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.
Review: When it comes to exotic, off-kilter edits, you'll struggle to find a stronger series than Jonny Rock's Disco Hamam. This fifth volume is every bit as essential as its predecessors. Beards In Dust claims the A-side with "At The Dawn", a tidy revision of a druggy and "chuggy" version of a blue-eyed psychedelic funk-rock roller that comes complete with some serious sing-along sections. The heady world of Turkish music - a constant source of inspiration at the Disco Hamam HQ - comes to the fore on the B-side. Tales Of Voodoo's "Sharky" is a deliciously percussive, dancefloor-friendly fusion of Middle Eastern exoticism, funk-rock guitars and heavy disco percussion, while Esen Gunduz's "Deve Gucu" is an even sweatier, Italo Disco-era stomper that sounds like something you'd have heard in Istanbul clubs circa 1985.
Review: Previously seen (and heard) on Whiskey Disco, Barefoot Beats and Basic Fingers, Toronto twosome The Patchouli Brothers have crossed the Atlantic and set up home on G.A.M.M. As the title suggests, this is the first in a series of re-edit EPs for the storied Swedish imprint. First up is "All Good Things", a fine re-arrangement of an obscure disco gem that comes loaded with sweeping strings, soulful vocals, killer grooves, Chic style guitar riffs and just the right amount of spacey synthesizer action. Over on the flip, they work their magic on a bustling cut that sits somewhere between the sumptuousness of Philadelphia International releases and eighties disco-funk.
Review: Funkyjaws is the Belarusian DJ and producer Sergey Abramov, who you might have previously spotted on Kolour LTD and Shadeleaf Music, often alongside Four Walls. Now a new start up label from St Petersburg has called on Abramov to inaugurate their imprint with his incredibly funky touch, leading in with the sweaty Afrobeat thump of "Ole Ole" and following up in fine style with the sprightly "Heavy Salsa Pushka Bassline", where salsa rips, rudeboy breaks and disco strut gleefully bounce off each other. "Untitled I" and "Untitled II" continue the West African trip with another two brilliant edit workouts with plenty of oomph where it counts.
Review: Petr Serkin has been delivering classy funky house variations to Freedom Sessions and elsewhere for some time now, and after a three year break his dependable touch does the business once again on this new missive. "City Worms" is a gorgeous house track that draws on classic instrumentation - slinky live bass, gossamer Rhodes chords, brushed drums and wah wah guitar chops - to create an immersive groove. "Remember That Summer" takes things deeper, using similar ingredients but spelling out a smokier mood. "Water Planet" takes on a light and breezy disco funk veneer as viewed through a misted out lens, and "Jazz Drummer" takes a mellow trip into some seriously swinging drum cuts.
Review: Deep and sensual balearica on offer here from The Balek Band, brought to you by Beauty & The Beat - the in-house music label of the 'freeform psychedelic dance party' hosted in various east London venues over the years by Cyril Cornet, Jeremy Gilbert & Cedric Woo since 2005. The Balek Band are a French outfit - the side project of Vidock (Abstrack), accompanied by Samuel Creach (bass) & Zeppo (percussion). Together they create soundtracks for your perfect island dream as heard on "Tometsi", the deep down polyrhythmic spiritual entrancement of "Diconiels" .....
Review: Since first pitching up on Disco Halal two years ago, Simple Symmetry has released some of their most cosmic and psychedelic cuts on Moscoman's distinctive imprint. They're at it again here. Check the high-grade arpeggio-driven sleaziness of "Gilgamesh", where hallucinatory electronics, exotic lead lines and twisted vocal samples rise above unfussy beats and an impressively driving bassline. Further examples of dazed dancefloor psychedelia follow, with the Turkish pysch/cosmic disco pulse of "Fight" ushering in the raw and intoxicating Middle Eastern throb of "Enkidu". To round off the EP, Adam Port provides a slightly chunkier re-edit that cannily makes the most of the track's squelchy bassline and eyes-closed psychedelic guitar solos.
Review: Gallic producer Yann Polewka has previously impressed via sizzling singles on Roots For Bloom, The House of Love and Cardiology, so hopes are naturally high for this outing on Ravenelli Disco Club. We shouldn't have worried. Title track "Le French Touch (69 Mix)" is the kind of celebratory, sample heavy disco-house cut that could have been made by a previous generation of French producers - all bumpin' beats, filtered disco samples and restless bass. On his jazz deep house remix, Cody Currie filters the disco samples out further while adding some psychedelic acid lines. Polweka gets a chance to showcase his skills further on side B, first via the hot-to-trot peak-time disco deepness of "Cannabliss" and then through housed-up Jimmy Ross revision "The Rebound Love Affair (featuring Paul Rudder)".
Rebel Nation (Felix Da Housecat vs Chris Trucher remix) (6:10)
Review: One of the musical highlights from Louie Vega's NYC Disco album, "Rebel Nation" is a collaboration between grammy award winner Louie Vega, legendary multi-platinum producer Patrick Adams, and Nulu Records president, international DJ and artist Anane. Patrick initially had the idea for the song after seeing a recent Star Wars movie. Louie saw the vision of what it could ultimately be with live music additions, and Anane added the inspired lyrical content and vocal performance. In Louie's own words, "I call Anane a chameleon, because she transcends so many different sounds with her voice. She gave the track just the right feeling vocally. It's a very punk-rock approach; the kids speaking out, all kinds of people making the statement, Get Up! Stand Up! Let's Rise! Rebel Nation."
Lauded critically and on dancefloors worldwide in its original album version, the track has now been given the all-star remix package treatment with contributions from Danny Krivit, Carl Craig, Soul Clap and Felix Da Housecat X Chris Trucher.
Review: South Carolina's John Zahl aka Jaz returns. He's said to be a DJ/Episcopal Priest from Charleston, South Carolina who digs deep, uncovering vinyl gems from the mid-80s with lots of drum machines and tons of fun weirdness - as heard on his many mixtapes on Soundcloud. Some of that material gets featured on this collection of edits here for P&F Recordings, who make a departure from original compositions in favour of these four beautiful downtempo edits by a modern day master of the craft. From the low slung boogie funk of "Dancing In The Sunshine", to the neon-lit '80s R'n'B of "Here We Go" and the slo-mo rock swagger of "Push Comes To Shove" - there's all you need right here!
Review: Alberto De Santiago has already slipped out a few killer edit-rich hits, which drew favourable attention from Spanish label Night Shift. He launches the Discollection EP with the soul-soaked feel-good flavour of "Love Sauce," steeped in the finest disco ingredients to inspire impassioned expression on the floor. The heat stays right up for "Since I've Been Gone", which is packed full of Philly strings aplenty and enough dramatic drops and chops to melt even the hardest frown. "Most Expensive Diamond" and "All The Way" have that magic touch too - these are loud and proud vocal edits to get people dancing on the ceiling. You can't go wrong with classic source material like this - Never Dull indeed.
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.
Review: Phil Gerus is a rising talent that fits right into the (Emotional) Especial mould with his sharply realised 80s bombast and dynamic electro funk production style. Treating body-popping club tracks as a vessel for heartfelt expression, these tracks have it all from Linn Drum boogie to fully capable instrumental chops, all shot through with Gerus' choice new wave vocals. Lauer hops on board for a seductive remix of "Still Blind" that ups the sensual intensity of the track while keeping the club foremost in his mind, before Jamie Paton steps up on the flip with a couple of freakier turns that dub the original out into deadly, spooky jams for more adventurous party people to get loose to.
Review: Acid Jazz has pulled off something of a coup here by persuading legendary '70s soul man Leroy Huston to part with a couple of previously unreleased cuts. A-side "Positive Forces" was recorded by Hutson in 1977 and sits somewhere between the sweeping, orchestrated bliss of Philly soul, the soaring dancefloor celebration of disco and the loose-limbed instrumental goodness of jazz-funk. It's an absolute stunner, all told, and sounds like it was tailor-made for spins at sweltering summer festivals. On the B-side you'll find a previously unreleased instrumental version of 1975's "All Because of You". While a vocal-free version has previously been released, this particular mix includes a little more drum action at the beginning to assist with mixing.
Turn Me Loose/My Design (extended version) (13:58)
Turn Me Loose (Sirs cut) (10:32)
Review: Best Records present another deep cover jam Balearic diggers will rejoice at being able to lay their hands on. Blue Night was the brainchild of Peter Miconi, who created "Turn Me Loose" in 1983. All the elements are present here, from the aching blue-eyed soul vocals to rich guitar solos and an irrepressible funk bedded down in the groove, here stretching out for a full 14 minutes of pure sunkissed bliss. On the flip, SIRS takes a careful run at the original that simply reframes the elements with a more pronounced rhythm section - this is someone who knows exactly what the track needs and declines to change anything for the sake of it. Classy stuff, as you would expect from a reissue on Best Records.
Review: Best Records sure love their jams from 1983, and they've dusted down another impeccable Balearic curio from one hit wonder Flayer. Originally released on F1 Team, "Wanna Get Back Your Love" sets adrift in a truly dazzling bed of woozy pads and airy vocals that have pure escapism at the top of the agenda. On the A side, this hypnagogic adventure stretches out over a wonderful eight minute extended mix, while the B side features two alternative versions that offer subtly adjusted, abridged versions to give you many different ways to run at this heavy-lidded blast of balladry.
The O'Jays - "This Time Baby" (A Tom Moulton mix) (9:52)
The Futures - "Party Time Man" (A Tom Moulton mix) (9:10)
Jean Carn - "My Love Don't Come Easy" (A Tom Moulton mix) (10:46)
The Jones Girls - "Nights Over Egypt" (A Tom Moulton mix) (9:09)
Review: Philadelphia International Records continues to dip into its bulging archives and offer up double-packs containing some of the finest 1970s remixes from remix pioneer Tom Moulton. As you'd expect, there's plenty to get the juices flowing and the heart pounding on this third volume in the series. Record one opens up with Moulton's epic version of the O'Jays' "This Time Baby", a swirling Philly Soul classic that later became a favourite of sample-loving disco-house producers and disco re-editors, and continues with his sugary but floor-friendly version of the Futures' "Party Time Man". Over on record two, Moulton's inspired extension of Jean Carn's seductive "Love Don't Come Easy" is followed by his must-have version of the Jones Girls' "Nights Over Egypt".
Review: Whiskey Disco sublabel Lovedancing now presents Amigos Vagabundo Club Social, who have truly found their voice with this terrific EP. Comprised of Jaime Tuiran and Juan Pablo Pinedo, they combine the best electronic grooves and Carribean flavour on the Pambele EP - three tracks that commemorate their musical heritage and upbringing in Barranquilla, on the north coast of Colombia. The groovy and sun kissed title track with its creamy Rhodes notes is a perfect homage to a certain Colombian boxing legend, while the lo-slung and funky swagger of "Esclavo 29" is a go-to track to work the dancefloor on a long, hot summer night. Finally on the flip is a sultry deep house groove in the form of "Angayusa" with some super sexy sax action.
Archie Bell & The Drells - "Where Will You Go When The Party's Over" (A Tom Moulton mix) (9:06)
People's Choice - "Jam Jam Jam (All Night Long)" (A Tom Moulton mix) (7:42)
Teddy Pendergrass - "I Don't Love You Anymore" (A Tom Moulton mix) (8:46)
Lou Rawls - "See You When I Git There" (A Tom Moulton mix) (9:39)
Review: During the latter stages of the "Philly Soul" era, New York remixer Tom Moulton delivered a string of inspired, DJ friendly reworks for the Philadelphia International label. For proof, check this fine selection of classic Moulton mixes for the storied imprint. Check first his version of Archie Bell and the Drells' "Where Will You Go When The Party's Over", which he brilliantly teases out and increases in intensity over nine spellbinding minutes. The funkier flex of People's Choice's "Jam, Jam, Jam (All Night Long)" is a sweaty, low-down treat, while the Teddy Pendergrass rework is a soaring disco classic in the Philly Soul style. Best of all, though, is the string-drenched disco celebration that is his mix of Lou Rawls' "See You When I Git There".
Teddy Pendergrass - "Life Is A Circle" (Mr PC edit) (9:53)
Labelle - "What Can I Do For You?" (Mr PC 12" edit) (6:07)
T Connection vs Mutabaruka - "Do What You Wanna Do" (Mr PC Mystic Rhythm dub edit) (9:03)
Review: Over the last few years, Peter Croce AKA Mr PC has delivered some of the finest re-edits around. Here he returns to Rocksteady Disco with a trio of party-starting revisions. First he turns his attention to Teddy Pendergrass' "Life Is A Circle", extending and lightly beefing up the soaring, Philadelphia International style soul cut for contemporary dancefloors. Speaking of soul, Croce next gets busy with Labelle's shuffling groover "What Can I Do For You?", subtly looping up key sections to turn it into a proper 12" style extended mix. Best of all, though, is flipside "Do What You Wanna Do", a cosmic, percussion-heavy drum jam that cleverly combines elements of cuts from T-Connection and Mutabaruka into one heavy, funk-fuelled late night beast.