Review: Hot Piroski Records have been on something of a hiatus for the last year or so but now make a welcome return with a new EP series. This collaborative affair is the result of an epic journey in an old Mercedes from London to Gunjur and finds label head Robin 12Tree working with The Gambia and Bongo Koi as Gambian Disco Express. 'Enlightenment is Now' marks their first release on Hot Piroski Records and it comes with vocals from Gambian mystic Rev. Joseph N'Gole, recorded on the banks of the River Gambia. This one has already been hammered by Psychemagik, Pete Herbert, and Severino from Horse Meat Disco so it comes quality assured.
Review: After an absence of a few years, 40 Thieves return to Leng Records with one of their most special releases to date: a hook-up with long-time Patrick Adams collaborator Gary Davis and long serving soulstress Cinammon Jones. What's on offer is a re-make of one of Jones' songs, 'The Gift', whose sweet lyrics celebrate the arrival of a new day. 40 Thieves take, explored first in the A-side 'Disco Mix', sounds like it was designed to be danced to during a San Francisco sunrise - think dub disco delays, hypnotic grooves, bubbly electronics, languid guitar licks and gentle melodies. Over on the flip, they take the track further into 'woozy 6am open air dancing territory' on a superb, stretched out 'Disco Dub' mix, before peppering a killer drum track with spaced-out electronics on the 'Beats' version.
Review: A Skillz and Krafty Kuts are veteran names by now but at one option they were some of the hottest new DJs and producers in the game. They pioneered a breakbeat, cut-up and paste sounds 20 years ago that was high on energy and with plenty of character. Now they look to the roots of the sounds they used to draw from and serve up a new single on Jam City that is all about disco. 'Lit Up' has loose, jumbled drums and funk basslines with some great vocal flourishes up top from Gizelle Smith. A remix on the flip takes things into deeper new soul territory.
Review: Mikal Asher, a scion of Jamaica's Morgan family dynasty, reunites with Chocolate Star Records here and does so with a collaboration with disco legend Gary Davis. Asher, akin to his brother Denroy Morgan, upholds the family's legacy of righteousness through music. Known as the Binghiman, he crafts captivating tunes with profound lyrics and has recorded in Ghana's Hustle Hard Studios and collaborated with industry pioneers in Kingston and Brooklyn, setting new standards in musical excellence along the way. Here, 'Wicked Ah Fi' transforms into a modern dub stepper, while 'Black Woman' offers a soulful, laid-back dedication to Davis' wife, Sonjia. This 7" also comes with innovative remixes from California-based DJ and producer Knoe1.
Review: It's a sizzling seven up for Moiss Music here as they draw together four different artists to offer up one cut each for this new various artists collection. Boogietraxx goes heavy on the filter vibes on 'S N T' which is French touch disco-house of the highest order. Kellit's 'Pryscoks Sockin Socks' is all about sultry sax lines and loose-limbed disco house beats while C Da Afro gets heads up with the streaming sunshine synths of 'Don't Be Quiet.' Groovemasta shut down with the funky Afro-disco stylings of 'Gonna Make U Rock.'
Review: Jai Alai's latest release brings forth a collection of forgotten vinyl tracks that have been previously unreleased on 7" format or limited to CD-only albums. Donaldson Toussaint L'Ouverture Byrd II, to give him his full name, was a pivotal figure in jazz history and a prominent trumpeter and flugelhorn player after his stint with Art Blakey's Jazz Messengers in the mid-50s. Collaborating with jazz icons like John Coltrane, Thelonius Monk, and Sonny Rollins, Byrd's journey evolved into experimenting with jazz fusion, African rhythms, and r&b by the late 60s. His transformative fusion work, notably with the Blackbyrds, reshaped the jazz-funk landscape, paving the way for dance jazz on disco floors and becoming a wellspring for hip-hop samples. These are two of his many great moments of soul-drenched goodness.
Review: This latest is a reissue of a Congress Productions EP featuring their seminal 'Neptune'. The much-sampled early 80s jazz-funk classic comes in original form next to two unreleased cuts. The first is a rare boogie cut 'Live It Up' that has been extended for more dancefloor heft having first been dropped under the D'aile' alias as a B-side. Then comes 'Kevin's Funk' which is named in reference to Incognito trumpet player Kevin Robinson, who played as part of a Congress-associated line-up for this session.
Review: Cool Million's Tonight featuring the legendary Glenn Jones is a catchy fusion of 80s soul and funk with modern flair. Jones's soulful vocals effortlessly glide over smooth lyrics, perfectly complementing the infectious groove laid down by Cool Million and the track exudes a nostalgic vibe while still feeling fresh and contemporary, showcasing the duo's adeptness at blending retro influences with modern production. 'Tonight' has a timeless appeal of soul and funk, making it a entertaining listen for fans of both classic and contemporary music alike.
Review: Two much over soul vocalist from the North Soul era step up on one mighty 7" here with Tyrone Davis' essential version of Clarence Carter's 'Slip Away' on the first side. It has never been available as a single before and with the brass build and funky groove, it's irresistible. Flip it over and drop that needle for a different but equal good sound, this time as Gene Chandler builds a high energy and intense vibe as he covers James Brown's huge 'There Was A Time'. Sharp, driving and high impact, it's the second sizzler on this fine 7".
Review: For the sixth edition of Sleazy McQueen's limited run on Whiskey Disco, you can bet that he's gonna serve up some serious disco deviance - and he sure as hell doesn't disappoint! First up on the A side, come and dance (a little bit closer!) with Tromso's Doc L. Junior on the very familiar hooks of "Closer", GOD (Grumpy Old DJs) from Colombia deliver some sexy late night mood lighting on "Chicha D'Humo" and newcomer Just Baker plays it well rolled (low slung!) on the irresistibly groovy "You Make Me Feel So Fine".
Review: Philadelphia-born singer and songwriter Tony Drake is best known for his super hit and Philly classic 'Living In The Footsteps Of Another Man,' That tune was a hit for Eugene Record who re-sung it with the Chi-Lites and had earlier written the 'Suddenly' tune for Drake in 1970. It was a hit, eventually, and is not in hot demand as copies are hard t find. Here it gets a vital reissue on 45rpm next to, for the first time on the format, Gene Chandler's Sublime 'My Baby's Gone.' Tow real soul classics that are short but devastatingly sweet.
Review: Africa Seven's A7 Edits offshoot has already proved to be one of the better re-edit series around, primarily because they consistently employ some of the best re-editors in the business, offering them the opportunity to select tracks they want to rework from the parent label's vast catalogue of licensed cuts. This edition - the seventh EP to date - is another action-packed winner. Rising star Alan Dixon delivers a lightly tooled-up, all-action revision of Gyedu Bley Amadou's tropical disco classic 'Highlife', before Barcelona-based John Talabot and Pional re-frame Ekambi Brilliant's 'Afrika Afrika' as a kind of Afro-post-punk/dub disco mash-up. Over on side B, Escapade dances through a bouncy disco-house take on Pasteur Lappe's 'Na Real Sekele Fo Ya', while Jacques Renault expertly rearranges Michael Amara's Afro-disco-funk staple 'New Bell'.
Review: A new four-track EP reflecting ever-expanded horizons for the band, 'Bloodline' is the latest output from loose-limbed, soul-stirring funk band Gabriels. Quickly finding fans in the likes of Elton John, Celeste, Paul Weller, Benji B, and Gilles Peterson, Gabriels should soon find plenty more on a record that could soundtrack a David Lynch epic; such is its drama, its suspenseful, late-night orchestral ruminations. Capped by frontman Lusk's voice - a weapon that swoops through the octaves breathlessly - Gabriels have that rare ability to make you re-evaluate music, and what it can do, in a heartbeat. Whilst Lusk provides the wow factor with that ridiculous larynx, Gabriels are very much a close-knit trio. Producer, keyboardist (and full-time video director) Ryan Hope hails from Sunderland but calls LA home. Fellow producer-composer and violinist Ari Balouzian, a man with endless musical projects on the go at any one time, gives Gabriels' songs a real 'feel' to them. Sultry, soulful mood music certainly isn't the band's modus operandi, but this new experimental EP should paint an altogether more rounded idea of where Gabriels are at today.
Love & Hate In A Different Time (Greg Wilson & Che mix) (8:40)
Love & Hate In A Different Time (Greg Wilson & Che extended mix) (7:08)
Love & Hate In A Different Time (acappella) (5:36)
Review: 'Love & Hate In a Different Time', one of the Gabriels' sonically sweetest but most lyrically hard-hitting singles to date, may seem an unusual choice to remix, even if the 2020 release did feature a stomping groove reminiscent of Northern Soul. Greg Wilson and Che have done a great job in re-imagining it for dancefloors on their 'full length remix', though, wrapping the original's simmering swings and Jacob Lusk's incredible vocals - smothered in reverb and delay - around a rolling, 1970s style disco groove. The pair also a delivers an 'extended original mix', which stretches out Gabriels' 2020 single version for greater dancefloor pleasure, and a spine-tingling, effects-laden 'acapella' take. Simply essential.
Review: Samosa Records returns with Afrikano Vol. 3 which is a lovely Afro-themed, genre-blending EP featuring four standout tracks from trusted artists. Kicking things off is Vincent Galgo's 'African Rebel,' a 125bpm fusion of horns, driving rhythms, and Afro-pop bass. Frank Virgilio follows with 'Mistress,' a jazz-infused mid-tempo groover, packed with guitar riffs, organ stabs, and hypnotic bongos. Newcomer Casper Leo delivers 'Tom Tom,' a tribal delight featuring Kora guitar and melodic Marimba. Closing the EP is Lego Edit's 'El Safari,' a sultry Afrobeat banger that grabs hold and doesn't let go.
Review: Samosa is doing what's right for it and disco lovers by double-dropping to start off the New Year with a bang. The Italian label has got a new VA EP arriving at the same time as this second volume of its African series. The second volume is another fresh one with an array of artists kicking off with Vincent Galgo who brings some raw percussive energy to 'J'ngolo'. Matalo!'s 'Zaire' gets more down and dirty with some rugged rhythms and Leslie Lello's 'Alcyone' has a joyous feel thanks to the big horns. It's De Gama's 'ETA' which then shuts down things with some Afro-vocal hypnotism.
Review: Whoever Gallery are, they're a wilfully obscure exercise in metatextuality, with the digital frontispiece of this instrumental disco edits EP depicting two gallery punters idly loitering around the blown-up 12" record, as if fawning over it in a white cube. Whatever the case, these are two mysterious post-mid-70s disco-funk edits, which seem to make a mockery of the exclusivity culture endemic to the art world (a maligned practice that goes comparatively uncritiqued in the realm of dance music) - indeed, so far, the tracks have been played out solely by DJ Harvey and Artwork. Obviously, that means this 12" is worth your one dollar... right?!
Review: We remain in the dark as to the identity of the shadowy artists behind the Gallery re-edit series, which is now on to its fourth release. Whoever is behind it clearly has re-editing skills and deep crates because the choice of tracks and the quality of the scalpel style rearrangements is always top-notch. For proof, check 'Hello You Yeah', a fine extension of a jazz-funk-tinged, near Balearic '80s disco oddity that includes some great solos, sun-kissed horn motifs, rubbery bass and occasional doses of joyous chorus vocals. Summer may already be over (here in the UK at least), but it sounds like a sunshine anthem in the making. Flipside 'Just Be Yourself' meanwhile is a heavier affair; a pleasingly pompous, synth-laden disco-rock excursion that's as camp as they come.
Review: The first instalment of the Gallery edits series, which landed in stores at the very end of 2019, was an artful, off-kilter treat, so we're expecting big things from this eagerly awaited follow-up. A-side "Stop" is simply superb: a clattering, delay-laden, dub disco style revision of a poodle perm-sporting bunch of early-to-mid-'80s electronic disco laden with percussion hits, ear-pleasing synthesizers, druggy, arpeggio-style bass and familiar-sounding vocal snippets. It just keeps building throughout, suggesting dancefloor pandemonium is almost guaranteed. Flipside "Remember" is rather good, too, with the mystery audio art lovers re-wiring a deliciously camp, over-the-top electro-disco stomper.
Review: Some artistic edits from a brand new series. We're not sure who the "unknown artist" is behind the reworks (which date from this year and 2016 respectively), but it's clear that they know what they're doing. A-side "Baby Baby Please" is a wonderfully dubbed-out and glassy-eyed revision of a lesser-known Italo-disco/Hi-NRG cover of Harold Melvin & the Blue Notes' classic "Don't Leave Me This Way" that boasts a killer vocal breakdown midway through. Over on the flip, "True Destiny" is an epic, low-slung revision of an obscure disco number that rightly emphasizes the heavy groove pushing the track forward and includes some tasty delay and echo trickery.
Review: The Gallery series of edits and reworks has already dropped some killer cuts, though we're no nearer discovering the identities of the 'unknown artists' behind the imprint and its fine collection of re-appropriated disco workouts. On 'Don't Wait For The Doctor', a single-sided affair, they dip their toes into the sometimes murky world of the mash-up/bootleg remix. Of course, it's a tasteful and well-crafted affair, with our mysterious heroes combining a gently tweaked, effects-laden instrumental re-edit of First Choice Salsoul classic 'Doctor Love', with vocals borrowed from another Larry Levan favourite, NYC Peech Boys' proto-house classic 'Don't Make Me Wait'. The nods to the Paradise Garage legend don't stop there, either, with the infamous laughter sample associated with his DJ sets and remixes making an appearance from time to time too.
Review: Soul Supreme is a master keyboardist best known for his covers of classic hip-hop songs by the likes of Mos Def, MF Doom and A Tribe Called Quest. Here side-steps his covers duties to handle remix productions for two of his contemporaries in the Netherlands neo-soul scene - Gallowstreet, LYMA, Shamis and Rebiere. The A side lends a wonky future house feel (a-la GoldLink, Crackazat) to '52 North', Gallowstreet's ode to the city of Amsterdam. The B tune strips it back to a lo-fi soul bapper, fleshing out its theme of loneliness in parenting.
Heartbeat (club mix - Muro Diguma club edit version) (4:54)
Heartbeat (club mix - Muro Diguma party edit version) (3:55)
Review: If you had to make a list of the top 10 Paradise Garage classics, Taana Gardner's pitched-down, Larry Levan-mixed "Heartbeat" would come somewhere near the top of the list. Here the slow disco classic gets the re-edit treatment courtesy of Japanese DJ/producer Diguma (aka MURO ) on a tidy 7" single. First up on side A is the "Club Edit", a multi-track revision (we think) that cannily layers Gardner's vocals and the key synth parts over the original version's killer groove. The flipside "Party Edit" strips back the vocal to just a few key phrases, focusing instead on showcasing various instrument solos buried in Levan's epic original mix.Very limited and likely Juno is one of the few stores outside of Japan to stock this 45
Review: Dark Entries are masters of Italo reissues and they have a number of them dropping at the moment. This one is of Garland's 'Heartbeat' which comes original from 1986. It is a true dancefloor gem that bares all the hallmarks of the era that still remain so loved today. Claudio Corradini produced it with Massimo Filippi and Art Deco singer and songwriter Claudio Valenti used this project for his more club ready sounds. 'Heartbeat' (song version) is a mid tempo tune with sleek staccato bass and a sing-along-worthy chorus that echoes Bronski Beat. The Dance Version is extended for DJs. A postcard with lyrics and liner notes is also included.
Review: Kent Records have been doing a yeoman's job securing, collecting and releasing beloved and rare gems for a 7" reissue. Here, they collect two different recorded versions of the track 'My Little Girl'. The Bobby Garrett version from 1966 and offers a vintage soul sound while The Bob & Earl Band rendition is from 1970 and has heavy Motown influence in it. These rare soul reissues save the fans so much money versus buying an original copy. Thank you Kent!
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: Recorded following the release of his near-perfect What's Going On Album, with production and arrangement by the Mizell brothers, 'Where Are We Going?' was one of Marvin Gaye's most prophetic singles. Another conscious soul gem - albeit one with a warmer and fuller sound than the distinctively sparse What's Going On album - it was intended to be the centre piece of an album called You're The Man - a set that was subsequently shelved and eventually posthumously released many years later. This Expansion 7" reissue replicates the track listing of the original Motown "45", pairing the brilliant 'Where Are We Going' with the heartfelt and life-affirming celebration of female empowerment that is 'Woman of the World'. An essential reissue!
Review: Marvin Gaye's catalogue is jam-packed with gems and so it's not hard to pick a couple for remix treatment. This one is a particularly nice pair of alternative mixes that find the Detroit legend at his very best, taken from the Deluxe Edition of his masterful 1976 album I Want You, mixed by Kevin Reeves and now remastered by Ellen Fitton but never, before now, appearing on 12" before. First up on the A-side is 'I Wanna Be Where You Are', a cover of a Michael Jackson hit beautifully stretched from its original 1:17 to over six minutes. ''I Want You' (alternate version), meanwhile, introduced something of a shift in Gaye's sound towards more disco.
Review: If you like sensuous and slow motion grooves with hints of dub, reggae and disco all packaged up in super bawdy soul then look no further - this new 12" features a pair of singles that were first put out on 7" by Risco Connection's Otis Gayle. Up first is the glorious 'Sexy Eyes' which was a worldwide charting success and Dr Hook now brings new reggae vibes to his cover version, then on the flip is Domenic Troiano's 'We All Need Love', again with a mix of dubby disco and reggae stylings that have been draw out into extended format to make for a more lasting impact on the dancefloor.
Review: Gloria Gaynor, renowned for her global hit 'I Will Survive', brings back a forgotten gem in the shape of 'This Love Affair,' re-released by Expansion Records. This soul and disco classic captures pure Philly magic, co-written by Gaynor herself and given that authentic flavour by arrangers Norman Harris and Ron 'Have Mercy' Kersey. Side-1 features the definitive 7" version of 'This Love Affair,' a sought-after rarity since its original 1978 release, with its irresistible groove packed into just 2 minutes and 43 seconds. Side-2 offers the full album version, still beloved by fans. This back-to-back release is great for soul and disco aficionados, showcasing Gaynor's timeless talent and the enduring allure of Philly soul.
Review: G. D. & The Big J's 'Movin' On' is a primo funk, disco and boogie melange that has been heating up global dance floors ever since it was first released in 1980. It is a much sought-after jam which, if you can even find an original copy, will cost you upwards of three figures. 'Movie On' is seamless and smooth, a brilliant and vibrant mix of busy guitar riffs, and claps and upbeat drums that come with a lively vocal that says to the heavens with effortless soul. It sounds like basically the same tune is included on both sides you so never have to worry about this one wearing out - which it could well do given how often you will be playing it.
Review: George and Glen Miller are undoubtedly best known for their West End Records released 1982 boogie-soul classic "Touch Your Life". They released plenty of other records that flitted between soca, reggae, disco, and - in the latter stages of their career - electrofunk. "Easing", which appeared at some point at the turn of the '80s on London label Third World, remains one of their most potent releases - and, in its original form at least, formidably hard to find. This Soundway reissue wisely replicates the track list of the original release, beginning with the title track - a deliciously percussive, musically intricate chunk of peak-time disco smothered in sharp, Afro-funk style horns and George and Glen Miller's lilting reggae-soul style vocals. The flipside "Version" strips out the vocals, allowing listeners to hear in greater detail the pair's impeccable arrangements and instrumentations (particularly the fine orchestration and rich groove).
Review: When Jazzman themselves describe a release as 'hopelessly obscure' and 'off the radar to even the most dedicated' you know you've got something special. There's a really raw rusty garage funk to both sides here; both the classic R&B swing, majestic organs and powerful vocals of "Look Out" and the sweaty instrumental frenzy "Mother Duck" instantly enrapture and make you ponder the age-old question... HOW has this gone unnoticed for so long?
Review: Italian singer and songwriter Giampiero Scalamonga had a successful run as a disco hitmaker through the 70s, and his crowning glory was surely the Body To Body LP released in 1979. Now Best Records have turned back the clock to disco's golden hour to reissue the Gepy & Gepy classic on pristine wax. While the A-side title track is a timeless gem on its own, it's the impassioned club burner "African Love Song" that will have the diggers rejoicing. From its days as a staple in Studio 54 it's been a sought after gem, and now it's back in circulation for those that know.
Review: Notes on A Journey kicks off their new self titled NOAJ edit series here with edits of two tunes from each of Germannu and Valeria. Making those careful edits are real scene mainstays - Delfonic is first and is the man behind the much loved Berlin store OYE Records so has a vast knowledge of what sells and what works well on the dancefloor. He offers a super cool and breezy version of the lush Latin tune 'Fale De Mim' and a more percussive and bumping take on 'Marcacao.' Acclaimed DJ and tasteful selector Mendel then offer this own versions which are just as summery, feel good and life affirming gems for floors who like real music.
Review: Earlier this year, DJ Scientist stumbled upon another early Ghia composition tucked away in the depths of a master tape. It was a treasure too precious to remain unheard. Sadly, the original track couldn't see the light of day due to sound quality and issues with the original vocals. To make matters more disappointing, no instrumental version survived. Thus, the only way to share this catchy boogie funk track with the world was to recreate it from scratch. And so, the Ghia saga unfolds once more, but in this chapter, there's a new and unique twist. 'Out Of Luck' draws its roots from the aforementioned lost track, originally composed by the group in 1985. This time, however, the song has been expertly reworked by Marian Tone, with new vocals by Adriano Prestel. The outcome? Quite possibly one of the smoothest and most refreshing modern funk tunes you'll hear this year.
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