Review: Oooh! Angie Stone's "Wish I Didn't Miss You" definitely belongs in the canon of all time modern soul classics. Taken from her 2001 second album Mahogany Soul, the Swizz Beats produced track made optimum usage of an O' Jays sample and was instrumental in that LP going gold and propelling the former D'Angelo collaborator to stardom. It also inspired countless official and under the counter remixes with Blaze's perhaps the most recognisable. So yes this reissue on 7" from Outta Sight is worthy if you don't have the original in your collection and features a housed up remix from Hex Hector on the flip.
Review: Suave Parisian scalpel-botherer Dimitri From Paris continues to churn out top notch re-edits, slightly altering his famous production persona from label to label. Here, he delivers a second 12" for Razor 'N' Tape under the Dimitri From Brooklyn alias. Like its' predecessor, it features a couple of stone cold bangers. "Right My File" offers a thunderous, housed-up take on a lesser-known cover version of Dan Hartman's grandiose disco smasher "Relight My Fire" - all vocal breakdowns, big builds and big-lunged sing-along moments. As for "I Want Your Back", it re-casts Dimitri as The Reflex, laying down a version of The Jacksons' "I Want You Back" that sounds like it was done from the multi-track parts. It is, of course, dancefloor dynamite.
You Make Me Feel (Mighty Real) (Michael Gray remix) (7:33)
You Make Me Feel (Mighty Real) (Michael Gray dub mix) (7:38)
Review: What more needs to be said about this timeless disco hit? A staple of DJ sets by everyone from Derrick May and Laurent Garnier to James Murphy, this Harvey Fuqua and Patrick Cowley production from 1979 is a truly timeless classic whose spirit still lives to this day on modern dancefloors. Here we are treated to a rework by Britain's undisputed king of funky house Michael Gray (Full Intention) on his Sultra label. With full respect to the original, Gray's rework injects some dancefloor dynamics for the modern sound system. You even get a bonus instrumental "Dub Mix" on the flip!
Review: While his source material tends towards the well known, there's no denying the quality of The Reflex's "revisions". Their genius likes in his ability to source and utilize stems and master tapes, allowing him to remix and re-edit killer disco jams in the same manner as original masters such as Tom Moulton. It means that he can craft new instrumental breakdowns, stretch out portions that were originally overlooked, and generally breathe new life into otherwise all-too-familiar anthems. The two revisions featured here are typically impressing, with the impassioned, driving, heavily rearranged Philadelphia Soul flipside ("BD LCK") just nudging out anthem like A-side "Ansun" (a brilliantly teased-out version of one of the most familiar disco records of all time).
The Vision - "Heaven" (feat Andreya Triana - Danny Krivit edit) (6:21)
The Dangerfeel Newbies - "What Am I Here For?" (original NDATL vocal - Danny Krivit edit) (8:45)
Review: Since the 1970s Danny Krivit has been a prolific re-editor. We're used to him cutting up classic cuts - think disco and soul, in particular - but he's never been afraid to turn his talents to contemporary cuts. That's what you get on this surprise Defected release. On the A-side he turns his attention to "Heaven", the killer gospel-inspired modern disco single from The Vision and Andreya Triana, turning in a version with plenty of drops, instrument solos and more emphasis on the righteous, life-affirming vocals. He's in a smoother mode on side B, extended and rearranging the rich and soulful dancefloor treat that is Kai Alce's Original NDATL vocal mix of The Dangerfeel Newbies' "What Am I Here For?" - a gem from 2016 that has previously been criminally overlooked.
Love & Hate In A Different Time (Greg Wilson & Che mix) (8:40)
Love & Hate In A Different Time (Greg Wilson & Che extended mix) (7:08)
Love & Hate In A Different Time (acappella) (5:36)
Review: 'Love & Hate In a Different Time', one of the Gabriels' sonically sweetest but most lyrically hard-hitting singles to date, may seem an unusual choice to remix, even if the 2020 release did feature a stomping groove reminiscent of Northern Soul. Greg Wilson and Che have done a great job in re-imagining it for dancefloors on their 'full length remix', though, wrapping the original's simmering swings and Jacob Lusk's incredible vocals - smothered in reverb and delay - around a rolling, 1970s style disco groove. The pair also a delivers an 'extended original mix', which stretches out Gabriels' 2020 single version for greater dancefloor pleasure, and a spine-tingling, effects-laden 'acapella' take. Simply essential.
Review: It has been a bit of a while since we heard from edit king and seductive groove maker Late Nite Tuff Guy. Thankfully now he is back after his hiatus with more of his brilliance in the form of a third entry into his Soul Cut series. He brings his magic fingers to a pair of dazzlers here, with a hearrt-wrenching version of a latter yaers Motown anthem, with a modern update that leaves the original vocals in place but adds a little more drum weight. On the flip, 'Don't Look' is a much more smoochy and seductive late-night sound for cosy dances.
Review: Smoove is one half of the legendary edit duo Smoove and Turell from Northern England. He goes it alone here on the fourth volume of his Multitack Reworks series with two slices of the kind of grooves that we know and love and him for. A-side 'Live' and flip track 'Egypt' are both prime cuts of timeless funk with driving drum breaks and plenty of catchy and hooky melodic motifs. These limited edition, hand-stamped white label 12"s always do damage on the dancefloor so are well worth picking up.
Destiny II - "I'm Here For This" (feat Aria Lyric) (4:54)
Review: Z Recordings chief Dave Lee has teamed up on this one with Omar, a prolific multi-instrumentalist who was awarded an MBE in 2012 for services to music. The result is 'Starlight', a serving of emotive soul funk with a nod to legend Stevie Wonder. Over on the flip, we have the late night boogie-down vibe of Destiny II's 'I'm Here For This' featuring Aria Lyric's powerful vocal delivery, underpinned by an uplifting arrangement that has summertime vibes abound. A new project by Lee, it debuted earlier this year with the excellent 'Play 2 Win'
Enjoy The Silence (Smoove Multitrack rework) (5:31)
Let's Stay Together (Smoove Multitrack rework) (6:20)
Blind Alley (Smoove Multitrack rework) (4:46)
Review: While the Reflex was the first to forge a career out of multi-track re-editing (which would have been called remixing back in the disco era, since you are rearranging using the original parts), plenty of producers have followed in his footsteps in recent times - not least popular disco and funk party-starter Smoove. Here he serves up a ninth instalment in his excellent 'Multitrack Reworks' series. On side A he does a stellar job in reinventing Depeche Mode's 'Enjoy The Silence' as a squelchy, synths-and-slap-bass sporting mid-tempo disco anthem, complete with spine-tingling vocal breakdowns. He opens side B with a stripped-back, dubbed-out take on Al Green classic 'Let's Stay Together', smartly emphasising the bittersweet beauty of the original version's orchestral accompaniment, before delivering a sweet, head-nodding take on the Emotions' 'Blind Alley'.
The Salsoul Orchestra - "Ooh I Love It (Love Break)" (Dimitri From Paris DJ Friendly Classic 12" re-edit) (5:24)
Skyy - "First Time Around" (Dimitri From Paris DJ Friendly Classic re-edit) (7:28)
The Jammers - "Be Mine Tonight" (Dimitri From Paris DJ Friendly Classic re-edit) (5:43)
Love Committee - "Just As Long As I Got You" (Dimitri From Paris DJ Friendly Classic re-edit) (6:34)
Review: Dimitri has been very generous with his edits this year, having unleashed some of his finest DJ weapons in the form of the "Brooklyn Edits" EP and this refreshed trilogy of classic Salsoul revisions. They need little introduction as we take off with the iconic harmonies and horns of "Ooh I Love It" land with the incredible soul fusion of Love Committee's oft-covered (never bettered) feels odyssey "Just As Long As I Got You". With trips to New York for silky disco with Skyy and a synth boogie freak-out from The Jammers, it's once again another reminder that no one does edits quite like the man from Paris.
The Clark Sisters - "Everything's Gonna Be Alright" (Joey Negro edit)
Sharon Johnson - "A Better Day"
Dan Greer - "Love Is The Message" (Joey Negro edit)
Ricky Womack & Christian Essence - "I Need You" (Joey Negro edit)
Shirley Caesar - "Heavenly Father"
Elbernita 'Twinkle' Clark - "Awake O Zion"
The Clark Sisters - "Overdose Of The Holy Ghost"
Kristle - "I'll Go"
The Young Delegation - "He Lives"
Rahni Harris & Family Love - "He's My Friend"
Review: Dave 'Joey Negro' Lee's Z Record imprint hit the compilation gold mine once again, calling on the curatorial skills of Dave Hill, former Ballistic Brother and founder of the iconic Nuphonic label, to flex his latter day Gospel expertise for the superb Overdose Of The Holy Ghost. This double LP collection sees Hill chart Gospel music through it's 70s and 80s period as the influences of nascent disco and boogie bore fruit. The chance to own the absolutely belting cover version of Sylvester's "I Need You" by Ricky Womack & Christian Essence in edited Joey Negro format will mean instant purchase for many current disc jockeys, but there is plenty more spiritually enlightened disco heat around it. Essential release!
The O'Jays - "This Time Baby" (A Tom Moulton mix) (9:53)
The Futures - "Party Time Man" (A Tom Moulton mix) (9:11)
Jean Carn - "My Love Don't Come Easy" (A Tom Moulton mix) (10:45)
The Jones Girls - "Nights Over Egypt" (A Tom Moulton mix) (9:13)
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: The Leo Zero Edit Archive is here, you can safely assume, to serve up edits from the vast archives of Leo Zero. The first volume is a doozy that kicks off with 'Love Affair' - a lazy and low sung funk burner with noodling bass riffs and a glorious vocal full of happiness. 'Let Me Love U' has a yearning male vocal that is as lovestruck as they come over more leggy mid tempo beats. 'Easy Does It' is defined by its superb string stabs and rolling drums and 'For A Living' closes out with a more house learning disco beat that is fat and fantastic. We can't wait for more.
Review: .Guest is a mysterious producer who delivers two stunning edits of rare and obscure tracks on this 7' vinyl. On the A-side cut 'Always Dancin' he transforms a disco gem into a groovy and funky dancefloor anthem with a catchy chorus and a smooth bassline. On the B-side, he takes a spiritual jazz tune and adds some cosmic synths and percussion on 'Krishna' to create a hypnotic and psychedelic trip. This record is a must-have for lovers of eclectic and adventurous disco music.
Review: Under the Linkwood alias, Nick Moore has released a wealth of fine material since debuting in the late 2000s - including a string of sublime albums and EPs. Last year he popped his re-edit cherry alongside The Mighty Zaf via a two-tracker paying tribute to the late, great Phil Asher. Here he takes the next step, delivering a first solo scalpel missive via the reliable and long-running Moton imprint. On side A, the Edinburgh producer attempts to 'Make It Better' via a razor-and-tape style edit of a slap-bass-sporting, synth-wielding slice of early 80s disco-boogie perfection. We have no idea of the source material, but the lightly extended track is as infectious as it is intriguing. Over on side B, 'No Easy' is a sweet, string-laden slab of mid-tempo disco-soul sweetness, while 'Brekkers' is a squelchy, up-tempo electrofunk workout tailor-made for break-dancers.
Don't You Worry Baby The Best Is Yet To Come (part 1)
Don't You Worry Baby The Best Is Yet To Come (part 2)
Review: Eight years ago, Super Weird Substance unveiled a cover of Bessie Banks' classic 'Don't You Worry Baby The Best Is Yet To Come' - a hybrid nu-disco/classic soul interpretation that was credited to The Reynolds (twin sisters according to press releases circulated at the time), but produced and mixed by Greg Wilson and regular studio buddy Peza. This timely reissue marks the first time the track has appeared on a 45. Just like many classic soul sevens, it features 'Part 1' and 'Part 2' versions, which seem to be edits of the near nine-minute 'club mix' that appeared on the original 12" release. Both are great, with the Reynolds' gorgeous vocals being joined by rubbery synth-bass, simmering synth-strings, tasteful synth-horns and unfussy, floor-friendly drums.
Is It Love You're After (Danny Krivit 12" extended edit) (7:22)
Is It Love You're After (Da Lukas 12" extended mix) (7:03)
Is It Love You're After (12" mix) (8:01)
Is It Love You're After (dub 12" mix) (6:22)
Review: The latest must-check release from Micky More and Andy Tee's Groove Culture label dials down their usual groovy disco-house vibe in favour of a more expansive orchestrated disco sound (think Salsoul Orchestra), made in cahoots with DJ Meme Orchestra and topped off with a fine lead vocal from long-serving dance music chanteuse Angela Johnson. You'll find the original mix and the duo's own dub - a more groove-based affair that makes great use of a surging horn break - on the second side, with two headline-grabbing on the first. Danny Krivit delivers a typically well executed and club-ready 're-edit', while Da Lukas offers a heavier and more percussive rework that should please house-heads and disco freaks alike.
Review: Canadian imprint Unidisc continues to celebrate its 40th birthday by delivering desirable, coloured vinyl editions of back catalogue gems featuring fresh remixes. The label's latest pick, which lands on vibrant pink wax, is Canadian chanteuse France Joli's boogie-era disco classic 'Gonna Get Over You', which originally appeared on NYC imprint Prelude in 1981. As well as the vocal, instrumental and Spanish language versions of the mid-tempo treat first featured on the original release - all of which boast killer horns, crisp guitars and pleasingly rubbery bass - this edition also boasts a more energetic revision from A-Trak and Wev. They speed it up, slam in some house beats, add TB-303 squelches aplenty and cut up selected snippets of Joli's vocal. It's a top-notch remix all told.
Review: Harold Melvin and the Blue Notes lead singer Teddy Pendergrass is one of soul music's most underrated artists if you ask us - and he has a remarkable story that rather took a tragic turn later in life and is well worth reading about. Here a couple of his golden gems get reworked by Mike Maurro for the Brookside label. First up is the gentle soul and lavish arrangement of the deep rolling 'Close The Door'. On the B-side you will find 'Only You', a more upbeat dancefloor heater with fat and plump drums and disco energy topped with Teddy's buttery vocals.
Review: All hail the mighty Cerrone, one of the most important figures in the development of a European disco sound distinct from what was happening in the US. His run of LPs in the late 70s introduced a new, synth-driven sound which spawned some monumental hits, the biggest of which undoubtedly being 'Supernature'. Now the veteran disco machine is celebrating 50 years of active service in music by revisiting his former glories with new versions of much-loved favourites. Alongside these productions, Cerrone has also invited some more contemporary players to produce remixes, including Dimitri From Paris and The Reflex.
Fall In Love In Outer Space (Turbotito rework) (5:21)
Fall In Love In Outer Space (Blank & Jones Ride A Sunbeam rework) (5:00)
Fall In Love In Outer Space (Chuggin edits rework) (4:25)
Fall In Love In Outer Space (Those Guys From Athens rework) (4:32)
Fall In Love In Outer Space (Vibes4YourSoul rework) (4:37)
Fall In Love In Outer Space (HOLDTight rework) (5:19)
Review: Prime Time Band's 'Fall In Love In Outer Space' is one of the undoubted highlights of the latest Too Slow To Disco compilation - a quirky, 1985 curiosity that blends AOR, soft rock and spacey, synth-laden disco. Here the track is dragged into the 21st century by a sextet of remixers, most of whom treat the original with due reverence. Turbitto kicks things off by adding layers of tactile electronics and echoing effects to the obscure outfit's sumptuous, soft-touch vocals and instrumentation, before Blank & Jones re-imagine it as a dreamy Balearic disco chugger. The Chuggin' Edits tweak is tactile, groovy and super-slow, while Those Guys From Athens beef up the beats and add a touch of low-slung dub disco haziness. Meanwhile, 'Vibes4YourSoul' drop a warming, Rhodes-heavy interpretation and HOLDTight deliver slo-mo disco-funk vibes aplenty.
Yam Who? & Jaegerossa - "Back Together" (feat Brian Lucas & Suki Soul)
Jaegerossa - "Richards Gear"
Danny Kane - "I Love The Way You Do" (feat Princess Freesia - OPOLOPO remix)
Review: The seventh installment of the Disco Made Me Do It series is here: showcaing some of the best disco and nu-disco edits out and about today, this one charts the contributions of Secret Soul, Yam Who?, Jaegerossa and Danny Kane, all of whom lay down slick, slithery soul beatifics in an ideal haze of purply production and belting beats.
Review: Rahaan is a Chicago legend and master of the most soulful sounds in the studio. His new EP for BBE, 'We Are The Ones,' sees him joining up with a whole host of top musicians such as Marcus J. Austin and Nancy Clayton on vocals, Carnell C. Newbill on keys, Todd Swope on guitar and Lou Terry on bass. Between them they bring real dance floor adventures that are steeped in proper musicality. Ohio Players' Kenny Anderson on the horns brings some real soul to these four-to-the-floor cuts which mix up disco and house in the finest of fashion.
Review: Sweden's mash-up maestro Beatconductor returns with six tracks of masterfully cross-pollinated bangers on this hand-stamped white label. On tap we have edits of the likes of Curtis Mayfield, Stevie Wonder, Elvis et al., indicating a worthy breadth of knowledge of both classics and non-classics - but all classily recontextualized in ways only the Beatconductor himself can manage. Set to heavyweight 12" wax on two sides, we're certain this one'll serve you well for drunken Saturday dancefloors and upmarket, warmly-lit Sundays alike.
Review: Toolroom's Fool's Paradise offshoot has done a good job in offering up fresh, disco-inspired material, but it also acts as an outlet for key crew member Michael Gray's 21st century reworks of classic disco cuts. On this 12", the long-serving Essex producer puts his slant on Inner Life's boogie-era gem 'I Like It Like That', a 1982 Salsoul single fronted by a then young Jocelyn Brown and produced by Leroy Burgess and Patrick Adams associate Stan Lucas. Gray begins with a lightly housed-up - but suitably reverential - full vocal remix, ensuring plenty of space for the studio band's squiggly synths, bold pianos and dextrous bass guitar. Arguably even better is the B-side 'Dub', which alternates between heavy groove sections, extended breakdowns and effects-laden showcases of Inner Life's piano, bass and synths.
Review: Boogie and funk don Tim Tucker hails from Northern Cali and is half of the Love Cryme duo. He has been digging in his vaults to offer up two songs for this limited new vinyl release on Trusechool and they have both been reworked by Knoe1. First up is the brilliantly blissed-out boogie and retro synth work of 'U Cant Run' complete with a sultry vocal that soon gets under the skin. 'Disco Lights' (Knoe1 rework) then keeps it deep and smoochy with jumbled disco percussion and noodling jazz chords all topped off with some superb synth work. Two real gems here, then, on a mad-limited 7".
Review: Tony B Nimble's NeighbourSoul Edits Vol.4 is a journey through soulful rhythms and energetic grooves. Opening with 'Jesus,' Nimble sets the tone with gospel-infused house beats and a captivating bassline. 'Your Love exudes soulfulness with a great vocal, while 'Afrodemo' delivers an invigorating blend of funk and tribal beats, enhanced by captivating guitar riffs. Each track showcases Nimble's focus as a producer and we find the topic unique and refreshing in the world of house music.
Review: Rahaan is one of Chicagos finest exports - he can do it all from edits to disco, dusty house to soul packed delights. He shows that again here by kicking off a new label, Gospel One, with a double 12" of cuts that all draw on gospel. The opener is a raucous and funky cut with belting vocals and noodling basslines, while elsewhere there is fleet footed groove and live sounding drums to 'Message In Our Muzik' that are topped with a superb female vocal. 'Don't You Worry' ramps up the tension with more fast and funky beats and 'He Can' gets down and dirty with some sleazy basslines and call and response vocals. A passionate package for sure.
At Midnight (Dr Packer Pianola dubstumental) (6:55)
Review: T-Connection was a late 70s funk and disco band from Nassau, Bahamas that moved to Miami. They had plenty of input into the early disco sound and have long been favourites for remixers. Which is why Dr Packer steps up here with two versions of their 'At Midnight' classic. It has some raw and guttural vocals and majestic horn leads with plenty of neat and funky basslines and loose-limbed percussive layers with hip-swinging claps. The Dr Packer Pianola dubstumental closes out with even more florid trumpets. Both of these are primed and ready for plenty of fun.
Review: Miracle Thomas and Rob Hardt bring new life to 'Sugar Free,' the 1985 hit by Juicy, just in time for the arrival of spring. The funky bassline and smooth vocal runs make this cover instantly catchy and memorable. Miracle's sultry delivery, paired with Rob's groove-heavy production, creates an irresistible blend of old-school soul with a fresh twist. The song's infectious chant and hook elevate it to a dancefloor favourite, while the chemistry between Thomas and Hardt is undeniable. This track will no doubt soar on the charts, earning its place on playlists and keeping listeners hooked for months. It's the perfect mix of nostalgia and contemporary soul.
Nothing Makes Me Feel Better (Ski Oakenfull remix) (6:30)
Keep Me In The Dark (Bluey's Uplifting Bass remix) (8:10)
Review: Incognito's 'Nothing Makes Me Feel Better' is a double-sided knockout that seamlessly blends house and soul music. Released on Splash Blue, this 7" offers two standout remixes. Side-1 features the 'Keep Me In The Dark' (Bluey Uplifting Bass remix), a house groove infused with funk, pop, and house elements. This track highlights the perfect marriage of soul and house. On Side-2, the 'Nothing Makes Me Feel Better' (Ski Oakenfull remix) ramps up the energy with disco and house vibes, expertly adding soulful touches. Both tracks exude class and showcase Incognito's ability to blend genres, making this release perfect for fans of sophisticated house and soul music.
Review: It's another touchdown for Running Back, who've here reissued the disco-rock artist Aric's 'I Love Your Love'. A beloved track that first featured on the later psychologist's 1980 single 'Oh What A Night', 'I Love Your Love' was not intended to stick out in the minds of disco fanatics as a forgotten favourite. A careful reselection job has gone into this one, then, with the initial A-sider now appearing as B-side, and three new mixes surfacing from Gerd Janson, Elado and Pete. The vibe of the new record is almost as uniquely ecstatic and summit-mounting as the producer and singer's exquisite performance was back in 1980; Elado's production is quantic enough to motorise the original's best romantic excesses, while Pete's is more of a sensuous extra slice and Janson's version takes up womp-disco with a fearless weight.
Review: Yam Who? steps up to the Riot label with a series of remixes of recent tunes from Sean Scanlan & Co. 'Down To Love Town' (feat Brian Lucas) is first up for a Starlight Disco mix that taps into old school disco bliss with glorious vocals and lavish synths and instrumentals. 'Wha' Cha Gonna Do' (feat Alexis Victoria Hall) is next up with some heart-swelling vocal delights over funky basslines and exuberant horns, then 'Get Out Of My Own' (feat Octavia Lambertis) becomes a deeper disco gem and 'Daydreaming' (feat Elysha West) is a soulful flourish to finish.
Review: 50 years have now passed since Marc Cerrone made his recording bow as part of Kongas, so to celebrate the percussionist-turned-disco pioneer has revisited some of the greatest tracks in his collection, not only recording new versions, but also handing over the parts to some similarly minded remixers. There's some modern production trickery and effects, as well as freshly recorded replacement vocals, but the key ingredients of his sound - the grandiose orchestral arrangements, driving kick-drums and sweaty percussion workouts - remain in-tact. The plentiful highlights include the glossy and uplifting 'Got To Have Lovin', the Reflex's wonderfully low-slung interpretation of 'Look For Love', Dimitri From Paris's fizzing take on 'Love in C Minor' and a sterling new version of Cerrone's most famous hit of all, 'Supernature'.
When You Touch Me (CD1: Taana Gardner - Expanded edition)
We Got To Work It Out
Just Be A Friend
Paradise Express
Work That Body
When You Touch Me (Kenton Nix extended mix)
Just Be A Friend (Kenton Nix extended mix)
Work That Body (Kenton Nix extended mix)
That's The Word (12" club version - CD2: singles & remixes)
Heartbeat (12" club version)
No Frills (Larry Levan club mix)
I'm Comin' (radio mix)
When You Touch Me (Special Disco radio version)
When You Touch Me (Special radio version)
When You Touch Me (MAW re-edit)
Work That Body (MAW re-edit)
Work That Body (Wing It For The A-man Tom Moulton edit)
Paradise Express (Gomi's Tribute vocal mix)
Review: After taking part in Kid Creole's typically eccentric Aural Exciters project, vocalist Taana Gardner joined forces with producer Kenton Nix and delivered a debut album on West End that remains one of the strongest disco full length outings of the late 1970s. This double disc set presents an expanded version of that set of CD 1 - complete with Nix's 12" extensions of key cuts 'When You Touch Me', 'Just Be a Friend' and 'Work That Body' - with CD2 collecting the vocalist's later West End singles. These include Larry Levan's legendary takes on 'Heartbeat' (a boogie-era slow-disco classic) and 'No Frills', as well as later Masters at Work takes on 'Work That Body' and 'When You Touch Me' and a surprise house-style Tom Moulton revision of 'Work That Body'. In a word: essential.ay.
State Of Independence (feat Martin Luther King - 12" Millennium mix) (6:32)
State Of Independence (Murk club mix) (8:26)
State Of Independence (Creation mix) (4:21)
State Of Independence (Jules & Skins vocal) (6:22)
Review: Donna Summer of course rose to prominence in the disco heyday of the 1970s and was rightfully credited as a driving force behind the genre's global acclaim. Bestowed with the title "Queen of Disco," she emerged as one of the decade's most accomplished recording artists, with over 130 million units sold worldwide and countless big hits to her name, not least the club anthem 'I Feel Love' with its sensuous vocals and early use of synthesised sounds. Now, for the first time on vinyl thanks to this year's Record Store Day celebrations, this new vinyl serves up eight of her most popular remixes from the years 1982, 1990, and 1996. Each one is a great reminder as to why she enjoys such a fine legacy.
Review: French label Boogie Butt gets us moving and grooving once more with a tasty new EP in the form of The Boogievison EP. It features a lead single from Ian Ash & Ella May, 'I Want To Thank You,' which pairs some jazzy chord work with a low-slung and warm house groove. The bass is funky and the vocals are seductive. It comes as an instrumental as well as a more direct and harder-edged Mr Doris & D-Funk remix. On the flip is Jessie Wagner & Fostin meet Ian Ash with 'Try Again,' a lovely soulful house groove with sublime and emotive vocals over another lush bass guitar. All very sweet tunes, these.
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