Review: Bruni Pagan's 1979 disco jam 'Fantasy' gets reworked by the brilliantly named Philly Vanilli, with three mixes to choose from. The Extended Mix doesn't, truth be told, actually sound that different from the original record - he's just beefed up the bottom end a notch or six, while stuttering the vocal and chopping up the beats in classic 'early 80s remix' fashion in the mid-section. The accompanying Dub ploughs a deeper, more eyes-down furrow, while finally the NY House Mix is brasher, sparser and spacier, and would doubtless have sounded right at home on the floor at Paradise Garage or Danceteria circa 1983.
Review: Philly Vanilli bring us a slice of lavish, late 70s-style disco-soul in the form of 'The Light' - think Teddy Pendergrass or Barry White and you're somewhere in the area! There are two mixes on offer but truth be told they don't differ hugely, with the Main Club Mix really just an extended version of the Original. So it's up to bonus cut 'Tonite' to add a little musical variety to the package, which it does by moving us a little further forward in time to the 80s boogie era, albeit in a wonked-out kinda way...
Philly Vanilli - "Givin You All My Love" (<<<55 BPM
Review: Festive fun and frolics from prolific scalpel fiends We Mean Disco, as leading lights Philly Vanilla head to the dinner table with a steaming bowl of hearty "X-mash" (geddit?). It's a veritable feast of floor-focused party vibes, with the cheekily named twosome flitting between organ-powered disco-house (nine-minute workout "The Human Kind"), vibraphone-laced, delay-laden and suitably tooled up disco ("Heavy Vibes"), smile-inducing '80s soul/boogie-pop cheeriness ("Givin You All My Love") and disco-era Michael Jackson in dub ("Chilly Bean"). Since making this "X-Mash" was a collaborative effort, we also get to savour the woozy and dreamy old school house flex of Kid Paris ("There's No Hype Without Adelis (Wave Techdown Remix)") and the We Mean Disco crew (the party-hearty, pumped-up disco-funk goodness of "Ich Liebe Zu Tanzen!".
Feeels Like IM Yours (WE MEAN DISCO ReVision) - (16:10) 115 BPM
Afro Disco San Franz Disco - (7:55) 118 BPM
Review: Some six weeks after dropping his tasty "Feels Like" EP, We Mean Disco regular Philly Vanilli returns with a couple of notable "Bonus Mixes". First up is "Feels Like I'm Yours (We Mean Disco Revision)", a driving, heavyweight, house style revision of the producer's previous rework that's built around filtered loops from Sade classic "Paradise" and plenty of sweaty extra drums. There are naturally snippets of vocal dotted throughout, as well as some suitable soft-touch '80s sax action. Virtual B-side "Afro Disco San Franz Disco" sees Mr Vanilli add epileptic, fidget style cut-up sections to a guitar solo-laden disco cut rich in lilting trumpet solos, Chic style bass and dub-wise effects. We think it's a revision of a South American cover of "Rapper's Delight", but don't quote us on that.
Review: The We Mean Disco edit label has always been a little in awe of the legendary Larry Levan, with much of their output featuring reworks of tracks championed by the late Paradise Garage DJ. They're at it again here, allowing regular contributor Philly Vanilli to rework a trio of house tracks championed by the great man. First, he tackles Cleavage's 1987 version of Cymande favourite "Bra", adding new percussion to the already heavy groove. "Oasis" reworks an early piano house gem, emphasizing the dreamy electronics and Inner City style stabs, while "Larry Levan Timewarp Tribute" expertly gathers together bits from a number of tracks, alongside some killer spoken word samples.
Review: The good humour of the We Mean Disco!! crew is present and correct here on their first release of the year. However "Don't Make They Wait" is more than just a long toilet break, its 18 minutes of suspended bliss built out of a Peech Boys sample. The Paradise Garage vibes continue with two lushly accentuated cuts from The Padlock EP, turned into the spacey synth-funk gems, "Hot Scotch" and "We Are Getting Hot". Things wrap up on the lively "Luv Is The Message And The Message Is Luv", a dubby, but fast, exploration of early 80s disco joy.
Review: The We Mean Disco crew does a mean line in tongue-in-cheek monikers. Philly Vanilli, a regular contributor to the Viennese imprint, arguably boasts the strongest pseudonym of the lot. Here, he gets to work on Marvin Gaye classic "What's Going On", delivering a trio of contrasting re-makes. He begins with the dense percussion, rich chords, woozy vocal samples and metronomic deep house beat of "Wots Going On At My Grapevine", before dipping the tempo for a chugging 105 BPM "Letro House" re-make in which Gaye's world-weary vocals take centre stage. Finally, he moves further towards straight up deep house on the tasty "9/11 Inside Job Rework".
Review: Every now and then we bestow an unofficial 'outstanding achievements in professional moniker' award. Philly Vanilli are pretty much guaranteed to hold on to this title for a long time to come. "The Sould Groove Experience" is their latest missive for Manolo Brigante's Austrian We Mean Disco! imprint and it's packed with reworked '70s soul gems (eight to be precise). Highlights include the shimmering Fender Rhodes slow jam "Soul Food", the rolling phasered guitar freak out "I Need Da Funk" and the campy Eurodisco effervescence of "To Be In Love".
Review: The melodrama in nu-disco land is catching with this fine Vienna label taking their cue from Alkalino by announcing their "Very Last Edits". Let's hope it's all just hot air to promote their hot tunes. Philly Vanilli presents three of the four tracks: the weird and wonderful warped loops of "I Work For A Living", the rolling basslines, whistles and soulful vocals of "Every Way But Loose" and the gently tweaked "Saturday Night The Girls Are Alright". Aretha Franklin Roosevelt's "Its Just Your Love" is given a deep and shimmering house rework by Teddy Esposito too.
Review: Since launching back in late 2013, We Mean Disco have more than lived up to their name, racking up almost 40 releases that have seen the label find its place among the hearts and folders of discotheque selectors everywhere. Release number 38 from the Viennese label sees We Mean Disco regular, the superbly named Philly Vanilli, returning to find his place alongside two debutants, DJ Rock and Kid Paris, for Weekend Grooves. A well-loved disco classic is the source material here and all three pull the track in different directions with Vanilli up first on a back in the house rework that dips into filtered disco house territory. By comparison DJ Rock and Kid Paris opt for a more classicist disco approach with the latter's quite fine.
Philly Vanilli & Robert Owens - "Too Late" (Tribute To Tom Moulton) - (8:41) 120 BPM
Philly Vanilli - "Zippin Up My Boots" - (7:22) 120 BPM
Philly Vanilli - "He S The Love Machine In Town" (Hommage To The Max) - (10:30) 128 BPM
Guy Banister - "Im Still Alright Also Tonite" - (9:13) 121 BPM
We Mean Disco!! - "Love Is Still Around" - (9:54) 114 BPM
Guy Banister - "Your Body Keeps Still Workin" (Clear Kleer Tribute) - (7:08) 122 BPM
Philly Vanilli - "White Horse Waiting Infront Of Disco Doors" ((Studio54 Tribute)) - (9:34) 124 BPM
Review: Unashamed booty-shakin' booty action, with six tracks credited variously credited to Philly Vanilli and Guy Banister. Standouts include 'He's The Love Machine' with its filtered, looping, Zapp-ish "I wanna funk you" vocal, the defiantly euphoric Brit-funk vibes of 'I'm Still Alright Also Tonite', a bleepy take on Laid Back's early 80s classic 'White Horse' and the lo-slung funk of 'Too Late (Tribute To Tom Moulton)' with its Robert Owen vocal, but if you're looking for tracks that'll give the dancefloor an energy injection and don't mind the odd well-worn sample, then any one of the six cuts here will do the do.
Review: This classy Viennese re-edit label have been conspicuous in their absence of late, but never fear as they're back with ten new reworks to get our booties shakin'. It's a veritable smorgasbord of disco flavours on offer, bound to result in countless happy dancefloor memories. Highlights include the incessant riffage of the Philly Vanilli reworks of "That's Why They Call It The Blues" by Mister Trump and the (almost) seven minute long soulful 80s groove-a-thon "Stop That Hunk" by Hunk Da Skunk, as well as the thumping string-laden house of "Summer Mood" by Porn Star Long Dong Silver!