Review: London based re-edit don David James (aka Deadly Sins) has been consistently delivering sensitive-to-the-original retweaks of killer vintage jams all year. Here's his latest offering, serving up four 'reworked and rearranged' gems including the thumpingly fat (bell) bottomed, '70s female-fronted-funk of "Cloudy Days", the dubbed out seven minute Bee Gees banger "Across The Floor" and the loopy, swirly exotica of "Rio Groove". Class in a cocktail glass.
Review: A real 'pick and mix' selection of re-edits and mash-ups here from newcomers Deadly Sins on the Giant Cuts Digital imprint. There's a touch of straight-up disco in the shape of "Keep It Hot", a neatly building, horn-heavy rework that never gets too loopy. Marvin Gaye's "A Funky Space Reincarnation" gets handily cut down on "Space Funk", while Metro Area and Soulsonic Force clash on the ever-so-cheeky mash-up "Metro Electro". The stand-out cut, though, is "Can't Stop", a smokin' Italo disco jam that boasts some particularly sweet electric piano riffage - think Bobby O fused with Shoom style piano house.
Review: Following an excellent Springtime outing on KAT Records, scalpel specialist Deadly Sins returns 'home' to the Giant Cuts label he's run successfully for the last half-decade. Those who heard that KAT EP will feel right at home, as some of the cuts here appeared on that vinyl-only affair. Regardless, there's much to admire, from the hazy, Clavinet-heavy Afro-disco goodness of "Afro Groove", to the rolling sweetness of "Get Orf My Laaand" (a rework of Curtis Mayfield classic "Give Me Your Love"). Mary Wilson rework "Groovy Mary" is a red-hot disco-funk smasher, while "Ooh Eye" delivers a smart, dancefloor-friendly rearrangement of Crown Heights Affair's brilliant "Say A Prayer".
Review: It's been a while since we've heard from notorious North London party-starter Deadly Sins. Here he returns to his Original Cuts imprint with an EP of floor-friendly, sample-heavy party-starters. There's plenty for disco-minded house DJs to enjoy, from the heavy electrofunk-meets-disco thump of "Keep Movin (DS Straight Ahead Mix)" and Rocco Raimundo-ish '80s soul slickness of "Out In The Night", to the filter-heavy, electric piano vibes of "So Delicious" and stomping "Satisfied". Opener "The Thrill", with its distinctive jazz-funk flute loop, is also worthy of consideration. Good stuff, all told.
Review: Here we have another EP of smooth disco re-edits. "Nothing Beats The Music" is a classic Studio 54-era joint with tight funk guitar, big, funky bass and blissful chimes and female vocals. Only the slightest tweaks have been made to embellish this classy gem. "Can You Feel It" is an eye brow-raising version of Phil Collin's austere classic, In The Air At Night, now given a slow, Balearic stomp which surprisingly works! "Fever" is beautiful, dreamy cosmic disco with a melancholic vocal and "Movin, Don't Stop" is the kind of pulsating high energy stuff that soundtracked Stefanie Powers and Robert Wagner in TV's Hart To Hart!
Review: Serial re-edit fiend Deadly Sins (AKA North London veteran David James) can usually be relied upon to deliver floor-friendly re-edits that get just the right balance between compressed, house-centric loopiness and baggy, original disco and boogie flavour. Predictably, the three tracks here hit the mark. The highlight is probably the smooth, groovy, '80s soul flex of "So In Love", whose sweet pianos, treacle-thick vocals and head-nodding, bass-heavy groove are excellently accentuated by James' loopy, head-nodding production. The '80s freestyle vibes of the drum machine-and-synthesizer heavy "Attraction" are also well worth checking, while hypnotic electrofunk jam "Blow My Mind" rises and falls in all the right places.
Review: David James, AKA Deadly Sins AKA Mr DJ, returns with a four-track EP on his own Giant Cuts label. High octane disco-house with a distinct late 90s feel is the order of the day on the first two tracks, 'Here 4 U' and 'Feeling In Me'. 'Are U Ready?' is a chuggier, funk-fuelled affair with a not-so-subtle nod to the mighty Fatback Band, and then 'Something's Up' sees us back in disco-house territory, this time with the aid of some wukka-wukking geetar. Have no fear, the funk is strong in this one.
Review: The Giant Cuts crew come through with a late bunch of cuts for the warm months, a collaborative collection of tracks to mark their first Summer Heat series. London disco nutter and label regular Deadly Sins delivers six cuts in total, starting with the sublimely funky "Keep It Hot" and ending with the synth-heavy "Dance Star", an instantly hummable tune that's full of good vibes. DBC serves up three equally charming and effective disco tools, the killer in the lot certainly being "Jump Dub", an instrumental boogie attack with a dubby twist.
Review: The latest instalment of Giant Cuts' well loved Disco Boogie Classics series comes from Doc Jam, a regular label contributor who's more than a little nifty with a rusty scalpel and reels of quarter-inch tape. Of the three "authentic disco modifications" on offer, it's lead cut "Under The Knife [A Special Reconstruction]" - all breezy Latin horn lines, jangling pianos, squidgy synth bass and delay-laden vocal snippets - that really floats our boat. That said, there's much to admire about the deep, dreamy and soulful "Tuckers Luck", and the hazy, sun-kissed soul party jam that is "Summer Sugar". In other words, it's another essential selection from Giant Cuts.
Review: Giant Cuts' mysterious Disco Boogie Classics series has a simple aim, namely to provide DJs with on-point, contemporary dancefloor rearrangements of vintage gems. There are four more (un-credited) edits to choose from here, beginning with the rolling, feel good disco-funk grooves and tight boogie bass of "Super Lover". "Make My Dreams" is a slightly tightened up, expertly rearranged version of a boogie/'80s soul killer, while "Scratch The House" turns a low-slung, disco-era funk jam into a filter-heavy, house-friendly roller. Finally, "I'm Serious" takes a trip into the piano-and-synth heavy world of disco/boogie crossover, offering up a breezy interpretation of an Aleems-like groover.
Review: Giant Cuts have been releasing their own disco re-edits for three years now. However, this is only their second collection to concentrate on the boogie side of things in all that time. What we get are three 'lovingly re-worked' tunes (although they don't credit the original artists) "You Got What It Takes" features funk fuelled guitar licks, live brass and one killer bridge. Elsewhere "If You Don't Wanna Be" is dreamier with mellow sonic swirls that open into a super joyous chorus and "Over & Over" sounds like it was recorded live at one hell of a house party!
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: The previous instalment in this re-edit series saw Doc Jams handle the scapel duties but now we have "Volume 9" and we think they've all been handled by label boss himself, David James. Anyway what we get is four prime slices of dancefloor gold: "She Calls Me" kicks off as a perfectly taut example of early 80s New York boogie (think late period Chic), "Sky Is The Limit" goes further into the 80s with synthy riffs and super-twangy bass and "The Rabona" is all disco diva breathy vocals and live vintage 70s live groovin. Lastly "It's Only Me" is classic string-laden, rubbery disco funk-pop.
Review: The Giant Cuts label muster up Volume 3 of their Disco Boogie Classics series, which this time open with the Bootsy Collins-esque cowbell ring funk of "Hooked On You (A Special Feeling edit)". Had it been the early '70s, the string lead instrumental and guitar licked sway of "Body 2 Body (More Lotion edit)" would make the ideal soundtrack to a Blaxploitation montage, while the synthesised Caribbean funk of "Leg Over (Uptown) edit" is best served in a hot loft, with platform shoes and a whole lot of punch.
Review: Having concentrated on other aspects of '70s retro dance for ages, re-edit maestros Giant Cuts have switched focus to the boogie side of '70s disco of late. It's good news for us, as this means we can rely on a steady stream of dancefloor dynamite, and "Disco Boogie Classics Vol 4" is no exception. "Killing Me" is raw and loose with a 'chugga chugga' guitar line, brass stabs and some sassy breaks. "Wake Up" is glamour-heavy lady-disco and "Hooked Up" is a killer jam, more underground, and with a Paradise Garage swagger. Hats off to Giant Cuts once again!
Review: Since beginning his scalpel-wielding career with a pair of 7" singles on Buried Treasure, Doc Jam has become a tried-and-tested member of the Giant Cuts family. There's naturally much to admire on the mysterious producer's latest missive for the label. He kicks things off with a terrifically on-point re-shape of Exodus' 1982 New York classic "Together Forever", seemingly stitching together elements from both the Vocal and Dub versions to create something delightfully dancefloor-friendly. He switches things up a little on "Love's Not Real", reaching for the filters to breathe new life into a rubbery disco obscurity. Finally, he presses the button marked "disco funk" with the superbly dubby, party-ready, bassline-driven shuffler "Rockin' Gordon".
Review: To celebrate Record Store Day 2015, re-editor Doc Jam delivered an excellent 7" of soulful reworks on the previously unheard Buried Treasure imprint. Here he returns to Giant Cuts - a label he last blessed with his presence back in 2013 - with a quintet of heavyweight disco edits. There's naturally much to admire, from the sweaty, all-instrumental rearrangement of Dan Hartman's "Relight My Fire" (re-titled "Vertigo Dub"), and impressively low-slung, slap bass-propelled "Special Feeling (Extended Mix)" - a sneaky rearrangement of an old Inner Life gem - to the sinewy chug of "Don't Cha No (Edit)", and string-laden madness of "You Likey". Arguably best of all, though, is "Midnight Dub", an extra-percussive rework of a T Connection gem well known to break fiends around the World.
Review: Some three years on from his last outing on Giant Cuts, man of mystery Doc Jam offers up a quartet of heavyweight disco-house loop jams aimed fairly and squarely at peak-time dancefloors. He sets his stall out via "Leaving", a loopy, bass-heavy affair that sounds like Tiger and Woods tinkering with a deep disco-funk jam rather than their usual boogie and Italo-disco inspirations. "Super Dub" is a breezier, delay-laden take on the same bumpin', life-affirming template, while "Rhythms" is deeper, hazier and more percussive with a mildly reduced tempo. Finally, he offers his loopy house take on an often-edited disco number full of headline-grabbing horn riffs, rubbery bass guitar and cut glass orchestration.
Review: It's fair to say that Doc Jam is now a fundamental pillar of the Giant Cuts family. His supremely funky disco edits are a constant pleasure on both the ears and the dancing shoes, leaving us without a single bad word to say about the dude. "People Keep On" is a glorious, house reintegration of a classic NY disco nugget - a slice of pure house genius with a funky swing - whereas "The Feeling" feels more contemporary...less infused in a 70s flavour, but still as hummable and alluring as ever. "Your Loves The Best" caps this tight little EP off with a soulful, majestic deep house flex.
Review: It's been three years since the last installment in the "Giant Cuts Presents" series, so this fiery and funky four-tracker from Mexican hero Hotmood is long overdue. He's naturally in fine form, brilliantly joining the dots between loopy disco edits, James Brown and groovy deep house on tasty opener "The Rhythm Is There", before serving up a slightly deeper flavour of disco-house on the dewy-eyed bounce of "My Darling (Dina)". Doc Jam does his best Tiger & Woods impression on his loopy and life-affirming house revision of "The Rhythm Is There", while closing cut "Tropical Space" is an inspired fusion of jazz-funk, disco-house and evocative tropical jazz samples that's as summery as test match cricket, family barbecues and disappointing package holidays to half-built Spanish seaside resorts.
Review: There's not much info about this latest offering from the Giant Cuts camp, other than that the four tracks are "classic disco modifications". In practice, that means expert cut and paste re-arrangements of the kind of vintage disco material that was once all the rage in New York City. Check, for example, the early Leroy Burgess vocals, rising orchestration and extra-percussive groove of "Nut Butter", the "Open Sesame"-era disco voodoo of "Aladdin's Groove" - here made even more alluring by the addition of some tasty dub delay - and the break-driven disco-funk thrills of "Wooden Doll", which sounds like a rework of a forgotten T-Connection cut. Also superb is the celebratory bounce of "Dance Party", which smartly focuses on a rubbery groove, layered percussion hits and memorable vocal passages.
Review: Thanks to previous appearances on Disco Deviance, To Rack & Ruin and Special Edition, SHMLSS are firmly established as one of the most talked about re-edit teams in the business. On this latest outing for Giant Cuts, both cuts keep both eyes firmly on the dancefloor, whilst offering just the right balance between disco purism and contemporary production nous. "Stand Acid Edit" does this by adding subtle acid lines to a slowly rising, stretched-out, extra-percussive disco workout, where bold cowbell lines mingle with foreboding piano riffs, punchy horns and swirling strings. "Get Up Dub", on the other hand, brilliantly builds up a stripped-back, effects-laden groove, before unleashing a killer disco groove, righteous horns and sing-along chorus vocals.
Review: With this four-track salvo, Giant Cuts has decided to try something different. While previous releases have largely focused on disco and boogie, 80s New Wave Classics sees the label's mysterious re-editors take their scalpel to a quartet of skewed synth-pop classics. First up is "She Calls Me", a joyous fusion of baggy piano lines, rubbery fretless bass, chiming synthesizer melodies and tongue-in-cheek vocals, before "My Precious" delivers a heady trip into sharp electro bass, AOR guitars and sleazy vocal breakdowns. "Make A Change" is a vests-off interpretation of a thrusting, Bobby Orlando style Italo-disco chugger, while "2 Pies" expertly tiptoes the fine line between eccentric 12" remixes and club-focused synth-pop dubs.
Review: The sixth installment in Giant Cuts' Disco Boogie Classics series comes from scalpel maestro DocJam, who here provides a quintet of "authentic disco adjustments". While there are a few subtle house tricks and modern effects here and there, for the most part these are authentically old-fashioned, largely instrumental re-arrangements of the sort disco DJs have been doing for decades. That's no bad thing, though, given the quality of the source material (France Joli's "Gonna Get Over You" on "Get Over It!", Gaz's "Sing" on "Double Sing", and so forth). The string-laden, sun-kissed disco grandiosity of "Dancin (Is The Only Way)" is probably our pick, though the digital-only "Make It Happen (Bonus)" is also pretty darn tasty.