Review: There's no complex concept behind the latest four-track EP from the reliable Whiskey Disco camp, just a quartet of killer re-edits crying out for peak-time plays. Highlights wise, we're particularly enjoying the hard-spun Afro-disco grooves and well-placed dub delays of Alex Zuiev's "Afro Magic", though Alkalino's quirky opener - a thrillingly dubbed-out take on a tongue-in-cheek, left-of-centre disco treat - is also superb. Elsewhere, Love Drop sticks heavy new house beats underneath a stone cold classic (listen to the clips and you'll be able to identify the source material in seconds), while Terrence Pearce crafts a space-disco epic out of undulating Afro-disco grooves, bleeping synth melodies and some seriously cosmic effects.
Review: Mad Mats and Tooli's Local Talk is still going strong. The Stockholm label now taps In-Beat-Ween Music main man Alexander Lay Far, who appeared last year on the label with his Communication EP. The Slope sees him collaborate with the legendary Ashley Beedle of X-Press 2 and Darren Morris. First up is "Doctor Feelgood" with its '70s inspired production complete with funk guitar, swinging live drumming and an infectiously funky synth bass. The Slope" is a more downbeat affair for chill out moments, a deep soul funk number with swirling Rhodes, dreamy xylophones and rich analogue strings drawing comparisons to Roy Ayers RAMP project. "Lay Far's Upbeat Version" does exactly what it does on the cover, injecting a funky breakbeat into said track, making it more dancefloor friendly but still retaining all its soulful glory.
Review: Hot Digits head honcho Fingerman now launches Wax Digits, bringing his killer re-edits to the vinyl format and inaugurates the series in great fashion by recruiting some homeboys and Aussie legends alike, such as DJ HMC under his Late Nite Tuff Guy guise; he edits the Malcolm McLaren classic on "My Buffalo Girl" for modern dancefloors. Perth drum and bass legend Greg Packer it seems has turned his deft hand to disco re-edits of late and "Another Night" is a great one of The Peech Boys classic on West End Records. Five Valleys collective Situation do pretty sweet remix of a certain Diano Ross classic on "Thru The Mirror.
First Choice - "Dr Love" (Late Nite Tuff Guy Hypnotizin' Groove) (5:33)
Double Exposure - "Everyman" (Late Nite Tuff Guy rework) (5:31)
First Choice - "Love Having You Around" (Late Nite Tuff Guy rework) (6:37)
Review: There's a whole load of Salsoul goodness that we often miss or skip, whether due to unavailability of reissues or simply because there's just simply too much of it, but this RSD 2018 release of Late Nite Tuff Guy Reworks hits the spot in all sorts of ways! The master edit-junkie and version freak steps up with three reworks of some pretty classic classics, namely First Choice's "Dr Love", Double Exposure's "Everyman" and, finally, First Choice's "Love Having You Around". House-tinged edits for you to VIBE to!
Review: "A.I.E" is arguably one of the most famous tracks by French Guinean band "La Compagnie Creole". While the 1987 original version was a typically joyous chunk of tropical, synth-heavy zouk, it's the lesser-known Larry Levan remixes - commissioned and released by Island Records America in 1988 - that are being reissued here. Levan's bustling "LL Club Mix" can be found on the A-side. It's a cheery affair, with the band's jangling guitars, strong vocals and bubbly synths being joined by elongated organ chords and snappy, club-ready machine drums. Arguably even better is Levan's chant-a-long flipside dub, which naturally gives more prominence to delay-laden drums, a killer zouk bassline and the sustained organ chords.
Review: Having made a name for himself releasing on Dirt Crew, Outernational and the like, Ben La Desh now brings his ranging take on house music to Young Adults with a veritable spread of tones and styles up his sleeve. The EP kicks off with "Afrodesia", which piles the synth pop notes on heavy over a driving rhythm section in a wistful mixture caught somewhere between boogie and techno. "Your Love" follows up with a lounge-friendly diversion that gleefully loops up samples and hooks in a laid back re-edit style, while "We Are" takes that easy-going approach and works into a more searching piece of low slung house music. "Why Don't You" wraps the EP up with a sassy Chicago-esque jam that benefits from the soulful injection Josie Akers vocals bring to the table.
Review: The third multi-artist EP from Hot Digits' occasional vinyl series, Wax Digits, is packed to the rafters with dancefloor-focused re-edits and reworks. Labor Of Love leads the way with "Move That Thang", a fine chunk of warm and bass heavy deep house/disco fusion, before Osmose steals the show with the loopy mid-tempo disco-funk bump of "Let Harry Rock". Over on Side B, The Silver Rider impresses via the swirling disco-house hypnotism of 'Groove On Down", before experienced re-editor P-Sol pairs locked-in grooves with sun-kissed disco instrumentation and heady vocal snippets on "Sturdy Disco".
Review: After appearances in the last 12 months across World Unknown, Let's Play House, Endless Flight and Futureboogie, Geordie trouble starters Last Waltz add Tusk Wax to their canon of labels with the first of two releases. The usual hand stamped, individually numbered, weighty 180g vinyl factors are present and correct yet there's still room for the concluding chapter in the sleeve. The thrusting, lusting "Glamour Things" isn't shy, pairing motorboat arpeggios with satisfyingly weighty drums, whilst the detuned "Tipping the Gulf" tumbles along with a certain lopsided glee. An accompanying Jamie Blanco remix ramps up the original's lead synths with decidedly epic cosmic results, whilst "Beholden (Part 1)" sees Last Waltz play with the work of Foals in calming, cosmic fashion.
Review: Tough by name, sexy by nature, here we find Australia's LNTG focusing on two very well-known disco funk gems. First up is a chugging, jacked up take on Chic's "I Want Your Love". Adding rhythmic muscle and fine-tuning the bass, it's a fine example of a quintessential edit. Next up are two renditions of Tom Browne's "Funkin For Jamaica". The titles speak for themselves... Those looking for a dancefloor sing-along should head for the full vocal mix while those looking for more a bass-loving boogie showdown should head for the funkin' remix. Tough times call for Tuff measures!
Review: The Australian edit machine known across the globe as Late Night Tuff Guy offers up two sublime dancefloor weapons from his armoury for the second in his series of limited, hand stamped Tuff Cuts 12"s. "Ain't Nobody" from Rufus and Chaka Khan is a classic, and has been subjected to numerous edits and reworks over the years; this version from Late Night Tuff Guy belongs amongst the better ones, looping and extending the original and laying it over his trademark crunchy slo mo beats. Face down, the "Back To Life" accapella is joyously diced and laid down over a glistening disco production from the Nile Rogers and Bernie Edwards discography.
Review: The Late Nite Tuff Guy gets in on the action once again with this triple gripper of edit goodness. Those with a perfunctory grasp of disco knowledge will probably guess that the title cut from this Make Me Feel 12" takes it's cue form the classic disco track by Sylvester and in the hands of the Tuff one we have a beefed up rendition that will service any self respecting discotheque dancefloor perfectly. "Love To Love" eases down the tempo and turns up the heat as LNTG brings his Midas Touch to the Donna Summer standard, whilst "He's Mine" is a nice little muscled up tweak on the Brandy and Monica classic.
Review: There's no secret to the success of Late Nite Tuff Guy's long-running Tuff Cuts series. Buyers have simply responded to the consistency of the Australian producer's approach, and the quality of loopy, house-friendly re-edits. This eighth volume features more party-starting fare, from the glassy-eyed extended breakdown of "Go For That" (yep, a Hall & Oates rework) and soft-touch house take on Marvin Gaye ("Heard It"), to the end-of-night bliss of "Dreams", a decidedly warm and rolling rearrangement of the famous Fleetwood Mac cut of the same name. As if that wasn't enough bangers in one place, he finishes with a triumphant rework of disco-era Michael Jackson ("Starting Something").
Review: A home strictly for the tuffest cuts from the tuffest guy since last year, the Tuff Cutt label returns with a sixth grip of edits from Australia's finest exponent, Late Nite Tuff Guy. One of the country's true pioneers of house and techno under his previous House Master Cam guise, Carmelo Bianchetti has enjoyed a second wind as edit machine Late Nite Tuff Guy. Any jobbing selector that dips between house and disco will find these four cuts more than useful, featuring perfectly calibrated revisions of Aretha Franklin, Diana Ross, Revelations and The Jacksons. The latter take on "Shake Your Body (To The Ground)" is guaranteed to rescue any dancefloor.
Review: Late Nite Tuff Guy bursts through RSD 2016 with a hot selection of disco-flavoured house chuggers, and we'd been waiting on a comeback from both the dude and label - all boxes ticked from our side. "Hold Tite" is the perfect summer blazer, all luscious vocals and dripping beats, and "I Don't Like Acid" takes that same soulful spirit but strips the groove right down to a bopping little rhythm that is likely to be enjoyed by both hip-hop and house fans alike. The flip's "One Night In A Disco" is a sample-heavy, string-infused floor-melter, whereas "Shelter Me" goes all balearic and feet-up - the perfect lounge cut.
Review: If you want hugs on the dancefloor deep into the night, Late Night Tough Guy's (formally DJ HMC) "Bless The Rains" is the perfect drug. The Adelaide based luminary rehashes Toto's "Africa" in a heavily pitched down and simple edit fit for any fromage-laced discotheque. Skirting around the throbbing bassline and triangle hits of "My Body On Fire" is a vocal that will have some train-spotters pulling their hair out in frustration, while "Not In Love Anymore" will have both Warren G/Nate Dogg and Michael McDonald fans bumping and grinding to excess.
Review: San Laurentino (real name Lorant Talpai) first appeared on London's Electric Minds back in 2010 and has since appeared on top labels such as Mathematics, Let's Play House and Live At Robert Johnson. Like the latter, Smile For A While is a Frankfurt Am Main based imprint devoted to old-school house. That being said, there's a timeless quality to Talpai's new release. From the deeply hypnotic tones of "Paramaribo Calling" (Lounge mix) awash in celestial pads, FM synthesis and those gorgeous kalimba melodies, the new age deep house of "The Garden Of The Hesperides" that's powered by those emtove breakbeats and the original version of "Paramaribo Calling" reminiscent of the legendary Vangelis Katsoulis.
Review: A reissue of American singer Debra Laws' 1981 single here on Expansion. She made her debut as a solo recording artist in in the same year, with the release of her album titled Very Special. This album, produced by her brothers Hubert and Ronnie, was a success with the singles "On My Own" (a lovely neon-lit disco-funk groove) and "Very Special" (a super sensual ballad on the slo-mo tip) being featured here. Up until the beginning of the '90s, Laws worked with her three siblings, recording and doing many live performances in the United States and abroad. Samples from "Very Special" can be heard in Jennifer Lopez's 2002 hit single of "All I Have".
Review: Juan Laya and Jorge Montiel pay homage to the heartland with this beguiling album. A deep trip up and down the amazon, hopping off as and when they see fit, the album sees them paying homage to Latin standards such as "Fruta Fresca" and "Manduco". Rebuilding them electronically with, no doubt, a fair few classic synths in the mix. From disco to blues with just a touch of Latin folk magic, it's yet another unique and vital trip from the Los Charly's Orchestra lads.
Review: Los Charly's Orchestra's Juan Laya and Jorge Montiel collect a few of their finest butt-shakers and stamp them down on a big juicy 12 for all our boogie needs. "My Way", originally released last year, kicks off with smouldering, hip-slinking ease before the disco-tinged "Intermotion" gets the spotlight across two bass-slapping versions. Finally we glide back to 2015 for two takes on the sunny-side viber "The Boogie Mine". Blame it on the boogie...
Review: A year or so on from the release of American Dream, LCD Soundsystem's much-hyped comeback album, James Murphy has decided to commission a swathe of fresh remixes. The first mixes to land come from ESP Institute boss and former NYC dweller Lovefingers. He brilliantly plays around with "Oh Baby", first serving up a full vocal version drenched in dub delay and mind-altering effects that makes much of selected lyrical phrases, chugging drums, bubbly electronic motifs and the original's familiar piano refrain. Turn to the flip for a largely vocal-free dub that's even more trippy and far-out in tone, with the now familiar piano riff taking pride of place throughout.
A Tribute To Muhammed Ali (We Crown A King) (long version) (9:08)
A Tribute To Muhammed Ali (We Crown A King) (short version) (6:41)
Review: During the funk era, heavyweight boxing champ Muhammad Ali proved a great source of inspiration for many musicians and bands. Dig hard enough and you'll find tons of singles recorded in tribute to the legendary fighter. Le Stim's 1980 disco-funk tribute to "the king of the fighters" is not one of the better-known examples, but it's certainly one of the most scintillating. Here, the sought-after gem - all rousing horns, Clavinet-heavy grooves, spacey synths and starry-eyed vocals - is given the reissue treatment by Melodies International. Like the hard-to-find original, it includes both "long" and "short" versions, with the former - a sweaty, nine-minute workout straight from the top shelf - standing out.
The Soup Dragons - "I'm Free" (Yam Who? & Alan Dixon remix) (7:26)
Jack Tennis - "The Light" (5:59)
Alan Dixon - "Got To Be" (6:19)
Review: This essential EP gathers together some of the highlights from "Take It To Church", a digital-only compilation from the Showfa packed with gospel-fired dancefloor treats. We're particularly enjoying Yam Who? and Alan Dixon's fantastic new rub of The Soup Dragons "I'm Free", which re-casts the track as a righteous, sing-along friendly slab of peak-time gospel disco bliss. Elsewhere, Le Visiteur does a great job extending percussion breaks and slowly ratcheting up energy levels on superb gospel disco re-edit "Let The Sunshine", Alan Dixon's "Got To Be" is a breezy chunk of gospel-house/disco fusion and Jack Tennis' "The Light" is a filter-sporting slab of piano-rich sweetness that should put smiles on plenty of faces before the year is out.
Review: Thomas Leer was mainly active in the late 70s and early 80s, dropping two singles on Cherry Red that provided the source material for the two original tracks on this Emotional Rescue reissue 12". Opener "Saving Grace" is a rich, bombastic blast of synthwave, all chugging arps and massive leads, while "Tight As A Drum" heads into more psychedelic territory, using strange gating techniques and deft FX to create a wondrous, shimmering bed for Leer's poetic chat over the top. Bringing an inventive angle to the release, the label signed Bullion up for two wonderfully warm, wobbly remixes. Honing in on the weirder qualities of Leer's work, these modern interpretations make a perfect bridge from the old to the new - highly recommended!