Review:
Four excellent new funk/soul/disco bombs from the Whiskey Disco label, with some surprising covers and peerless edits for your aural delectation. Anthony Mansfield sets about deconstructing a fresh cover of "Hercules" by Aaron Neville, while fans of Philly/Al Green-esque slow '70s funk will love Cosmic Boogie's soft-touch edit of "How Can You Say Goodbye". Rayko ups the tempo a little with his mix of the boogie wonder "S&M (Sexy Music), while WD label-head Sleazy McQueen has a lot of fun with Stevie Wonder's "Do I Do", looping up instrumental sections just right for a new perspective on this classic Stevie joint.
Review:
Whiskey Disco head honcho Sleazy drops out of the edit game for a second to serve up a shimmering nu-disco original. With far-away rushy vocals, slinky bassline and raw positivity dripping off the synths, this has potential to waterproof the summer in its groove juice. The remixes are pretty remarkable, too; Chris Massey gets heavy on the bass in a house-bound UKG way, Anthony Mansfield darkens things up with heady doses of psychedelia and acid in a way that's not dissimilar to a certain Andrew Weatherall. St Petersburg Disco Spin Club end the party with a series of classic house motifs processed with heaps of reverb and slinky breakbeats.
Review:
Ponytail-sporting Floridian Sleazy McQueen is usually a reliable source of botton-heavy edits and reworks. Here he casually unfurls another digital-only selection of floor-burning tweaks for similarly minded disco deviants. As usual, there's a heavy dub disco feel to proceedings, with previously straihght-laced disco, AOR and electrofunk cuts being turned into heavyweight reverb-laden jams. As ever, there's little filler and plenty of killers, from the delay-laden horns of "I Like Girls" and poodle perm silliness of "Like The Wind" to the twisted swamp funk of "Through The Jungle" and E'd-up soul of "Can't Say Goodbye".
Review:
For the latest edition of Let's Play House's occasional LPH White series, serial re-editor Sleazy McQueen drops a delicious chunk of Balearic-minded, saucer-eyed disco. It's arguably one of his finest original productions for some time, and builds from a baggy, groovy start into a spiraling chunk of dancefloor positivity. There's more of a live disco-funk feel to bonus cut "Galway Jam", with rich bass, jammed-out keys and decidedly cosmic electronics. The EP also boasts a couple of tasty remixes of title track "Huit Etoiles". There's a slamming, delay-laden disco-rock interpretation from Kenji Takimi, and a luscious, new age influenced Balearic house rub by Gerd Janson.
Review:
Following his recent appearance on Smokecloud, Sleazy returns to his Whiskey Disco home to celebrate its 25th release. As you'd expect from McQueen, it's an instant disco funk showdown laced with all manner of well dug sources and sounds. From the tight loop and lolloping bass of "Teeny Lovin'" to the more upfront glitter-sprinkled funk of "In The Year 2014" via an extended, head-turning cover of "Dancing In The Streets", each one of these cuts sparkles with Sleazy's skills and reminds us that Whiskey Disco is still very much on-point with every single release.
Review:
Orlando-based disco lothario Sleazy McQueen hands his most recent single over to a bunch of pals for remixing, with largely pleasing results. Fellow American Cole Medina turns in the most impressive version, turning the original into a bubbling chunk of spaced-out electrofunk with just enough weight to please the househeads. Liverpudlian Facebook miserablist Cosmic Boogie treads a similar path, combining analogue bass, dubby house and disco cowbells to excellent effect. There's a solid Ooft remix, too, for those who like their deep house a touch darker and chunkier.
Review:
Those with long memories may remember soul singer Maysa Leak's cover of Gil Scott-Heron classic "The Bottle"; the Incognito-produced cut was something of an underground club favourite when it first surfaced back in 1999. This first digital download edition boasts all of the mixes featured on the now in-demand vinyl edition, though it's the original full length version - a sunshine-friendly mixture of rich, jazz-funk informed musicality, slick house beats and spine-tingling vocals - that still shines brightest. Of the alternative versions, we're particularly enjoying the fuzzy, nu-disco style rub from DJ Shaft, though Venom and Ski Oakenful's "Black Widow" mix - a crunchy, West London style broken beat outing full of moody chords and bustling bass - is especially potent.
Review:
Whiskey Disco continues with its juicy 2018 with something of a sweaty beast, with a quartet of producers stepping up to deliver some sticky dancefloor heat. Label chief Sleazy McQueen joins forces with Vagabundo Social Club with edit "Boh!", a slamming rework of a Bohannon-esque disco-funk jam rich in hard guitar riffs and crunchy Clavinet lines. The Rejected takes a different approach, serving up a rolling, delay-laden tweak of celebratory, soccer-themed Brazilian club jam "O Craque De Futbol". Sunny, funky and low-slung, it's accompanied by the gently housed-up swamp funk of Pontchartrain's "Have a Little Taste". Given the quality of the EP, we're more than happy to follow that instruction.
