Review: For their latest trip into celebratory disco territory, Glitterbox Recordings has asked Aussie rework fiend Dr Packer to get busy with a quartet of dancefloor classics. He begins by putting his stamp of LaTrece's Mark Kinchen-produced 1993 cover of Alicia Myers' "I Want To Thank You", giving it a breezier and more boogie-influenced feel, before moving further towards hybrid disco/soulful house territory on a fine rub of Shuya Okino's 2011 jam "Still in Love". Flip to the virtual flipside for a pitched down, electrofunk-fired rework of ATFC's "Bad Habit" that's more in keeping with the 1985 Jenny Burton cut on which it was based, and a gently beefed-up take on Soul Rebels' tasty cover of Rene and Angela boogie classic "I'll Be Good".
Izo FitzRoy - "Hope You Can Wait" (Hot Toddy remix) - (5:06) 120 BPM
The Lab Rats & The Experiment - "Music Is My Way Of Life" (feat Lisa Millett - The Lab Rats Present The Experiment/Lab Rats Main Experiment) - (8:11) 125 BPM
Marc Evans - "The Way U Love Me" (Dim's TSOP version) - (9:44) 126 BPM
LaTrece - "I Want To Thank You" (MK Downtown mix) - (6:17) 114 BPM
Puzique - "Nice N Tight" (Urban Blues Project remix) - (7:34) 125 BPM
I Want To Thank You (MK Downtown mix) - (6:17) 114 BPM
I Want To Thank You (MK mix) - (8:12) 121 BPM
Review: With over 500 titles in his discography, there aren't many producers more prolific than Marc Kinchen. 4 To The Floor revisits this MK produced 1993 cover of classic Alicia Myers track "I Want To Thank You" featuring vocals from LaTrece B. Kinchen. This package contains four different mixes, all taking the track in a different direction. His his dub mix strips everything right back to the bare bones, using signature vocal cuts and heavy percussion to create a darker, club ready banger. The Downtown Mix is a disco is a disco tinged tribute to the Alicia Myers original and It's clear to see why this record went down as a Hacienda favourite. MK's 12" Mix focuses on that uplifting New York house sound that made this record such a big success. With an ability to take any piece of music and make it his own, his dub edits rarely fail to decimate any dancefloor.
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