My Mind's Made Up (feat Berenice) - (5:29) 119 BPM
Shiiiit - (4:27) 120 BPM
Kraak & Smaak seem to be mellowing with age. While they were once renowned for delivered blistering, funk-fuelled breakbeat jams and sweaty warehouse tracks, recent excursions have seen them doffing a cap to soul, boogie and disco. "My Mind's Made Up" is a slick, synth-heavy boogie jam, with Brenice's classic-sounding vocal riding a wave of boogie bass, Rhodes chords, clipped guitars and bubbling electronic melodies. They pay tribute to their own past with virtual flipside "Shiiit", a hustlin' disco-funk workout built around wild organ lines, rubbery electric bass and rolling house drums.
Ray Williams - "Cosmopolitan London" - (4:59) 108 BPM
Oluko Imo - "Praise Jah" - (3:36) 113 BPM
Musicism - "Bermuda Triangle" - (3:14) 105 BPM
Paul Hurlock - "My African Religion" - (3:40) 127 BPM
Barry Bryson - "Going To The Party" - (4:15) 118 BPM
Eddie & The Movement - "Macho Man" - (5:00) 122 BPM
Teddy Davis - "Let Me Love You" - (4:27) 126 BPM
When Favorite Recordings decide to do a crate-digging compilation, they rarely get it wrong. Following recent Disco Boogie Sounds selections focusing on Brazilian and French fare, they've recruited dusty-fingered DJ Waxist to put together a Caribbean-themed edition. Predictably, he's picked some suitably obscure disco, boogie and disco-funk killers. Highlights come thick and fast, from the winding synthesizer lines, swinging disco-funk grooves and intergalactic sound effects of Musicism's "Bermuda Triangle", to the Clavinet-laden shuffle of Eddie & The Movement's "Macho Man", and the hard-wired reggae-boogie business of Barry Bryson's "Going To The Party".
The fourth release on Bristol's popular Boogie Cafe imprint comes from Laura Ingalls, a fast-rising producer who confusingly also happens to be a man. The Shanghai-based Frenchman kicks things off with "Party Down", a killer rework of the George Duke tune of the same name, that makes great use of the original's rolling piano and tight, bass-heavy groove. There are a few neat production tracks to keep things moving, but for the most part it's a pleasingly reverential revision. Next, he turns his attention to a classic slab of Roy Ayers, turning "Hey Uh - What You Say, Come On" into a sweaty disco-funk treat full of extended percussion breaks and mind-altering instrument solos.