Review: From his turns on Good Stuff and Disco Volante through to the stellar work carried out on his own Golden Soul label, Spanish mastermind James Rod is no stranger to sexy, refined twists on classic disco tropes. This collection brings together enough essential jams to keep a dancefloor burning until the early light, running timeless tropes through a modern filter for a pristine vision of contemporary disco house. There's plenty of Moog-laden boogie business to devour on "Call Heart (Epic Love Rework)" while "Chance To Dance Rework" amps up the cosmic qualities, and there's another nine such gems to fill your boots with on top.
Review: Over the last couple of years, Spanish producer James Rod has worked his way to the top of the nu-disco scene via a string of fine releases for Hot Digits, Audaz, Good Stuff and his own Golden Soul label. Night Class marks his first appearance on Midnight Riot, and predictably he's pulled out all the stops. The eight-track set effortlessly blurs the boundaries between house-friendly reworks and traditional re-edits, along the way serving up a string of dancefloor-ready bombs. Highlights include - but are not limited to - the electrofunk/disco hybrid "Kissing You", the synth-bass-heavy shuffle of "Ozila Boogie", the stuttering, edit-heavy freestyle flex of "Crushed", and the slammin', anthem-like brilliance of closer "Never Giving In".
Review: Spanish nu-disco don James Rodriguez is in fine form on their first appearance for 80's Child's Masterworks Music stable. There's something particularly alluring about opener "Stay Mine", a sumptuous fusion of head-nodding disco and tactile boogie full of sweeping strings, sensual female vocal hooks and a killer groove. He doffs a cap towards boogie-inspired loop-house maestros Tiger & Woods on the superb "Tone of Love" and "Unlimited". The Madrid-based producer arguably saves the best till last with "Win You Back", a nine-minute boogie epic that sits somewhere between the languid shuffle of the EP's opening track and the loop jams showcased elsewhere.
Review: There's a Spaniard in the works at Midnight Riot, as James "Rod" Rodriguez makes his first appearance on Yam Who's erstwhile imprint for almost two years. The Rare Wiri regular naturally hits the ground running with "Joe Joe", where razor sharp disco string samples seemingly leap above a metronomic, analogue-ruch, arpeggio-driven groove, before brilliantly rearranging and reworking a jazz guitar-laden slab of '80s soul bliss ("Sweet Jones"). He steps further towards mid-tempo disco-house territory on the metronomic P-funk revision "You Want Love", while title track "Hot Flash" is a riotous fusion of crunchy Clavinet lines, alien synths and fizzing horn riffs underpinned by another seriously heavy groove.
Review: Like his friend and contemporary Rayko, James Rod is impressively prolific. Amazingly, Robot Freaks is his tenth release of 2016. Happily, though, it's also among his best. It's hard to find fault in the chugging, mind-altering electronics, throbbing bassline and dub style Break Machine samples that form the backbone of opener "Got To The Street Dance", while electrofunk-meets-nu-disco fusion "You Ready" contains some of the most rubbery electronics, sharpest funk guitars and shiniest synths you'll hear all year. The more vocal-heavy "Feel The Love", a rearrangement of a forgotten '80s soul cut with heavy new synth-work, completes a fine package.
Review: Fresh from delivering a couple of high quality re-edits for Rare Wiri's Classics Of Arrikitaun series, James 'Rod' Rodriguez pops up on Love Harder with a fresh nu-disco production. "Lipstick '78" is a baggy and bouncy disco treat, with Rodriguez peppering an old school disco groove with bubbly electronics and psychedelic synths. Schwarz 100's remix is all about build and release; the producer works a filtered loop hard for a couple of minutes, before introducing the full weight of Rodriguez's original groove. The trick is repeated via an epic breakdown midway through, before he brilliantly brings it all home. In contrast, Fran Deeper's rework nattily focuses on Rodriguez's loose, trippy synths and electronic flourishes.
Review: In recent times, James Rodriguez Navarro (that's James Rod to you and me) has rightly saved his best material for the Golden Soul label he launched way back in 2015. There's naturally much to admire on the Spanish producer's first outing of 2020, from the hybrid nu-disco/deep house/Italo-disco throb of the decidedly spacey opener "Special Rod Paradise" - check the delay-laden guitar motifs and intergalactic synth flourishes - to the filter-heavy driving house vibes of closing cut "Marthian", where squally trumpet solos rise from the abyss to catch the ear. The track sandwiched in between, Latin-tinged deep disco-house bumper "Paralatino", is also rather good.
Review: Synth-tastic nu disco is the order of the day on this latest despatch from Spanish producer Jaime Rodr?guez Navarro, better known as James Rod, which comes on his own Golden Soul label. His original marries an Italo-esque synth throb to rolling nu disco beats and occasional western/Mexican-style horn fanfares. Azaria's remix doesn't flip the script too much, but does up the tempo a notch and beef up the bottom end; the Aleito Remix is a little sparser and nudges towards progressive house territory, while the Rayko & James Rod Remix drops the tempo slightly to give the track a druggier, chuggier feel.
Review: For the second time in as many weeks, James Rod (real name James Rodriguez) has his scalpel out. Last time out, it was all about gentling tooling up American and European disco-boogie records; this time around, the Spaniard has his wicked way with a trio of sun-kissed Brazilian jams of the late 1970s and early '80s. First up is "Paico", a chunky revision of a breezy, horn-heavy samba-disco number that Rodriguez has brought bang up to date with the addition of dub delays, lolloping drums, and a thickset synth bassline. The arguably superior "Ela Disco" brilliantly dubs out an electrofunk era chunk of Brazilian disco brilliance, while "Latin Life" is a filter-sporting slab of mid-tempo disco-house chug rich in jangling guitar riffs and insanely heavy bass.
Review: While he's released some killer original productions over the years, most of which fit into the "synth-heavy nu-disco" category, James 'Rod" Rodriguez's re-edits have consistently been amongst the best around. Predictably, there's plenty to set the pulse racing amongst the Spaniard's latest batch of tried-and-tested reworks. We're particularly enjoying opener "Fornur Love", a peak-time disco bubbler made extra-potent thanks to Rodriguez's addition of a killer new acid bassline. "Groovin On Boogie" is arguably even heavier, with Rodriguez successfully sticking a rocket under a bouncy, horn-heavy disco smasher, while the undulating acid style bass returns with a vengeance on the '80s disco grandiosity of closing cut "Running Of My Love" [sic].
Review: Clad head to toe in his finest carnival threads, Golden Soul Records chief James Rodriguez grabs his scalpel and sets to work on a second selection of lesser-known Brazilian music gems. Opener "You Are Me Dream (Sambasoul Re-edit)" is a near perfect revision of a breezy, sun-kissed Brazilian gem, with Rodriguez brilliantly combining summery samba-disco samples with an elastic drumbeat and restless funky acid motifs. "Pernangola (Boogie Groove Re-edit)" is a loopier, chunkier and more obviously bass-heavy affair built around jangly samples from what sounds like a samba-folk record, while "Minsumbobo" is a bouncy re-interpretation of a Brazilian P-funk work out rich in kaleidoscopic synthesizer lines, Bootsy style bass and swirling electronic effects.
Review: For his latest outing on Golden Soul, James Rod has decided to pay tribute to Italian dance music in his own special way. First up is "Cootutto (Italian Boogie Madness Edit)", a loopy, head-nodding and toe-tapping tweak of what sounds like an early '80s Italian tribute to George Clinton/Bootsy Collins style P-funk. "Splendido Splendente (Rettore Super-House Re-Edit)" offers a more forthright and funky excursion into loopy, filtered disco-house territory, while closing cut "Ok OK (Italo-House Re-Edit)" re-invents a chiming chunk of synth-powered boogie as a kaleidoscopic romp through nu-disco/peak-time house fusion.
Review: James "Rod" Rodriguez steps out of his comfort zone here, briefly departing his Golden Soul label for a confident, ear-catching outing on Paper Recordings. Opener "Belong City" delivers a near perfect balance between druggy Italo-disco chug and woozy, synth-laden nu-disco psychedelia, while the accompanying Draco remix brilliantly re-imagines the track as a trippy slab of revivalist '80s synth-wave wonkiness with a touch of contemporary nu-disco sheen. Meanwhile, "Chamanes Ochenteros" is a fine slab of arpeggio-powered Italo/nu-disco fusion that's subsequently given a low-slung, Afro-Cosmic makeover by Leca. The latter version is particularly mind-altering, though its focus remains on the dancefloor throughout.
Review: Having recently dropped a number of sought-after re-edits, James Rod returns to the world of original production in cooperation with vocalist Tania Haroshka. There's a genuine Crazy P feel about "Let Them Dance", where Haroshka's Danielle Moore style vocals wrap themselves around a bouncy nu-disco groove, deep house style textures, Balearic synthesizer flourishes and occasional blasts of disco-fied horns. Rayko delivers the first of two floor-friendly remixes, teasing out the various instrumental elements over a tactile, electrofunk-influenced groove. File under "sunshine boogie". Finally, Parissior drags the track in a different direction, effortlessly joining the dots between bassline-driven disco-house and spiraling nu-disco headiness.
Review: For the latest release on his growing Sprechen label, boss man Chris Massey - who also co-curates Paper Recordings' excellent Trash The Wax series - joins forces with Spanish nu-disco don James Rod. The experienced duo begins with the arpeggio-heavy Cerrone tribute "Supernature Sunday", which is in turn given a deeper, woozier and more melodious makeover by Mike Simonetti. The EP's other original Rod/Massey production, "The Disco Sound", is an everything-but-the-kitchen-sink affair, with crunchy guitar riffs and razor sharp string stabs clustering around a mutant disco groove. The EP also boasts two contrasting reworks: an even heavier, piano-fired rub from Harvy (no relation to DJ Harvey) and a breathlessly blissful deep house take by Kimo.
Review: For the latest EP on his fast-rising Sprechen imprint, Chris Massey has joined forces with Spanish producer James Rodriguez. As the title makes clear, the two original productions showcased here were inspired by the druggy, off-kilter world of early '80s mutant disco. They begin with "Take Me Higher", where effects-laden vocal samples and disco string stabs rise above a trippy, Italo-disco style arpeggio, before dipping the tempo on the spaced-out, proto-techno era electronic shuffle of "Spanglish". Gina Breeze provides a chunkier, heavier, dubbed-out interpretation of "Take Me Higher", before Rave-Enka turns "Spanglish" into a new beat-meets-early UK rave smasher.
Review: Madrid's Rayko and James Rod go way back, with a long hearty history of collaborations. One of their key projects is the Classics Of Arrikitaun series and now we have here a fourth instalment. James is up first this time, delivery two new tunes: the light and breezy boogie of "So Easy" and the moody electro arpeggios (and Italo disco melodies) of "Hit!". Rayko starts tough we a raw and chunky vintage funk banger called "What's Your Doin" before going all synthy on the smooth 80s RnB of "Get Your Loving".
Review: Venezuela's Juan Laya and London's Jorge Montiel only put out their first 'Electropical' collection of Latin-infused jazz, funk and disco grooves last year and now here we are, up to Part 3 already! Across the EP's seven tracks, the pair - also known collectively as Los Charly's Orchestra - explore various musical pastures from the upbeat and summery ('Sexmachina', the Club Mix of 'Spacial Paradise') to the more contemplative and cinematic ('Kalimba Variations', 'San Juan' feat Grupo Madera), ending on an African-inspired note with the Afro-Funk Mix of 'Spacial Paradise'). Will no doubt be big for the likes of Gilles Peterson, Mr Scruff and Snowboy.
Review: Rayko and James Rod's "Classics of Arrikitaun" re-edit series consistently hits the mark, something we attribute to their often left-of-centre choice of source material. This seventh volume in the series is naturally both on-point and action packed. Rayko kicks things off with the brilliantly pitched-down P-funk chug of "Dude" - all baggy electric piano riffs, squelchy electronics and hazy talkbox vocals - before returning to action later in the EP via the ricocheting drum machine hits, eyes-closed guitars and swirling chords of 1980s alternative synth-pop cut "Night of Dragons". James Rod explores similar sonic territory on chugging Balearic synth-pop revision "Hi Ho Te", while "Love It" is a bounding, sun-kissed version of a mid-80s, post-boogie pop hit.
Review: This is only Rare Wiri's second release of the year, but the signs for the label in 2016 are very good indeed. Here label boss Rayko has recruited James Rod to help him fill this EP full of groovy goodness. The former enters the arena first, delivering two strong cuts - the No Wave style, leftfield boogie of "High Cloud" and the moody electro B-boy rhythms of "Ice Wind". Although Rod then takes over, the style remains the same, with "Some Kinda" being razor sharp Minneappolis-style funk and "Knob Contusion" a badass slice of chrome and carpet digi-soul.
Review: Golden soul boys James Rod and Rayko go twos up on another supreme disco volume on RWS's "Arrikitaun" series. Upbeat, slippery and 80s to its sexy core, Rayko takes the lead with a cosmic loopy chugger "Body Language" and closes the four tracker with the dubbed out warehouse shaking electro boogie thumper "Run From Danger". In between we have two juicy floor fillers from Rod; "Still Contrast" taps into a slick and sexy Alexander O'Neil vibe while "His Running" plays the banger of the set with a jittering slap bass frenzy. Bring on volume seven....
Review: Rayko and James Rod continue to explore their Classics Of Arrikitaun, serving up a third volume of left-of-centre disco, boogie and Balearic edits. Label boss Rayko kicks things off, first serving up a driving, P-funk era disco-rock cut-up ("Boogie Nights"), before travelling into outer space via the cosmic disco/nu-disco/psychedelic boogie fusion of "Bamboo". James Rod opts to calm things down a bit with the taut drum breaks, twinkling pianos and crotch-stirring strings of "Groove of Midnight", a Love Unlimited Orchestra rework with tasty new synths. He rounds off a fine package with the hustling groove, well-placed dub delays and sweeping strings of "Strange Games".
Review: Back in March, Rayko and James Rod launched their Classics of Arrikitaun series with an EP of largely impressive re-edits on Rare Wiri. This second volume delivers more breezy, midtempo goodness for those who like their grooves sunny and synth-heavy. Predictably, Rayko's two contributions tend towards the Balearic boogie, with the drifting, delay-laden vocals, rubbery synth-bass and glistening guitars of "Betcha" just elbowing out Midnight Starr cut-up "Headlines" in the "highlight" stakes. As for Rod, he urges us to grab a glass of something cool, sweet and refreshing on the piano-laden disco shuffle of "Silver Bike", before closing his eyes and raising his arms heavenward on the sensual boogie throb of "The Name Of Love".
Review: Spanish disco outsider James Rodriguez comes through with his James Rod moniker, and launches the first release of the newly crowned Golden Soul imprint. The dude offers five downtempo disco nuggets, and his beats shift from starry balearica to slow-burning boogie. Our picks from the lot have to be "Bass For The Lovers" for its deep, sweltering licks of low-end and string-heavy hooks, and the mid-tempo scorcher that is Cuts Shakes More Shakes" - surely a winner on the ol' PA!
Review: Spanish deep house/disco fusionist James Rod has enjoyed a productive 2015, releasing a wealth of material on labels such as Midnight Riot, Hot Digits, Cosmic Sumo, Audaz and Rare Wiri. Here he returns to the latter with more colourful, summery dancefloor fun. Lead cut "Afro Gerops" is particularly potent, with Afro-centric vocals, funk guitars and rubbery nu-disco synths wrapping themselves around a rolling disco groove. It's arguably stronger than title track "Disco Rocket", which successfully blends alien chords, P-funk attitude and slick, nu-disco attitude. There are a number of remixes to enjoy, too, with Situation's spacey electro take - all delay-heavy drum machine hits and intergalactic electronics -impressing the most.
Review: Following a recent outing on Fingerman's Hot Digits imprint, Spanish producer Jaime Rodriguez returns to the loving arms of Rayko's Rare Wiri label. As usual, he's blurring the lines between re-edits, remixes and original productions, with "Gwen Wants Peanuts" being a brilliant example of his craft. While it utilizes a fair amount of Gwen Guthrie's "Peanut Butter", there are plenty of original elements that help make the track throb and gurn. Even better is "It's All", a straightforward - or so it appears - re-edit of Starpoint's 1984 electrofunk gem "It's All Yours". Rodriguez teams up with Fran Deeper to remix, offering a blend of colourful synths, electro-house attitude and nu-disco bagginess.