Foot & Mouth At Juno Download

Review: The confusingly named B&B (it's a lone producer, not a combo) takes a break from making tasty house for Crosstown Rebels and Hot Creations to deliver some sneaky bootleg cuts. The loose theme is R&B and hip-hop, with rap samples making an appearance on each of the four cuts. The title track turns Donnie Hathaway's conscious soul classic "Little Ghetto Boy" into a slo-mo soul burner, while "Nuthin But A G-String" and "Rock Me Like It's Hot" impressively fusse bottom-end bounce, house and hip-hop. EP closer "It Was All A Dream" is decidedly deeper, but still rocks to low-slung basslines and cut-up rap hits. Odd but very, very good.

Review: Any DJ out there worth their salt will be well aware just how many dancefloor weapons are the back catalogue of a certain little fella from Minneapolis, which more than forgives his less than purple patch of releases over the past few years. As well as his undeniably funky original material, there's always been a steady stream of producers out there willing to drop some killer edits - a recent Crackboy edit of a track from Tim Burton's Batman springs to mind. To this ever blossoming canon we can add the always on point Foot & Mouth imprint who enlist the amusingly and presumably anonymously named Chapsy, Mange Tout and Purple Mark to tackle their favourites with the revisions of "Pimp & Dance" and "All The Critics Love You In New York" both excellent.

Review: The Disco Plumber - which happens to be just one of many pseudonyms for a well known British producer - offers up two superlative edits on the Foot & Mouth imprint, a fledgling label that has impressed us hugely since an EP crammed with raw house jams from S.A.S dropped last year (most memorably "Straight Off The Bone"). There are two more big cuts here, but it's the raw sleazy house of "I Can't Help Myself" that has the Juno office in raptures. A well known vocal hook, delicious chord stabs, vintage raw drum programming and synth strings whip things up into a suitably hedonistic froth. Up next is "Fantastic Plastic", which utilises a more sultry vocal snippet and the occasional carnal cry which work in unmistakable harmony with a funked up b-line and yet more delightful synth work. Prime time business from one of the best.

Review: Fresh from a sneaky 12" on Cabin Fever, Johnny Rock dons his Oldschool Rider moniker for a bonkers-but-brilliant trio of surprising re-edits. The real killer here is "Lefty Hangover", a delightful re-cut of The Associates' oddball 1982 new wave cover of the Diana Ross disco classic. Slowed down by several BPM and stretched out to 10 constantly building minutes, it's brilliantly thought-out and executed. And it will slay dancefloors. There's more tongue-in-cheek brilliance on the flip, where little-known European electro-disco gem "Casbah Boogie" (originally out in 1983) gets teased and tweaked. Closing track "Living In Another Edit", meanwhile, is a baggy-as-you-like Balearo-disco nugget for the "I'm on one matey" generation. Well worth a listen.

Review: The first release from Matt Tolfrey's new imprint Foot and Mouth is a mark of the recent trend towards revisiting and re-editing late 80s & early 90s house music in light of the increasing ubiquity of nu disco edits in the last 12 months. Birmingham based producers SAS aka Subb-an & Adam Shelton from Below take the controls splicing up and adding some extra jack to two late 80s undergrounds hits with exceptional results. Half the fun of re-edits is working out the source material so we are not going to do the hard work for you! The vocal versions of "In the Candy Store" and "Straight Off the Bone" stay pretty true to originals once the grooves kick in but it's the dub versions where SAS excel, adding some real meat to the basslines - the mid section of the "Bone" dub will kill dancefloors.

Review: The mysterious Foot & Mouth imprint is usually good for some party-friendly re-edit, bootleg and mash-up action. While some recent releases have trodden a distinctly Balearic path, this two-tracker from equally mysterious Sick Sense goes straight for the dancefloor jugular. "Werk That Body" works some magic with "Pump Up The Jam", fixing new (borrowed) vocals and swishy effects to the original 1989 groove. It's not all that subtle, but it works really well - the sign of a killer booty. "Party Freak", meanwhile, offers some Rob Mello style jackin' skippiness, cut-up female vocals and an awesome bassline. Like the A, it's a bomb.