Review: Anyone who decides to dedicate a fair chunk of his debut edits release to scalpel cuts of tracks from Led Zeppelin, Jefferson Airplane and Stevie Wonder must have gonads the size of watermelons. Sitting down could be an uncomfortable proposition, then, for the mysterious V, whose seven-track debut EP also includes chunky, floor-friendly re-tweaks of The Kinks and Sly & The Family Stone (as well as a couple of stonking disco bangers). While some would argue that much of the material here didn't need messing with, he's done an excellent job. The Dub of "Whole Lotta Love", for example, is pitched just right, offering much more bang and exactly the right amount of disco dubbiness.
Review: Amsterdam dwelling editor par excellence Em Vee took the solo reigns on the inaugural Lumberjacks In Hell - and truly excelled with a great reimagination of "Miss You". The second release on the label sees the German share duties with Spanish edit demon Rayko. First up is an expert rearrangement of Candi Staton's cover of the Bee Gee's standard "Nights On Broadway" which strips the track of its orchestral leanings to focus on the groove! Following this is a meaty take on a classic, with Barbara Keith's cover of "All Along The Watchtower" reinforced with some bottom end bump. Em Vee spreads a special disco version of Alma Lee's late 70s Philly delight "Gimme Your Love" with an extended intro that fully displays his edit talents.
Review: Given his credentials and track record, it's unsurprising that original disco and boogie artists are willing to let Joey Negro play around with their biggest hits. His first stab at this kind of multi-track remix, 2014's Remixed With Love, was such a success that he's decided to unleash another swathe of revisions over two vinyl double-packs. This edition features some killer reworks, including a sublime, on-point rearrangement of Gwen McRae's "Keep The Fire Burning" and a rolling, dubbed-out version of Grace Jones' "Pull Up To The Bumper" that rivals Larry Levan's classic remix. The veteran producer also successfully turns Pockets' "Come Go With Me" into a classic soulful house rub, and pushes Thelma Houston's "I'm Here Again" further towards disco anthem territory.
Review: The mysterious V has got some balls. You see, it's common practice in re-edit circles to steer clear of certain big tunes and artists. V clearly didn't get the memo, because this second volume of party-hearty, floor-filling reworks contains sneaky dubs of tracks by Steve Miller (a smile-inducing version of "Fly Like An Eagle"), the Sex Pistols (a filter-heavy tweak of "Anarchy In The UK"), The Lovin' Spoonful ("Summer In The City") and The Beach Boys ("Good Vibrations", which gets a weirdly breaksy Balearic rework). Better, though, are the versions of the more disco and funk-inclined material. His Betty Wright rework ("Slip & Do It") is particularly magical.
Review: What more can we possibly say about nu-disco producer Valique and his two-year bootleg/edit/mash-up blitzkreig that we haven't already said? Listening back over these 31 offerings it becomes apparent that this is simply the soundtrack to one seriously mighty party. There are simply just so many dancing-on-tables moments here (we'll let him away with some of the shockers) including the grooved up DM cover "Personal Jesus" by Johnny Cash, the surreal, intoxicating deep disco take on Al Green's "Let's Stay Together" and the dreamy paradise melodies of "Still You". Here's to the next couple of years!
Review: Whoever said that disco was dead was not aware of Dr Packer and his life-restoring scalpel skills. The cover of this eighth installment of edits reveals the good doc and colleagues hard at work resurrecting a giant disco ball and the sonic results can be heard on this mini-album. Highlights include the slinky clap-along, "Somebody Else", the noodle-bass moog boogie of "Xpand Your Mind" and the breaks-laden cocktail grind of "Tropical Jump". Good to hear disco has checked outta hospital and back on the dancefloor in full health.
Review: This release reads like a re-edit producer's convention, with four different artists all delivering their own unique takes on selections from disco's past. "Hitney Wouston" is Deep & Disco's funky tech-house take on "I Wanna Dance With Somebody" by you know who. It's an enthralling version that competes with Girls On Top's all-time reworking from back in the day. Alkalino's "Ruff N' Stuff" is a killer blend of throbbing bass, cowbells and a retro rap. Debonair's "Mellow Mellow" features a mesmerising, heavily filtered string loop and lots of disco lasers. Retro-house don Jonewaynes wraps things up with the looped slice of shimmering Balearica that is "Number 1".
Review: The last missive from DJ Vas HQ was way back in November of last year. Thankfully the summer's sunny allure seems to have got his creative juices flowing and now we have four new offerings for our aural pleasure. Roy Ayers' "Our Love Will Bring Us Back Together" is teased out into sinewy, high-end boogie and BB&Q's "Imagination" home is improved, getting rebuilt into lasered robot funk. Crown Heights Affair also get two hip swaying brassy tracks featured here, rounding off the euphoric party vibes in style.
Review: Lately Leeds' Deelicious has seen his loose and groovy tunes grace the likes of Sound Exhibitions and Disco Fruit. Here he rolls out five sizzling new bangers. The urgent slice of socially conscious funk, "Lonely Town Lonely Street", kicks things off, "Trust Me" incorporates housier filtered loops into the mix and the title track is celebratory slice of disco-pop with some ace bloc-rocking breaks and punk-funk bass work. Elsewhere we enter orbit with the melodramatic sci-fi boogie of "Mechanical Body" and "Change Your Mind" is an amazing example of early underground dance music reconfigured by a 21st century perspective.
Review: As Eli Escobar let's it be known in "The Formula" that he's 'got something for you' as the sweet chorale chimes. There's a subtle Osunlade vibe to this album, the American's first, and Rhodes be flaying on "Visions" as they vamp to a climax like a Bootsy Collins solo. It's all stripped back business of "NY So Hi" - get down to this! And for some quality, sustained loops check out "Thank You Les". "Up All Night" is a dubbed-out, cool-as, disco-tinged burner and there's a whole load to discover here in a debut album rich with the type of soul you can only get from the streets of the big apple.
Review: Finally! Motor City Drum Ensemble aka Danilow Plessow drops the Raw Cuts series into one neat little package. Ubiquitous in 2009, the series showcased the Stuttgart native's ability to combine warm pads and luscious synths to create a house sound with a decidedly classicist tip. On this EP you'll also find two new jams from the Plessow-produced Jayson Brothers and a couple of new MCDE tracks, the highlight being "Prayer".
Review: For a seventh time, Perth-based scalpel fiddler Dr Packer opens his surgery doors and invites us inside. As usual, his cheery, floor-friendly reworks strike the right balance between contemporary dancefloor chops (beefed-up bottom end, well-placed filters, and so on), and treating the source material with due reverence. Happily, there's not a duffer in sight, and even his reworks of stone cold classics (see Oliver Cheetham tweak "Friday's Enemy", First Choice revision "Love Doctor" and housed-up Evelyn 'Champagne' King stomper "Shame (VIP)") are different enough to be worthwhile additions to your collection. Highlights are plentiful, but check - in particular - the string-laden disco chug of "Ecstasy" and "Nightlife", a thickset '80s boogie rub full of sparkling synthesizers and heavy bass.
Review: Martin Scorsese and Mick Jagger's recent Vinyl TV show depicted the birth of New York black party culture with the mighty Kool Herc at the helm. Here Dr Packer riffs off that same imagery too, even if his edits are more in the disco vein than that of Herc's hard funk breaks. There are a whopping six edits to wrap your ears around here, highlights include sensuous 70s boogie, complete with electro bassline, of "Disco Lovin", the protracted hiNRG New Order loops of "Monday Blues" and the shimmering, dry ice soul of "Chocolate Boogie". Fun music for fun times!
Review: For a label that only launched this spring, four volumes of creatively executed party jams is beyond impressive. We reckon this could be Funk Fusion's best yet, too. From Rhythm Scholar's respectfully tripped out twist on "Lucy In The Sky" to Fabioulous Barker's slap-bass blazed take on Skeelow via the funkiest ever version of 2Pac's "California Love", it's an impressive collection that leans towards the more subtle art of editing rather than crass bootleg cut-and-shuts and will have a lot more timeless appeal as a result.
Review: Every one's favourite Deborah Harry rap gets a cosmic workshop makeover in Dr Packer's edit of Blondie's seminal "Rapture", the track that opens this sixth Surgery Edits release. Each track of this edition, as is the way with disco edits, hints to the listener where the track originally stem. And for some fun, we suggest you do some digging/guessing to find the origins of productions like "Oh What Wow", the crooning funk of "Just A Little More", and the legendary "One More Time". Light up your next party with the Best Surgery edits release yet.
Review: It seems that the nu-disco trend of re-edits is one that just keeps growing. Everyone from Siberia to Greece is doing it, and now the fever has spread to Ireland too in the form of the Get Down Edits label. Thankfully these guys don't (usually) pick the obvious stuff - Fingerman samples Luther Vandross' "Never Too Much" on "Too Much" so they lose points for that, but generally it's all good jazzy, funky retro jams.
Review: Beards. Where'd they come from, eh? One minute it was all asymmetrical haircuts and 80s electro-pop, then the beards & disco brigade arrived. Well successful re-edit imprint Whiskey Disco proves that beards are still big and happening. YSE has a shady house music history but here displays his love of disco with four quality reworks. "Freeze Frame" is a vocoder-led slow building chant-a-long, "I Own The Boogie" is a deep and intense disco funker with killer basslines (both electronic and live), "Warm Wind Brewing" is a Fantasy Island/Love Boat romantic journey and "Here I Come Again" ends things with some raw disco seduction.
Review: The Giant Cuts crew have been keeping the boogie side of the disco fire burning with their Disco Boogie Classics series for over a year now, and on this essential release they reach their fifth volume. Once again the source material is a closely guarded secret, but whether it's the cowbell-heavy, Rhodes-led funk of "Dance (Move Ya Body)", the smooth licks and sweltering '80s production of "Jump To The Edit", the party starting vocal on "Feel It" or the deep down disco sleaze of standout track "Limited Search", there's something here for everyone to get their own disco dancefloors bumping.
Review: Norwegian disco beard Todd Terje launches this epic (and unmixed) collection of some of his best remixes. Ranging from the rare to the ubiquitous, the underlying theme here is quality. There's some killer cuts under his different aliases (Duliatten Disco Dandia, Kacic Kullmann?s Five), which includes an unashamedly awesome reworking of Ace of Base, erm, classic "All That She Wants" under the Chuck Norris moniker. Throw into that remixes of Jose Gonzalez, M, Rogue Cat, old chum Lindstrom and of course Shit Robot, and you have a compilation not to miss. Indeed, unless you have followed the Terje's career with an incredibly hawkish eye, there's sure to be a few gems on here that you missed the first time round. And there's even an hour long mix of Terje classics at the end to round it off.
Review: The honour of curating the 44th instalment of Katakana's Edits series has fallen on Disco Funk Spinner, a much respected re-edit guy whose work has appeared on the likes of Midnight Riot, Disco Fruit and Sound Exhibitions. Here though he only manages to provide two jams, but it's quality, not quantity, right? First up we get "Night Strangers" which takes loops from Candi Staton's Bee Gees cover (Nights On Broadway) and adds an accelerated disco house tempo and subtle but funky embellishments. On the digital flip is "On Fire", a clever rework of Peggy Lee's indestructible classic, Fever. Hot stuff!
Review: The latest volume in the Surgery Edits series is something of an epic affair, with scalpel-wielding hero Dr Packer offering up no less than eight intricate procedures. It's naturally a mixed bag, with the Australian offering gently beefed-up and quantized versions of both well-known cuts (a well-loved Marvin Gaye classic gets the treatment on "Give It Up", while "Disco Squares" is a punchy revision of a Rick James produced Teena Marie favourite) and lesser-known floor-fillers (the bubbly '80s soul flex of "Your Love Baby", the heavyweight P-funk strut of "Move That Bottom"). There's not a duffer in sight, with jazz-funk style closer "Smoov Groove" and righteous disco-funk bumper "Party Time" arguably the pick of an impressive bunch.
Review: For the uninitiated, The Gaff is a Canada-based DJ, producer and prodigious maker of "party breaks" - shorthand for re-edits and reworks that should appeal for those DJs for whom loose rhythms are of more interest than a straight 4/4 pulse. This first contribution to the digital-only Katakana Edits series is full of funk and soul-laden jams with heavy but snappy drums. There's a global feel, too, with excellent forays into afro-funk ("High Life") and Latin beats ("Mambo Number 5"). While all four tracks are carefully tuned to the needs of dancefloors, the afro-flecked disco-funk grooves of "Funny Saga" stands out.
Review: These guys have been flying the flag for quality amongst the disco re-edit community for a while now. This two-tracker is being hailed as one of their best yet, with the title track being a lean, super-perky chopped up floor filler with infectious female vocals and a just-go-with-it Euro-rap. The second cut is from the other side of the tracks: it's the type of slow n sleazy new wave-disco tune you can imagine in a dark early 80s New York fleapit, where the cast of Liquid Sky hang and dance in a beautifully nonchalant manner.
Review: The scalpel fiends and rework hounds behind the Editorial label rarely disappoint, and this latest split EP is packed with floor-friendly midtempo goodies. The most revelatory cut of all is Ed Wizard and Disco Double Dee's "Slow Fire", a delicious 109 BPM bumper that re-casts Gwen McRae's electrofunk-era disco bomb as a stoned head-nodder. It works so well that you wonder why nobody's done it before. Elsewhere, there's some sweet groovery from Feza, a surprisingly percussive disco-funk jam from the usually dawdling 78 Edits, and a decidedly Balearic jazz-funk excursion from Manmademusic and Freshtone. Really, it's only the usually on-point B-Jam who lets the side down with the so-so "Everyday".
Review: Here's a downloadable version of Z Records' limited edition Record Store Day vinyl remix package of four tracks by label boss Joey Negro and his Sunburst Band. Sizzling electro-funk lead track "Taste The Groove" is given a low-slung, chugging 'Walk The Night'-style disco makeover by Hot Toddy. "Why Wait For Tomorrow" is teased out into up to 11 minutes of vintage disco ecstasy (in over three different mixes!) by Al Kent. "Definition Of Luv" also gets some super camp New York housey lovin' from Sean McCabe.
Review: Nu-disco hero 80s Child has come a long way since Masterworks Vol 1, the inaugural release on his Masterworks label a year and a half ago. Now we have the follow-up and it reveals how the label's sound has grown. There are 26 sizzling bangers on board this time, boasting a million delirious dance floor moments. Highlights of which include the fizzy thump-funk of 80s Child's "Computerized", Peza's doomy analogue electro mash up "Filmed Message" and the smooth, synthetic boogie of "Much Too Much" by Deelicious.
Review: As the title suggests, this five-tracker from the previously re-edit-happy Editorial imprint showcases slo-mo disco/house crossover cuts from a selection of mostly little-known producers (the fast-rising Matthew Kyle aside). For those who've been digging the superb releases of labels like Sleazy Beats, Wolf Music and Instruments Of Rapture, Slo-Motion Potion comes highly recommended. It's largely impressive stuff, with DJ Butcher's epic "Shake Your Body", Kyle's deliciously sensual "Off My Mind" and 78 Edits' heady opener "Come On Baby" standing out. That said, the whole package is well worth a listen.
Review: Some re-edit guys go for pop, some do disco and others opt for novelty jams. Not French funkateer DJ Vas, however, nope, no-way, not ever. He deals exclusively in quality, sumptuous disco. Here he delivers four more cuts, you know, the ones that sound like silly o'clock joy at the Paradise Garage - the loose, Fender Rhodes back beat shuffle of "Go Get The Money", the sparkly tingles of spacey funker "Double Journee", the slappy raunch-bass of "Hold On Me" and the New York in the bad old days electro-funk joint "Gigolo". The real deal.
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: Don't be fooled by the plethora of comedic, pun-tastic artist names scattered throughout the track list for this sixteenth volume of Vehicle's Boogie Box Edits series. Look harder, and you'll note the distinctive scalpel alias of label boss Valique (simply "V") throughout. His edits - informed by his past in funk breaks as well as disco, boogie and shameless party-starting fun - rarely disappoint, and there's much to enjoy here. Highlights include a toughened-up, straightened out version of the Whispers' "It's A Love Thing" (complete with house pianos), a filter-heavy disco-house tweak of the Johnson Brothers' "Stomp", and a deliciously breezy rework of an old Billy Ocean fave that's worth the admission price on its' own.
Review: Having previously delivered both chunky disco edits and cheeky, bootleg style reworks, the usually reliable Chopshop crew offer up an EP dripping with soul and funk. Included is a loose, hip-hop tempo rework of deep jazz-funk standard "Nautilus" from Copycat (ideal for those bar sets/warm up moments), a head-nodding, heavy 4/4 tweak of an odd electrofunk record from DJ Raw Sugar, and a dubbed-out take on James Brown ("The Boss") by Discotech. Best of all, though, is DJ Agent 86's "Give It To Me Baby", a cheeky, horn-toting rework of freaky 80s funk legend Rick James.
Review: Bubbletease Communications' releases are defiantly infrequent, reflecting boss man Maurice Fulton's desire to only release personal projects and those he's somehow had a hand in. Given Fulton's track record, this approach guarantees a high quality threshold; in truth, Bubbletease releases are rarely less than excellent. This four-tracker from Tokyo-based DJ Nori, co-produced by Fulton, is predictably impressive. There's a touch of melancholic, acid-flecked stargazing in the shape of "Spaceg" (all heady synth melodies, fuzzy bass and 808 cowbells), some out-there, beatless space calypso (the unwieldy "We Don't Know"), and a mighty chunk of Syclops-ish wonk-jack ("80s Drugs"). Oh, and a moody, Detroit-influenced Fulton remix of "Happy Sunday" that breaks into a space disco jam near the end.
Review: File Under Disco's "100% original disco music" remit is refreshing in these days of countless re-edits and sample-heavy nu-disco mash-ups. Their latest salvo comes from London's Oh Yeah, whose trademark sound effortlessly blends live drums, bass, guitars, keys and vocals. "Nothing But The Beat" is a strong debut, sitting somewhere between sharp, Chic-style disco, hazy jazz-funk and early '90s acid jazz. The remix package is notably strong, too, with Crazy P man Hot Toddy delivering a pair of reworks. On both he toughens things up a little and adds a few dub disco flourishes, whilst retaining the band's wonderful instrumentation. His Dub, in particular, is superb.
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.