Review: Much has changed for Eli Escobar in the three years that have passed since this edits EP first appeared on wax. In that time, he's released umpteen albums of original music and found himself an in-demand DJ and remixer. Naturally, the four edits showcased on this Razor 'N' Tape outing have undoubtedly stood the test of time. Check first killer opener "Bullfight of Love", a percussive and occasionally foreboding revision of a Chaz Jankel classic jam rich in elastic slap-bass, punchy horns and eyes-closed guitar solos, before turning your attention to the bongo breaks, dub effects and heavy disco-funk bottom end of "Everybody". Elsewhere, "The Music" is a Clavinet-sporting disco-funk bounce-along and "Seven Eleven" is a breezier chunk of glassy-eyed disco sleaze.
Set My Heart On Fire (Eli Escobar remix) - (6:22) 123 BPM
All Night Long (feat Amy Douglas - Set My Heart On Fire part 2) - (5:52) 126 BPM
Makes Me Feel - (5:41) 124 BPM
Review: Tragic scenes have just been averted at Plant HQ as Eli Escobar responds creatively to a passionate fan's request to set her heart on fire. Knowing murder is never the solution, Eli has instead made a jolly funky house track that tips a nod a disco and the mainroom mid-90s prog vibes of acts like Blue Pearl. For added security, he's also made a heavier remix. Needless to say the passionate fan has seen sense and no longer wishes to be set ablaze. PLUS we now have two renditions of an unmissable piece of timeless house music. With the crisis averted, Eli celebrates with two other golden grooves - "All Night Long" and "Makes Me Feel" - both of which tingle with slippery disco distinction.
Review: As Eli Escobar let's it be known in "The Formula" that he's 'got something for you' as the sweet chorale chimes. There's a subtle Osunlade vibe to this album, the American's first, and Rhodes be flaying on "Visions" as they vamp to a climax like a Bootsy Collins solo. It's all stripped back business of "NY So Hi" - get down to this! And for some quality, sustained loops check out "Thank You Les". "Up All Night" is a dubbed-out, cool-as, disco-tinged burner and there's a whole load to discover here in a debut album rich with the type of soul you can only get from the streets of the big apple.
Review: Some two years on from the album's original release, Night People serve up a fresh set of remixes of cuts from Eli Escobar's debut set, Up All Night. There's much to admire, with hyped disco/house fusionists Purple Disco Machine, in particular, impressing with their version of "Visions". A rolling deep house/disco fusion full of springy live bass, crispy beats and jammed-out organ riffs, it's just the thing to keep the party going when dancers are flagging. Escobar's own tweak of "Tension" - featuring vocal samples from a mid '80s Boyd Jarvis and Timmy Regisford production - is a late night, Italo throbber, while Whatever/Whatever join the dots between a myriad of classic NYC dance music styles on their acid-flecked, early morning rub of "NY So Hi".
Review: Keeping it simple is the name of the game on this latest from New York house wunderkind Escobar. It's a single-track affair, for starters - so none of those pesky remixes to worry about - while the track itself is a looping affair centred around a female "the rhythm, addicted to the rhythm" vocal that plays almost constantly, underpinned by a nagging synth riff that nods to classic-style Detroit techno. Various other vocal snips and ever-shifting drum patterns help to maintain the interest, but this is nevertheless an eyes-down, locked-in-the-groove kinda cut built to keep warmed-up floors moving through those peaktime hours.
Review: Here's something to set the pulse racing: a brand new album from sometime Classic Music Co contributor Eli Escobar, a producer who has proved to be one of the most distinctive and consistent in house music over the last few years. "Last Summer" contains a mixture of short interludes and inspired, almost uniformly dancefloor-friendly workouts that bring together a range of complimentary influences. Our picks include the atmospheric and acid-fired deep house warmth of "Flashing Lights", the muscular peak-time Moroder-isms of "(All Night) Rhythm", the melodious, sun-kissed Balearic house brilliance of "Blu" and the woozy warmth of "Last Night".