Electric Mind - "Summing Up" (Massimo Beradi rework) (5:53)
Maurice McGee - "Styx" (DJ Rocca 808 edit) (6:24)
Orlando Johnson - "Turn The Music On" (Re Tide remix) (6:53)
Review: More from re-launched Italo-disco era label Full Time Records, who here present four fresh reworks of tracks from the vaults. G.A.M.M-signed scalpel hero Moplen steps up first to deliver a fine dubbed-out re-edit of Boeing's slap bass-propelled electrofunk classic "Dance To The Beat", before Massimo Beradi adds a little subtle, mid-tempo house flavour to Electric Mind's lesser-celebrated 1982 Italo-disco jam "Summing Up". DJ Rocca opens side B in some style, hammering away at a TR-808 drum machine while giving Maurice McGee's 1984 cut "Styx" an altogether deeper vibe. Meanwhile, Re-Tide turn Orlando Johnson's Paradise Garage favourite "Turn The Music On" into a muscular chunk of bass-propelled boogie-house badness.
Review: Masterworks Music mastermind 80's Child unleashes the third volume of his Masterworks compilations. This is a two-part vinyl release with the first part featuring The Funk District hailing from Cancun, who kicks off the A side with "The Funky Joint". He gets a good ol' time shuffle going before handing it over to Parisian Oldchap for a proper low-slung boogie in the form of "To The Top". On the flip, Godfather of the western Australian dance scene Dr. Packer gets down with a wicked edit on the late night sexiness of "Your Big Chance" and fellow Mexican Hotmood goes out on a high note with smokin' hot vocal number "Raw Dance".
Review: Glasgow's Ooft! continues the FOTO-X series on his label with a sure shot 12" that presents two tracks sure to nestle their way into all manner of on-point record bags for many moons to come. First up is iLO who plays the long game with a yearning and burning slice of deep house that starts out stripped and subtle before blossoming into a fully-fledged vocal delight. Ooft! takes care of the B-side with a boogie-tasting get down entitled "Howard's Way" which will get heads nodding and bodies popping to a bassline that calls to mind Evelyn King's much loved "I'm In Love" low end destroyer.
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: Los Charly's Orchestra sorts Juan Laya and Jorge Montiel first worked with veteran British soul singer Omar on their 2017 double A-side single "It's So/History". All involved clearly had a good time, because they've decided to repeat the exercise. "Fire" is arguably a step up, with Omar's honeyed vocals soaring above a rubbery groove, heady female backing vocals, cut-glass strings and punchy horns on the standout "Classic Disco Mix". Elsewhere, the noticeably heavier "Neo-Soulful Disco Mix" sounds like the kind of sumptuous, all-organic soulful disco-house fare we'd expect to hear from the likes of Joey Negro and Yam Who. Wisely, the duo has also included instrumental revisions of both versions. We prefer the superb vocal takes, but it's nice to have the choice.
Review: Having set out their stall via a fine first collaborative release on Bordello a Parigi a couple of months back, Mytron and Ofofo pitch up on Multi-Culti. As you'd expect from a label with such a strong track record of multi-cultural musical fusion, much of the EP defies easy categorization. Sure, you'll find a chunk of Italo-influenced electro ("Non-Binary Joys on the Venus Holodeck") and a couple of slabs of madcap disco-funk fusion ("Si Jambo" and "2Tac Onana"), but also a heavyweight slab of low-slung punk-funk/post disco ("Czary Mary"). Oh, and the skewed electro-funk-meets-intergalactic synth pop insanity of "Something for Your Mind", which also boasts some notably brain-melting vocoder action. More, please!
Review: The Chordz EP brings it with 3 hot new modern Boogie tracks.
Label Hero Newman opens the release with the title track 'Chordz' - a synth-fuelled dancefloor banger, reminiscent of Harvey Sutherland's recent work. Flip it over and Ourra (aka Simon Tappenden aka 'Pop Out N Play') brings us a truly Tropical treat reminiscent of Palm Trees, Pina Coladas and 80's Miami sunsets. Last but not least, Keyboardist for Brian Ellis, Adam Chini plays 'Horizons of Funk'... a lush down tempo synth funk number bringing the EP to the perfect close.
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: Originally released in 1974, "For the Love of Money" is a soul/funk song that was recorded by Philadelphia soul group The O'Jays for the album Ship Ahoy. The lineup at the time comprised of Eddie Levert, William Powell and Walter Williams, It was written and composed by Anthony Jackson, Leon Huff & Kenneth Gamble, and produced on the latter's Philadelphia International Records. The original pressing was issued as a single in late 1973 with "People Keep Tellin' Me" as its B-side. The single peaked at number three on the U.S. Billboard R&B chart, and at No. 9 on Billboard's Pop Singles chart in spring 1974. "For the Love of Money" made the group Grammy Hall of Fame Inductees in 2016.
Rushing Through My Mind (Mang Dynasty extended version) (8:03)
Rushing Through My Mind (Mang Dynasty instrumental version) (7:00)
Rushing Through My Mind (Mang Dynasty radio edit) (3:56)
Review: Ray Mang's slick disco stable Mangled calls upon a new pair of provocateurs to lay down a sun-kissed steamer to blow away those winter blues. The agents in question are Josefin Ohrn and The Liberation, and their "Mang Dynasty" is every inch the Balearic idyll rendered in a long form discoid jam. The extended version on the A side fully floats out into gently psychedelic waters guided by Ohrn's infectious hook, "I've got you rushing through my mind." For those who just want the groove there's the instrumental mix available as well, or you can always plump for the radio edit if time is short.
Les Portrait Le Diacre Astvatsatour Sarkissian (6:06)
Folle Vendredi Soir (6:14)
Review: Moscow-based editors Olta Karawane let loose on Special Delivery with five exceptional intergalactic sleaze jams. Each one sprinkled with their own sonic stardust, highlights include the sultry cake-listing koshmiche mash of "Les Portrait Le Diacre Astvatsatour Sarkissian", the Moroder-goes-b-boy-on-Omicron-Persei-8 jitters of "Farine" and the peg-leg post-punk and woozy Tropicana of "Oinj". Topped off with an epic synth chariot of fire "Racaille", it's another remarkable trip from one of Russia's most enigmatic disco acts.
Review: Late last year, French imprint Chuwanag launched via a fine compilation exploring the early '80s Britfunk sound (think jazz-funk and electrofunk) in impressive detail. You'll find numerous aural nods to that style on this follow-up, a fine debut single from producer Koji Ono. Check, for example, the sparkling synthesizers, hustling guitars and house-tempo jazz-funk grooves of "So High", the wiggly Clavinet lines, whistling melodies and rubbery bass of "Inner Rhythms" and the luscious, misty-eyed warmth of ear-pleasing mid-tempo instrumental jam "Momoshima". All are exquisite examples of revivalist cuts that boast more than enough freshness and impeccable instrumentation to bear comparison to the records that inspired them.
Onward Intenational - "Foot In The Door" (Alex & Stephane Attias edit) (7:36)
Elbernita Twinkie Clark - "Awake O Zion" (Alex Attias edit) (8:18)
Review: Since launching in the summer of 2017, Alex Attias' edit-focused LillyGood Party label has consistently delivered the goods. It helps that Attias' approach to re-editing mirrors original scalpel legends like Danny Krivit - think killer rearrangements with no cheap production trickery - but this would mean nothing if the selected material was below-par. This time round he's on a Latin-tinged jazz-funk and disco tip, first teaming up with brother Stephane to deliver a superb, horn-heavy rework of Onward International's 1985 all-dayer slayer "Foot in the Door". It's a righteous and funk-fuelled affair guaranteed to bring a dose of sultry sunshine to any party. On the flip, Attias goes solo to lovingly extend Elbertina "Twinkie" Clark's 1981 gospel-fuelled disco-soul treat "Awake O Zion", with predictably fine results.
Review: The clue is in the title... OTE step up with two sparkling afro diamonds right here. Two of the coolest sides of the vibe coin, too: "Back To Kingston" is a carnival meltdown-in-waiting. Acidic, stamping, scorched with horn drama and gutsy vocals, this will absolutely shatter floors this summer. The label's own Jimmy Rogue maintains the heat with a much deeper, understated funk build on "Yeah Yeah", but when that acid and those horns riff back in.... Oh boy.
Original Love - "Love Vista" (feat Clementine - Larry Heard instrumental dub) (5:39)
Shantell Sisters & Keva Band - "Ouch" (dub) (6:48)
The Joneses - "Sugar Pie Guy" (Tee Scott club dub) (6:13)
Review: The Edit & Dub Recordings label out of Tokyo is seriously impressing us as of late, with this new remix EP being the best of their material to date. That's because they have the house master, Chicago dance wizard, Larry Heard aka Mr Fingers remixing Original Love's "Love Vista" into a gorgeous house track with a sublime dub sensibility that suits it down to the bone - this is tune of the week for us and we cannot recommend it enough. However, the dub version of "Ouch" by the Shantell Sisters & Keva Band, which is actually more of a disco banger, is no less masterful in its execution and italo-leaning tendencies. Finally, Tee Scott delivers a dub of "Sugar Pie Guy" by The Joneses, a percussion-heavy boogie monster with a buzzing bassline ready to conquer the floor good and proper.
Review: From the tropics comes Whiskey Disco, a sneaky re-edit label bent on dredging the decanter for diffident dancefloor genius from latent disco perpetrators. It's loosely connected to Sleazy McQueen and his assorted cohorts. On the A side we have the one and only Osmose: DJ, digger, sound designer & producer but most of all: the originator of the Osmose Sound 7" Vinyl Record Stabilizer. He throws down some late night, deep down boogie business (on the very soulful tip) for the A side. On the flip, Thoma Cher makes his debut with some neon lit 80s disco vibes on "All You Need" while "Fright Night" is more on the Italo angle.
Review: Original Montreal selector Ouimet follows up his inaugural edit volume release last summer with three more classically crafted edits. Full floor focus, uptempo and deeply dug, they tick every box you'd expect from one of the original disco pioneering DJs. "Come Party" is a call to action, full horns and feels running throughout. "Where's Eugene" asks all the important questions over a rampant slap bass freak out while "Rob Can't Stop" brings us to an exultant climax with rolling drums and more slap bass that's so rude it should come with a health warning. Don't say yes, say oui!
Review: Robert Ouimet - the Godfather of Montreal disco - puts his magic touch on three tracks for British disco label Basic Fingers. A DJ/producer since the early '70s, Ouimet was a regular contributor to The Steede Report (published from 1975 to 1979) writing a column dedicated to the recent arrivals of imported records, in addition to his role as a disc jockey. He was also responsible for remixing Francine McGhee's vocal/instrumental mixes of "Feeling Good" and "Delirium", which both charted in the UK in 1977, as well as also Gino Soccio's "The Visitors" - having been a consultant to the fellow Montrealer on his first three LP's.
Review: Out 2 are the product of a New York-based partnership between Jeremy Campbell and R. Zanzibar, who are just the kind of cult operators that Emotional Response so dearly love. With one foot in classic Talking Heads inspired funk variations and the other in the catch-all stylistic melee of the modern age, this is highly developed party music for well-read rug cutters to bust out shapes to. Just check the gorgeous synth violin styles on "Fire" or the heavy dub beatdown of "Rubber Hour" - these cats know what they're doing. All new-no-minimal-wave lovers take note!
Greg Wilson - "Summer Came My Way" (feat The Reynolds - Luxxury mix) (9:17)
Oddfellow's Casino - "The Ghosts Of Watling Street" (Greg Wilson & Peza mix) (5:18)
The Super Weird Society - "Gone With The Vibe" (Henry extended mix) (4:50)
The Reynolds - "Don’t You Worry Baby The Best Is Yet To Come" (Greg Wilson & Peza mix) (8:46)
Review: As the title suggests, Super Weird Select Volume 1 gathers together some of the most sought-after cuts on Greg Wilson's growing Super Weird Substance label. First up is Luxxury's deliciously languid, poolside nu-disco take on Wilson's own "Summer Came My Way", featuring the attractive and cheery vocals of regular collaborators The Reynolds. Wilson and Peza's rework of "The Ghosts of Watling Street" by Oddfellow's Casino is a gently acid-flecked nu-disco shuffler, while the Henry Extended Mix of The Superb Weird Society's "Gone With The Vibe" is a p-funk flavoured electrofunk workout. Arguably best of all, though, is the classic disco soulfulness of Wilson and Peza's closing remix of The Reynolds' Bessie Banks cover, "Don't You Worry Baby The Best Is Yet To Come".