Wanna Move My Body (vocal radio edit) - (3:16) 120 BPM
Wanna Move My Body (dub) - (4:59) 120 BPM
Wanna Move My Body (instrumental) - (6:11) 120 BPM
Wanna Move My Body (3 A.M. instrumental) - (4:35) 120 BPM
Review: After a couple of recent releases ('Evolution' and 'B-Movie') that mined Gil Scott-Heron for some piquant socio-political commentary, this latest single release finds Fabiolous Barker back in a more party-hearty kinda mood. Topping a loop from Michael Jackson's 'Don't Stop Till You Get Enough' with not one but two sampled female vocals - one from Costa Mee's 'Around The World', the other unidentified - 'Wanna Move My Body' was first released back in May in simple Vocal and stripped-back 3am Mood mixes; these four new rubs are essentially just variations on those two themes, but should extend the cut's dancefloor longevity. Hell, it's such an irresistible groove, we wouldn't even rule out crossover commercial success.
Review: Re-edit king Fabiolous Barker turns his attention to a Gil Scott-Heron classic, though you'd probably guessed that already! A dancefloor cert thanks to that much-sampled intro ("Now the first thing I wanna say is, mandate my ass"), the Mandate My Mix is a very light-touch and respectful rework, and as such is mostly notable for how relevant the early 80s lyric is to America's current political climate. The Mandate My Dub, meanwhile, strips out most of that vocal and lets Robert Gordon's sleaze-tastic slap bassline shine through in all its glory. The original's still very playable, but these new rubs offer a viable alternative.
Review: A track here that's both highly topical, and potentially controversial. Topical because the spoken vocal is lifted from the Gil Scott-Heron track of the same name, a hard-hitting rant about the USA's slow progress towards true racial equality that holds as true in 2020 as it did when first released a full 50 years ago; potentially controversial, because said vocal makes extensive use of the N-word. So if in doubt, you might wanna head for the accompanying instrumental, wherein the languid disco-funk backdrop really shines through with its echoing guitar chops, exuberant trumpet parps and ponderous, unhurried walking bassline.
Review: Fabiolous Barker has been on fire this year. Predictably his tenth solo single of 2020 is similarly strong, and in our opinion his best release to date. It comprises two rock-solid versions of "I Had A Dream", an ear-catching chunk of Balearic house-meets-dub disco pleasantness full of ear-catching elements. As the title suggests, the vocal version makes extensive use of Martin Luther King Jr's legendary "I have a dream" speech. While that adds an inspiring, ear-catching focal point, it's the quality of the warm and groovy music below - think low-slung bass guitar, sun-bright bogie synth sounds, clipped guitars, hazy trumpet solos and clipped guitar riffs - that males the cut so essential. For proof, check out the equally as essential accompanying instrumental mix.
Review: Since the start of 2020, Argentinian disco dude Fabiolous Barker has released no less than six singles on Ganbatte, all of which have been rather good. Predictably, EP number seven, a tight two-track affair, is also rock solid. Barker hits the ground running with "2Much", a vibrant, all-action edit of a superb disco-funk number that was once reworked by the Unabombers for their "Elecrtic Souls" series of 12" singles. It's a rubbery affair, where female lead vocals, Chic-style guitars and punchy horns rise above a slap-bass-propelled disco groove. Just as impressive is "Get A Life (Slow Instrumental)", which despite not actually being that slow is wonderfully laidback, loved-up, string-laden and piano heavy. It's a sun-kissed slice of musical bliss.
Review: Argentinian disco stu Fabiolous Barker is back with his new one for Ganbatte Records - a label born in the heart of London, dedicated to nu-disco, re-edits, funk, disco and house. Entitled "Coco Loco", there's definitely a familiar hook from a classic on this one, but we can ascertain that this very low slung, so funky and absolutely infectious. Next up is the late night sensuality of "Give Me That Beat" (instrumental) on which you can catch a glorious midnight sunset, occasionally illuminated by those odd flourishes on bright neon love. Following up some great material recently on Masterworks Music, Katakana Edits and Nang - this guy's on a roll!
Review: If you like to throw the odd curveball in your sets, then reach for this! Because for the first two minutes of its life, 'Wanna Move My Body' fools you into thinking it's a simple re-edit of MJ classic 'Don't Stop Till You Get Enough' - until in comes the sultry vocal from Costa Mee's 'Around The World', which is soon joined by a second, unidentified female "We came here to party/there ain't no stopping us" loop. With Vocal and more stripped-back 3am Mood mixes to choose from, it may be "just a mash-up" but it's superbly executed and all really rather lovely.
Review: The prolific Fabiolous Barker gets his eager little re-edit mitts on a further 16 vintage cuts as he serves up the 99th EP in the long-running 'Katakana Edits' series. Among the tracks getting the treatment this time around are Prince & The New Power Generation's 'Push', Chris Rea's 'Josephine', The Michael Zager Band's 'Let's All Chant' and Perucho Conde's 'La Cotorra', an evergreen Latin funk nugget from 1980 that was penned as a Venezuelan "answer" to Sugarhill Gang's 'Rapper's Delight'. Some fairly obvious choices there, but the rest of the EP draws on more obscure disco/funk/boogie sources, so dive on in and enjoy!
Review: Phat bass and disco walking all the way down the line in Henderson's Groove courtesy of everyone's favourite Argentianin in London, Fabiolous Barker! Notching up this two-track burner for your next clandestine weekender with the fam, Barker slips the slightest of comedic touches to the percussion and vocal edits of "Spanish Delight" while all the hallmarks of disco are given a fiesta vibe in this EP's title track. Get your funk on.
Review: The Fabiolous Barker boy is back on Ganbatte, the label on which he's released many of his most potent productions. This time he's on a mid-tempo tip, delivering three tracks that bob along at a groovy 113 BPM. First up is the vocal mix of "Wrap It Up", a lightly touched-up, rolling revision of the Touche track of the same name with a wise emphasis on the track's killer bassline, squidgy electrofunk synths and chiming melodies. He delivers an "Instrumental Dub" revision too, which naturally strips out the vocal chants and instead makes more of the track's killer grooves. To round off the EP he adds his touch to a dusty old chunk of P-funk rich in fast-fingered bass guitar, strobe-lit synths and "work that sucker to death" vocal snippets.
Review: 'Alone' Part 1, released just a month ago, centred around the Hall Mix, which lifted the bassline from Hall & Oates classic 'I Can't Go For That'. So we won't insult your intelligence by explaining which 80s pop survivors Part 2's Pet Shop Mix pays tribute to in similar fashion! What we will tell you is that, as per Part 1, there's an accompanying vocal-free pass for the more underground floors, while bonus cut 'Midnight Cocktail also returns, here remixed by Limpodisco in a wonkier nu-disco style compared to the boogie nouveau vibes of Part 1's original mix.
Review: Fabiolous Barker's latest opens with a bassline that's reminiscent of Hall & Oates classic 'I Can't Go For That', then drops some lovely garage-y organs and a mellow piano line. The female vocal, when it arrives, errs towards the pop side of things and won't suit everyone, but don't worry because there's an accompanying instrumental, essentially giving you one mix for the commercial floors and one for everywhere else. Completing the package is 'Midnight Cocktail', a funked-up contemporary boogie jam that's underpinned by a breakbeat rhythm and that sports wukka-wukking guitars, lively horns and some subtle, wigged-out Rhodes work.
Review: As the matter-or-fact title makes clear, Fabiolous Barker's latest EP for Ganbatte offers up a quartet of cuts that have previously only been available to his nearest and dearest. As you'd expect, there's plenty to set the pulse racing, from the piano-driven, turn-of-the-90s Euro-house rush of "Let Me Be (Promo Instrumental)" to the pitched-down Balearic nu-disco warmth of "Sorry (Uni Instrumental)" - all whistling synthesizer motifs, Pet Shop Boys melodies and Johnny Marr style guitar - via the driving, fretless bass-propelled cheeriness of "Dancefloor (Unpaid Instrumental)". The track sandwiched in between, the "Radio Instrumental Edit" of glassy-eyed 80s synth-pop number "Dance Dance Dance", is also rather good.
In The Beginning (Percapella dub) - (3:28) 122 BPM
Funk Off It All 2019 - (5:21) 115 BPM
Review: In the beginning, as we all know, there was Jack. Yes, it's another run-out here for Chuck Roberts' famous acapella from 1987, with 'In The Beginning' served up in four mixes which, being titled Disco Mix, House Mix, Instrumental Mix and Percapella Dub, are by and large fairly self-explanatory! It's the Disco Mix that stands out, though, with its 'Funky Town'-like bassline, Rodgers-esque guitars and happy hands-in-the-air Italo-house pianos, while oddly titled bonus cut 'Funk Off It All 2019' recalls the punk-funk likes of A Certain Ratio, ESQ or Liquid Liquid at their intense, claustrophobic best.
Review: Less than a week after he dropped the second volume in his continuing "Burning Bridges" series, Fabiolous Barker delivers a two-track missive that's every bit as alluring and equally as essential. Lead cut "Love Talkin' (Honey It's You)" is as loved-up and wide-eyed as the title suggests, with sweet non English-language vocals rising above a sumptuous mid-tempo disco groove rich in heady piano riffs, rubbery slap-bass, glistening synthesizer refrains and ear-catching guitar riffs. The London-based Argentine flips the script a little on "Bomber", taking his scalpel to what appears to be a Japanese disco-funk workout heavy on crunchy guitar licks, disco bass and tidy drums.
Review: Fresh from causing a commotion on nu-disco dancefloors with his suitably heavy "Grip My Hips" single, Fabiolous Barker offers up a belated sequel to his 2017 EP "Burning Bridges". This time round, he's in full-on funky re-edit mode, serving up reworks of a trio of little-known cuts. Opener "Get Down" is a rubbery, bass guitar dominated slab of synth-laden disco-boogie business rich in quirky female vocals and spacey chords, while "Camenergy" is a sax-laden stroll through chunky disco-funk territory in the company of a restless drummer and wired lead guitarist. Arguably best of all though is "Jam It", a multi-coloured P-funk romp tailor made for writhing dancefloors and suitably celebratory house parties.
Review: London-based Argentinian producer FabioLous Barker only released his first record five years ago, but he's been in the DJ game since the late 80s - which probably explains the undoubted floor-friendliness of the track presented in two mixes here! Barker's Original is a very solid nu-disco chugger comprising a walking, quite Euro-sounding bassline, guitars that go chika-chika-chik, and two vocals: one a male rap in a hip-house style, the other chant-like and female-sounding (though as it's clearly been through the FX mill, it could actually be the same singer). Copenhagen's own nu-disco king Ziggy Phunk then supplies a 2AM Remix that'll cross over more readily to house floors.
Review: Curiously, we'll have to wait a while to hear the original version of Fabiolous Barker's latest release, "Grip My Hips", as it's not scheduled to appear in stores until late September 2019. Instead, the London-based Argentine producer has decided to serve up a remix package first. He kicks things off with a throbbing "Dub" mix that sees flash-fried, rush-inducing vocal samples and Nile Rodgers style disco guitar riffs rise above a masculine groove reminiscent of Lipps Inc classic "Funky Town". Fray Bentos takes over and offers up a fine disco-acid take full of psychedelic TB-303 lines, before RobJamWeb delivers a deeper, Italo-disco style take that's deliciously warm and woozy. Arguably best of all though is the mind-altering disco-tech stomp of Disco Funk Spinner's all-action "Club Mix".
Review: Known for his work on Midnight Riot, Sound Exhibitions and Disco Fruit, among other labels, here London-based Argentinian producer Fabiolous Barker comes to the Katakana stable with three very fine re-edits. 'Only Fools Fall In Love' is a midtempo groover with female vocal harmonies, subtle guitar chops and an overall early 80s boogie vibe, 'Sending My Love' centres around a full-phat funk bassline and the Cameo-esque male "sending my love from me to you" vocal, while finally 'Weakness' has a male scatted vocal and tinkling keys. The source material has our disco detectives beat this time out, but all three are eminently spinnable.
Review: To our mind, Fabiolous Barker is one of the most dependable re-editors around. For proof, check his previous releases for the likes of Midnight Riot, Alpaca Edits and Disco Fruit, and of course his latest outing on regular home Katakana Edits. "Let's All Chant (Everybody Move The Body Mix)" sees him making merry with a bold, sing-along disco workout rich in electronic bass, Chic style guitars, energy-packed handclaps and rolling beats. It sounds like a peak-time anthem in the making. On the virtual reverse you'll find the "Nobody Move The Mix" version), which strips out a lot of the vocals, offers a stripped-back and heavy build-up, and surprisingly showcases a clarinet solo. It works well, of course, though it's not quite as spine tingling as the other mix.
Review: Three very serviceable re-edits here from the ever-prolific Katakana stable. It's a brave man or woman who thinks they can improve on a Prince track, but 'Push It!' makes a surprisingly good fist of 'Push' all the same, beefing up the beats 'n' bass for the house/disco floors while keeping the original's Sugarhill-like funk intact. Not sure where 'La Cotorra' is sourced from but its disco bassline, energetic hand percussion and frantic, almost angry-sounding Spanish-language vocal will rock floors without doubt, while 'I'll Send You All My Love' closes out the EP on a Balearic note, looping up Chris Rea's 'Josephine' to hypnotic effect.
Review: Argentine scalpel fiend Fabiolous Barker is rightly regarded as one of the best re-editors in the game, an opinion more than validated by this first EP for Tonbe's Disco Fruit stable. He does a terrific job in building excitement on the sweaty, horn-heavy disco slammer "Back On Love", before dipping the tempo and subtly rolling out the grooves on the boogie era disco-funk shuffle of "Delicious". Speaking of boogie, he expertly stretches out a Jheri curl-sporting 80s soul/synth disco classic on "Don't Turn Around", before making merry with all manner of synth and electric pianos on the rubbery, instrumental disco-funk flex of "Get Down".
Review: A DJ since the '80s, Argentinian by way of London Fabiolous Barker has appeared previously on Midnight Riot, Masterworks and Funkfusion and presents us with some quality disco edits. "Sticky Party (ReVamp 2016)" is a funky excursion to soul heaven that you'll never forget, while it's back to the disco on "The Boogie" which reworks Uncle Louie's "Full-Tilt Boogie" from 1979. "Into The Disco Scene" is the kind of recycled disco loops that Thomas Bangalter would be proud of while "The Crown" mashes up a few disco nuggets actually, but absolutely to perfection; try and guess which ones... but don't forget to dance!
Review: Another one-tracker from disco-edit Londoner Fabiolous Barker. "The City" is a celebratory trek through the mind of someone like Rick James - all twangy, skintight lurex basslines, snappy snares and golden choruses. Totally dope.
Review: Argentinian-in-London seems to be building up something of a head of steam this year, delivering a swathe of fine releases on the likes of Sound Exhibitions, Masterworks Music, Hotbox Music and Midnight Riot. Here he returns to the latter with more tried-and-tested blends of disco re-edits and groovy house rhythms. His default mode - as expertly outlined on the soaring sweetness of "The Real Thing" and "Liquid Gold" - is effortless party starting, offering exactly the right balance between 21st century house swing and cheery disco authenticity. The EP also boasts a couple of reworks-of-edits, most notably from Midnight Riot boss Yam Who. His chunky, loopy version of "Music" is an undoubted EP highlight.
Review: Having recently delivered cheery, DJ-friendly edits and reworks for Midnight Riot, Masterworks Music, Argentinian-in-London Fabiolous Barker offers up more glassy-eyed fare on Hotbox Boogie. There's much to admire throughout the five tracks, which - like many edits these days - expertly blend scalpel style rearrangement with compressed, 'straightened out' house grooves. Highlights include the addictive, honky tonk piano solos and disco-funk chunkiness of "Hooked", the thrillingly over-to-the-top "Try Me" (a version of a lesser-known cover of Gino Soccio's "Dancer"), and "You Stepped Into My Mix", a loved-up, house-friendly revision of a disco-era Bee Gees cut later made famous by Melba Moore.
Review: Having been a DJ since the 1980s - first in his native Argentina, and now in London - Fabiolous Barker knows how to work a dancefloor. That knowledge came to the fore on his debut release for Funkfusion last year. Here, he transfers to '80s Child's Masterworks Music imprint and delivers a sextet of impressive re-edits. He kicks things off with the boogie-era disco bounce of "Back On Love", before slowing things down with the shuffling, P-funk style chug of "Sticky Party". There's a dash of piano-laden disco funk ("Funktime"), a tasty Whodini rework (the electro synths and rubbery bass of "Houdini"), and a tasteful Taana Gardner rework ("Heartbeat"). Oh, and a slice of harmonica-laden rare groove soulfulness ("Manhattan").
Review: High-grade schmokin' disco is on the menu here on the latest Katakana Edits installment, courtesy of Fabiolous Barker and Amir Perry. The former flexes his re-edit muscle over three beguiling tracks: the frisky funk fizz of the housey "Sing", the sultry low-slung "NightGrooving" and the punchy Flash & The Pan 80s rework "Why D'Ya Run Away". Perry mans the decks for the final tunes - the diva-funk strutter "Watch The Dub" which comes in both standard and extended versions.
Review: Fabiolous Barker's London-based Ganbatte bring us a second collection of Kraftwerk re-edits/remixes/reworkings, following on the heels of 'Pt 1' a few weeks ago. What we said then still applies: there'll be plenty of Kraftwerk lovers who'll tut, shake their heads and mutter darkly that this should never have happened, but those involved have all made a decent fist of things, so they'll just have to live with it! Barker's 'Computerized Love' is the more radical of two reworks of 'Computer Love' but the standout to our ears is Dim Zach's 'The Super Model', although that's possibly because it's not really that different from the original...
Review: Here's an EP that might ruffle a few feathers... the four tracks are all re-edits of classic Kraftwerk cuts, and there'll no doubt be many purists out there who'd say that was a job that didn't really need doing, but generally speaking the four producers concerned have done a pretty good job. Dim Zach's 'The Super Model (Dub)' nudges ahead of the pack, while Gatto's progressive house-leaning 'Computer Love (Vocal Mix)' is probably the most radical in approach. But the other two reworks from Fabiolous Barker and Don Dayglow are also perfectly serviceable, so if you dig Florian, Ralf and co and can get past the "sacred cows" thing, check it out.
Review: Ganbatte's latest affair may be all-star affair, but Fabiolous Barker rightly takes top billing thanks to delivering two takes on his latest track, "The Expert". He opens the EP with a hybrid electro/disco flavoured "Old Skool Re-Master" full of whispered vocals, crunchy guitars, throbbing synth-bass and tight horn blasts, before returning at the end with a "Funka-Masta-House" version that underpins the music with a head-nodding house style beat. In between you'll find the bouncy, Hi-NRG era Latin disco-house insanity of Dim Zach's "La Habernaro", the dreamy harmony vocals and ear-pleasing nu-disco grooves of Carlos Gatto's "Call It Love" and the alien funk masterclass that is Don Dayglow's "Gotta Say Yes", a suitably throbbing revision of an old Yello favourite.
Review: There's a reason that Midnight Riot's eponymous compilations frequently charge to the top of the Juno Download charts. Put simply, they never disappoint. This ninth installment sticks to the now tried-and-tested formula - house-friendly re-edits and originals from across the disco, boogie, soul and funk spectrum - but predictably hits the spot throughout. As usual, there's a bonus mix - this time put together by globe-trotting scalpel jockey Rayko - and tracks come from both label regulars ('80s Child, Ziggy Phunk, Chewy Funk) and an impressive array of new or unheralded talents. It's in the latter category that you'll find some of the most impressive fare - see Phil Jaimes deliciously Balearic "Nowhere To Hide" and Cosmocomics' kaleidoscopic synth-funk jam "Mary Jane" - though the standard remains pleasingly high throughout.
Review: Katakana Edits first compilation, 2017's "Crate Diggin", was an epic collection of high-grade re-edits, mash-ups and reworks packed to the rafters with tried-and-tested dancefloor treats. This belated follow-up is even more epic, with the popular label squeezing in no less than 50 tracks that variously touch on riotous disco-funk, dub disco, new wave, disco-rock, deep funk, Afro-boogie, swamp funk, Latin beats, boogie, pitched-down chuggers, boogaloo, hip-hop and everything in between. You'd expect that standard to be high - it is a "best of" collection after all - and it is. If you need an instant armoury of scintillating club cuts, look no further.
Review: You're only five years old once, so why not celebrate in style? And here Warrington lad Danny Worrall's disco and re-edits label Masterworks Music do just that, with an anniversary collection packing a whopping 50 back catalogue nuggets. You'll excuse us the full track-by-track, then, but suffice to say that this is the label that helped launch the careers of Dr Packer and Natasha Kitty Katt, both of whom feature here, and with names like Ziggy Phunk, Rayko, Alkalino, Chuggin' Edits and Fabiolous Barker also on bill, you should already have a pretty good idea what to expect. Classy stuff all round, and a great VFM package - here's to five more years!
Review: This decidedly epic collection marks Katakana Edits's first foray into the compilation market and is designed as a "best-of" style outing. It boasts 30 reworks, mash-ups, remixes and re-edits gleamed from the prolific imprint's first 50 singles. Naturally, club-ready material comes thick and fast, with a multitude of genres - think swamp funk, disco, dub disco, electrofunk, Italo-disco, hip-hop, reggae and dancehall - and wide variety of tempos represented. Naturally, some of the reworks tend towards the well known, though there are also plenty of rubs of lesser-known gems for those who want to dig deeper than familiar peak-time anthems. Most importantly, the standard remains impressively high throughout.
Review: Thunder Jam's latest release is something of a sprawling epic; a 23-track "Invasion" featuring some of the hottest names in the re-edit and nu-disco scenes, alongside contributions from lesser-known talents. There's much to admire throughout, from the low-slung boogie bass and cut glass disco strings of Phil Da Burn's "Wallflower" and the spacey synth-funk of Funk Bank's wiggly "Jamming With The Thunder", to the bouncy disco/New Jersey garage fusion of BOI's "The Gift" and the straightened-out sunshine soul of Dee Bunk's "Little Brown Eye Girl". Throw in solid contributions from Don Dayglo, Belabouche, C Da Afro and Andy Buchan, and you've got a pleasingly varied set of floor-friendly excursions.
Review: Reliable jams from a reliable bunch on this reliable compilation from the reliable Deep Sense. Mr Absolutt opens with the P-funky, cosmic number "The Road Club" - perfect for cruising - while Alex Harrington goes a little techier, white noise build up filter house in "Tanlines". FabioLous Barker takes huge inspirations from Ray Parker Jr in his poppy hit "Girls Are More Fun" while Latin guitars are introduced into Situations' "Flying With Wings". Sould Out slows things down in "Feelin' Moody" leaving Delicious to liven things up with a MJ number in "Let's Get Back". Quality productions abound!
Review: In the hustle and bustle of the disco edit scene, the Disco Fruit crew are committed to keeping the spirit of classic '70s sounds alive. The modern elements are pushed to the back as JB Dizzy gets raunchy with the guitar licks, horn sections and some divine vocoder action on "Midnight Power". Mike Woods meanwhile knows just how to treat "Do You Like The Way That It Feels?" by Tempest Trio, keeping the soul of the original party burner alive while beefing up the drums just a touch. Across this 10-track collection the quality remains unflappable in its channeling of true disco principles.
Review: If life teaches you anything it's to expect the unexpected. Here the mighty re-edit label Katakana deliver their 42nd instalment of scapel jobs. However, this time, rather than have a specific producer curate an EP, they've shaken up the formula and delivered a compilation of edits. There's a whopping 24 reworks to enjoy too, many thrills and spills, but our favourites include Morlack's explosive drum-lead MJ cover, "Don't Stop", Mister Vagz' corny 60s mash-up "Love Me Venus" and Dim Zach & Deem's baggy rework of the Happy Monday's sublime "Loose Fit".
Review: Ever wondered what, when the western world was amok with disco in all its forms, was going down over in Japan? Well, Yam Who? and his Midnight Riot cohorts are here to educate you. There are 15 newly revived 'Japanese disco and boogie gems' here, all slightly beefed up and tweaked for the dancefloor's benefit. Highlights include the raw guitar licks and slap bass of "You're So Fine" by Chewy Rubs, the tight electro-boogie of "Robot Cafe" by Jessie Funk and the saucy space-grind of "Big In Japan" by Judge Funk.