and more elastic in feel, with horn arrangements and a chunky groove reminiscent of some Teena Marie tracks from the same period.