Review: Ghanaian disco-funk stalwart Sidiku Buari initially broke through in his native country in 1975. Although it was his eponymous debut album that cemented his star status, it was the single that preceded the set, "Karam Bani", that established his reputation. Here it gets a deserved reissue, complete with original B-side "Ye Koaba". The title track is something of a beast: a driving, funk-fuelled work out rich in jammed-out electric piano lines, sweaty drums and soaring, life-affirming vocals. "Ye Koaba", meanwhile, is a little breezier and jolly in tone, but no less essential.
Review: Will Buck makes his bow on Whiskey Disco after appearing on sister label Lovedancing (with PRTMNTO) on the Soul Sides EP ?last year. Buck is in fine form again on this new offering, opening with the infectious groove of "21212" (listen out for a familiar hook that has been respliced to perfection) - topped with a killer brass section, too! Elsewhere on the EP, move to the sexy late-night deep house of "Touch Down", sultry vocal disco on "Make Your Move" and the aptly titled after-hours shuffle of "Harmony (6AM Mix)", reworked by label head honcho Sleazy McQueen himself.
Review: Cruising nice and easy into earshot on the Smokecloud imprint, byDesign and Osmose take a side each in chopping up some choice old classics with a tender touch to work in modern contexts. byDesign gets the whole A-side to roam over with a version of Diana King's cover of the Bob Marley classic, "Stir It Up", working on a 90s flavoured hip hop groove and dubby cuts of King's vocal. On the flip, Osmose is having a lot of fun working on Alexander O'Neal's "Fake", keeping the tough beat intact and instead letting the effects bring in the changes. While the origin of the last track on the 12" is undetectable at this point, "Slomo Tattoo Dubbed" comes on like a prime slice of Balearic goodness, packing easy horn blasts, funky guitar licks and a whole lot of filter action.
Review: Low Budget Family is a Moscow-based label related to DS Bar, run by Sergey Pleshakov and Leonid Lipelis. Their next release is by Pasha Mikheev aka Cable Toy: a former game soundtracks/ad music maker who found himself attending parties more frequently in recent years and eventually making dance music himself. "Doktorhaus" is his debut release and features the raw/jacking early Chicago vibe of the title track (feat SBP4) on the A side, while on the flip label co-head Lipelis teams up with Mikheev on two neon-lit and evocative versions of "Boden".
Review: Stone cold New Jersey funk business; Calender's seminal "Hypertension" has been a waymark in dancefloor developments since '75 and its big strings, high energy and nagging vocals still have total resonance to this day as proved by this rolling, conga fuelled twist from Mexican maestro Hotmood. Flip for more relevance as "Ritmo Latino" (from Calender's '76 album "It's A Monster") gets a cheeky breakbeat facelift from Voodoocuts. Now there's no excuse not to get funky every single day of the year.
Review: After building a reputation via a swathe of rock solid, digital-only EPs on About Disco (an imprint he founded in 2015), Rafael Cancian has finally been given a chance to showcase his wares on wax. There are lots of top-notch edits to enjoy on the Brazilian producer's first Razor-N-Tape outing, from the sax-powered, solo smothered disco-funk cheeriness of "C'est La Douceur", to the low-slung South American disco grunt of "Fragil" and the jazz-funk tinged carnival goodness of superb closing cut "Besos Libres". There's no needless production trickery or shamelessly beefed up house beats, just perfectly DJ-friendly rearrangements of obscure, little-known gems.
Review: Back in November 2018, Oli Stewart AKA Casbah 73 delivered his most wholehearted tribute to the disco era yet, the brilliant "Love Saves The Day". On "To Be Free", he continues in a similar vein, doffing a cap to the pioneers of the Philly Soul sound via cut-glass strings, crunchy Clavinet lines, tasty electric piano solos, walking bass and a lead vocal from Angela (Angie) Gooden that stirs memories of disco divas of old. Stewart and his cohort of musicians go a little wild on the mostly instrumental disco-funk flipside, an exercise in dueling solos, lusty Latin horns, flanged guitars and heavy percussion that will get you hot under the collar for nine, all-action minutes. Brilliant stuff from start to finish from the experienced producer: don't sleep on this one.
Review: Self-styled "French house producer, disco cutter and horse" Chevals makes his bow on Masterworks Music following well-regarded outings on Whiskey Disco, Kolour Ltd and Editorial. To start with, he charges straight towards peak-time dancefloors via the bouncy, gospel-powered disco-house pump of "My Feet Keep Changin'", before reaching for the jaunty horns and sparkling synthesizers on a rolling house-style revision of a mid 1980s cut. "Never Will I Leave You Baby" is a hybrid re-edit/remix of an '80s soul sing-along rich in smooth chords and bubbly nu-disco bass, while closing cut "Love Somebody" wraps purple-tinted synthesizer lines and P-funk electronics around a bumping house beat. It is, like much of the rest of the EP, insatiable.
My Forbidden Lover (Dimitri From Paris 12" version) (6:30)
I Feel Your Love Comin' On (Dimitri From Paris remix) (8:16)
My Forbidden Lover (Dimitri From Paris instrumental) (6:29)
I Feel Your Love Comin' On (Dimitri From Paris instrumental) (8:15)
Review: It was 2010 when Dimitri From Paris first got his hands on the parts to some of Chic's biggest hits, with some of the resultant revisions appearing on an expansive "Chic Organization" box-set. Glitterbox has been reissuing them all over a series of 12" singles, with this volume boasting the Parisian's vocal and instrumental versions of both "My Forbidden Lover" and "I Feel Your Love Comin' On". The latter is a deliciously dubbed out affair that pushes the track's heavy electrofunk-meets-disco-funk groove to the fore, with flashes of Nile Rodgers' razor-sharp guitar riffs and echoing vocal snippets rising and falling throughout the mix. It's the versions of "My Forbidden Lover", complete with stunning orchestral breakdowns and extended instrumental breaks, that really set the pulse racing, though.
CHIC - "I Want Your Love" (Dimitri From Paris remix) (8:35)
Sister Sledge - "Thinking Of You" (Dimitri From Paris remix) (6:36)
CHIC - "I Want Your Love" (Dimitri From Paris instrumental) (8:33)
Sister Sledge - "Thinking Of You" (Dimitri From Paris instrumental) (6:09)
Review: There are very few editors who could give Nile Rodgers and Bernard Edwards revisions respectful enough to release but Dimitri From Paris most definitely has the credentials and class. As proved by last year's Chic Remix album on which 10 of Rodgers & Edwards got the precision Parisian kiss. Here are two of the many highlights in full 12" form. Chic's "I Want Your Love" gets a perky energy boost in the kicks while Sister Sledge's "Thinking Of You" retains all the smouldering emotion with a subtle nudge towards both the bedroom and the dancefloor. Loaded with the instrumentals on the B, Glitterbox have delivered once again.
Anthony Mansfield & DJ M3 - "It's Too Late" (5:36)
Gledd - "When You Move" (6:21)
Review: Sleazy McQueen presents another wicked serving of Disco deviance on the always reliable Whiskey Disco. The North Carolina based imprint's 57th edition gives us four more surefire disco edits by the likes of Tony Chocoloney from Melbourne, Australia who gives us some funked-up soulpower on "Less Groove", Ukrainian Alex Zuiev gives us a loungey kinda something' on the tres chic "Valentina" and Anthony Mansfield delivers an unrepentant use of sleek filter sweeps throughout the slo-mo antics of "It's Too Late" featuring a bit of help from good buddy DJ M3.
Review: Electro Wayne's mid 80s-focused Circuitry project get busy on Peoples Potential Unlimited with two starlit synth boogie originals; "She's Just That Type Of Girl" is a playful east coast funk flex with a slight freestyle touch to it. Harmonies, light touches on the keys and exceptional drum production, it's a sassy slice that will warm-up any floor. "Under Pressure" lowers the tempo but thrusts up the sensual urgency with great percussion and come-to-bed spoken word. Authentically done.
Review: We can think of a fair few disco diggers who will be more than a little annoyed by this re-issue. Originally released on the obscure La Shawn label back in 1980, "Take Me I'm Yours" is widely considered to be one of Patrick Adams' best productions. It's certainly something of a dusty gem, with Mary Clark's soulful, country-tinged vocals simply soaring over a reggae-tinged, string-drenched disco groove. It would have been nice to have seen original flipside "You Got Your Hold On Me" included, but it's not a major issue; given the in-demand (and hard-to-find) nature of the A-side, we should be pleased it's come back round again.
Review: The latest missive from the SlothBoogie crew's SBEDITZ series comes from Joe Cleen, a shadowy producer who has previously impressed via releases on the Bordeaux-based Jazz Cabbage imprint. He's up to his old tricks this time round, too, wrapping sharp, ear-pleasing horns and jaunty jazz-funk samples around a bobbing deep house groove on "Give You All I Got", before brilliantly chopping and looping a slap-bass propelled boogie jam on "City Nights". Over on side B, "Dear Lord" is a deliciously deep, piano-and-reverb-heavy take on an old gospel house number, while the brilliantly bouncy "The Fun Part" sees the man of mystery smother a jazzy, hot-stepping house groove with wonderfully fluid electric piano solos.
Review: Since 2012, Munich duo COEO has served up a swathe of sample heavy, disco influenced house EPs for such labels as Let's Play House, Toy Tonics, Lagaffe Tales and Razor-N-Tape Reserve. Here they pop up on Razor-N-Tape's main edit label with something different: a quartet of traditional scalpel works from their personal stash. First up is the elastic, horn heavy disco-funk of "Express Lane", which is quickly followed by the skewed Arabic boogie-funk brilliance of "Libyan Sun". Over on side B, "Don't Oho" is a breezy revision of a sun-kissed Afro-disco workout that sounds like it would be capable of causing a commotion in the club, while "Move Your Body" makes merry with a warm, rich and intoxicating early '80s boogie-soul jam of unknown origin.
Review: American artist Joe Coleman's soulful boogie-down number "Get It Off The Ground" was released back in 1982 and is still popular amongst those that know. Austrian imprint Record Shack present a hot edit by New York City legend DJ Spinna on this edition, which retains the infectious energy of the original but gives the track some much needed dynamics for modern dancefloors. Although we give credit to the edit, the lo-slung funk of the original will always be king and rest assured that is indeed featured here on the flip.
Review: Last spotted on wax together 16 years ago on New Standards, Italian kindred spirits and diggers Conte and Petrella collide once again. A culmination of many records savoured and ideas shared between the two friends, this 12" is long overdue and fizzes with fusion. "African Spirit" is focused on a rolling tribal MAW style house rhythm with Gianluca adding his signature trombone with staccato finesse while "New World Shuffle" is a much dreamier, smoky affair that sounds perfect any time between sunset and sunrise. Spiritual.
Review: Nicola Conte and Gianluca Petrella follow up last year's beautiful "African Spirits / New World Shuffle" with two more lavish instrumentals. "Sun Song" lives up to its name with wave after wave of heated musicianship from the belting harmonies to the light-touch keys. "Nigeria" taps deep into the source too as it drives us through the heart of Lagos with full horns and sweeping keys. Spiritual, sun-splashed and vital.
Review: First released last summer, Cotonete and Roberto Di Melo's "AEIOU" is a deliciously warm and woozy chunk of jazz-funk/revivalist Latin disco fusion that sounds like it was recorded in 1978 rather than 2018. This time round, Dimitri From Paris is at the controls, offering up two arguably superior "Special Disco Mixes" that not only boasts more audio clarity around key instrumental parts (particularly the horns, walking bassline and previously buried Clavinet lines) but also add some fizzing new electrofunk synths. As a result, the A-side vocal version sounds like a disco scene anthem in waiting, while the high-octane flipside dub is percussive, sweaty and full throttle in the best possible way.
Review: Chicago's Cratebug has supposedly been on the scene since 1983 but only started releasing in the last six years. About time and the results are great. Recently releasing his cheeky edits on Tugboat or KAT, he's now taken to releasing them himself on his own Bug Records. On this release, Chicago Edits, he does some dirty acid house on the A side with "Acid Train", an epic tour de force with synths snarling and squealing all about the place but just wait until that epic horn sound comes in. On the flip is an absolutely killer re edit of Sparks 1979 hit "Beat The Clock", which works those furious steel drums that come rushing in halfway through the original version. Tip!