Juno Recommends Disco: July 2023

Review: Robin Lee makes his most organic disco sounds as Andromeda Orchestra and Faze Action Records have tapped him up for more sonic treasure here. His signature sound is apparent from the off with the dancefloor dub vibes of EP opener 'Bad Girl.' Its bold bass, string stabs and robust pianos are all run through with a fine Moog solo. There is then plenty of cello and vocal delight to 'Twilight Lady' and a fiery dancefloor cut 'Mozambique' as well as a full vocal mix of 'Bad Girll' to close out the EP.

Review: The Gamm label has seemingly been around forever. It is known mostly for its run of edits and hip-hop but has recently got back to its roots with more Latin and disco sounds. Love Drop is a frequent player on the label who now comes back with another sizzling two-tracker. Up first is the bright and house-tinged disco stomper 'Journey Into You' which is a great reinterpretation of the Leon Ware classic. On the other side is his take on a Roy Ayers number that is mad infectious - 'Boogie Down' has restless drum funk and big horn energy with a great vocal hook.

Review: DJ S is a Greek producer who is one of the best editors around, with his own singular downbeat sound. On his latest release, he joins the Too Slow To Disco Edits series with four tracks of smooth and groovy disco edits. He reworks some classic and obscure gems from the late 70s and early 80s, adding his signature touch of warmth and soul. From the funky groove of 'Groovin', to the low slung sexiness of 'Sweet Love' (2022 version) and the absolutely romantic 'U' - DJ S delivers a delightful EP that will make you want to dance and chill.

Review: Spanish label DiscoGram hits release number 30 in fine style here, not least because it is their first ever vinyl release. The in-house production team here go big with some fiery sounds coloured by Afro, funk and soul. 'Eko' is a whirlwind of big vocals, wild synths and live sounding drums then 'Affair' goes straight for the hips with its big horn stabs and slinky drum work. On the flpside the busy cut up loops of 'Love Gayle' will get hands in the air like you just don't care and 'To Be Dancing' slips into a classic era disco groove with lush strings and more vibe-fuelled horn work. A real doozy.

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: 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: Gloria Ann Taylor, the famed soul singer from Ohio, is regarded as having recorded some of the most rare and sought-after singles of the 1970s. It may come as a surprise, then, to hear that Taylor has returned posthumously, this time for a collaborative new single with Estonian psych-funk and soul producer Misha Panfilov. 'Be Worthy' is a gospel-esque tune, with Gloria's incredible vocals and Misha's vintage production coalescing to form a fresh rendition of Taylor's original oeuvre, but with an unusually Balearic flair.

Review: Vega Records finally drops this EP from Honeysweet having teased tunes from it on the Vega Records 5 Pack Unreleased III. It's a superb house offering with lashings of soulful groovers, all produced by Josh Milan. First out of the blocks is 'Last Night Changed It All' featuring Lawrence Clark on sax. It's a jam that will pack out the floor but brims with real musicality from the magical Rhodes, picked bass guitar, rhythm guitar and drums. 'Crazy' is a more raw, textured percussive sound but then come plenty more feel-good grooves for sun-kissed dance floors such as 'Being Free.'

Review: This red hot new disco 12" from Just What The World Needs is going to get snapped up quick. so act fast or you may be disappointed. The A-side is a massive recut that brings fresh Mid-West boogie vibes over a busy bassline and non-stop drum funk. Add in some big horns and lose percussion and you have a lo-fi dancefloor heater that cannot miss. On the flip is a fresh take on Anthony White's 'Can't Turn You Loose' which draws out the extended version into a loved-up disco groover with a rich and buttery vocal and plenty of lush string action.

Review: Given their respective careers, you'd expect this surprise debut album from Balearic nu-disco specialist James Bright and Groove Armada member Tom Findlay to be rather good - or at least sonically attractive with good grooves and quality musicianship. It is, of course, with the pair opting for a glossy, 80s-influenced synth sound, bubbly electronic grooves, sun-splashed Balearic pop intent and authentically executed nods to West Coast electrofunk and nu-disco pioneers Metro Area. Our picks of a very strong bunch include the synth-fired blue-eyed soul of 'Slow Dance', the sunset-ready gorgeousness of 'Flowers', the low-slung, late-night AM radio vibes of 'It's Only Rain' and the Morgan Geist-esque 'NY Disco (Smile)'.

Review: If you're on the look-out for suitably big, party-starting workouts that make liberal use of samples from classic cuts and slept-on disco gems, this five-track label sampler from Tasty Recordings is well worth checking. Vinny Terranova sets the tone with 'Let's Go People', a barnstorming funky house slammer that boasts samples aplenty from an Arrested Development classic, before Disko Junkie pitches up a Grover Washington Jr classic and turns it into a bumpin' disco-house number. Elsewhere, Discotron's 'De La Disco' is a nu-disco edit-not-edit of a 'daisy age' hip-hop classic, HP Vince's 'Oh My Love' is a disco-house take on Luther Vandross, and Fraser's 'Chicago 93' is a thickset disco-house slammer that uses the same disco samples as a famous funky house classic of the early 2000s.

Review: After four decades in the game, Chicago original Mike Dunn knows a thing or two about serving up killer, party-staring house cuts. He's at it again on his latest outing for the reborn Nu Groove label, offering up a quartet of ear-catching, peak-time ready treats. On 'Git'cha House On' Dunn goes straight for the jugular, joining the dots between UK interpretations of hip-house and Kraftwerk-influenced Windy City house, before opting to add another of his part sung, part rapped vocals to a rolling, piano-sporting good time groove on 'Don't Pay Me No Mind'. Over on side B, 'Rock Ya Body (Deepa)' is a glossy, classic-sounding and percussively energetic big room workout, while 'Le'tcha Love Fall Down On Me' is deep, dreamy, energetic and lusciously loved up.

Review: Here's something to get excited about - an unearthed, previously unreleased recording from Philadelphia International group Silk (best known for their soul smash 'I Can't Stop (Turning on You)', with modern club interpretations supplied by housed-up re-edit maestro Late Nite Tuff Guy. The band's original mix, which opens side B, is a gloriously joyful and breezy affair all told, with the group singing in perfect harmony atop a cheery backing track rich in piano riffs, glistening guitars, and a killer groove. Late Nite Tuff Guy delivers two tweaks: an A-side 'Disco Dub' that brilliantly reframes the track as a non-stop nu-disco party anthem that cannily combines the band's original vocals and instrumentation with a far chunkier, weightier, house club-friendly beat, and a suitably similar 'Short Edit' for those who want to get to the point a bit quicker.

Review: BDK samples and edits disco classics on his third release on Say Namm. The record has four tracks that are full of energy, soul and fun, showing off his disco skills and taste with the funkiest of elements. 'Let's Dance' on the A-side is a catchy and energetic track that samples Bowie's iconic song and adds a funky twist. Over on the flip is 'Thelma': a soulful and uplifting track that samples Houston's vocals from a certain classic hit, while adding some funky instruments. Finally, over on the flip there's 'Just Begun', a funky and energetic track that samples Castor and adds some synths and scratches.

Review: London's Rose Robinson aka Tigerbalm delivers a stunning debut EP on New York's Razor-N-Tape, showcasing her versatile and soulful sound. 'Nina' arrives in three different mixes, all infused with her smooth vocals and lush keys.The original is a low slung affair (feat Farafi) that provides ample mood music, while the thumping Elado mix sets its eyes on the main room, and finally the Voilaaa remix is definitely our favourite - which infuses Afro boogie elements for one seriously infectious version.

Review: The Crates Motel crew make a head turning debut here with this inaugural release featuring some red hot classic all reworked with great care and plenty of dancefloor aplomb. Up first is 'Eye No You', a belting vocal cut with big disco energy that will have the floor in raptures. Things get slower and funkier on 'Beyond Far' with its loose and live drums and withering chords under a familiar riff. On the B-side the temp gets turned up again with 'More Eye', a Philly disco cut complete with lavish strings and raw male vocals full of heart wrenching soul. Last of all is 'Rock The Dance', a disco version of an epic Clash cut that is pure fun.

Review: Bottin may well be a top-notch producer of 21st century electronic disco, but he's also an awesome re-editor. His edits are usually imaginative and inspired, but more importantly breathe new life into obscure, little-known European tracks from the 70s and 80s. His latest edits EP is full to bursting with much-check treats, from the funky Italo-disco/sun-splashed synth-pop excellence of 'Dolce Du Luna' - all squelchy acid lines, Afro-funk horns and Rimini-friendly electrofunk grooves - to the percussion-rich, jazz funk-goes-disco excellence of 'El Caballero Oscuro', and the excitable Hi-NRG throb of 'Alta Energia'. Also worth a listen is the decidedly Balearic, soft-touch shuffle of the sun-soaked 'Volver Al Campo'.

Review: Last year, Freestyle Records reissued 'Tonight's The Night', the 1983 debut from West London outfit Take Three - a collaboration between production trio S.H.E (Steve Sinclair, Peter Hinds and Kevin Ellis) and lover's rock vocal harmony group Alpha (AKA Marlene Richardson and sisters Jackie and Jean Heron). 'Can't Get Enough', another gem from the band's vaults, dates from 1985 and was initially released as their final single. In keeping with the group's roots, it comes in two contrasting mixes: a gorgeously dreamy, glossy and glassy 'Soul Mix' powered forward by squelchy synth-bass, mid-tempo beats and jaunty, jazz-funk style keyboard riffs, and the 'Reggae Mix'. As the title suggests, this radically alters the tempo and groove of the track - it's basically synth-heavy, mid-80s lovers rock - whilst retaining key elements of the A-side soul version.

Review: First released way back in 1984 as the debut single from singer Maria Chaira Perugini - the first of three 12" singles she released before disappearing into obscurity - 'Eyes' has long been regarded as an underground Italo-disco classic. This reissue, which boasts new artwork based on the Italian singer's later singles, presents remastered versions of the single's two mixes. The A-side 'Original Mix' is top-notch, synth-powered Italo-disco, with Perugini singing in heavily accented English atop beats, bass and stab-happy lead lines that sit somewhere between classic Italo-disco and the Hi-NRG work of NYC producer Bobby Orlando. Arguably even better is the flip-side Dub, which doffs a cap towards the Afro-cosmic movement via Marimba melodies, echo-laden vocal snippets, and a more chugging, arpeggio-powered groove.