Katakana Edits is a label that’s been editing and re-editing disco, funk, breakbeat and broken beat with pure soul and groove since 2012. ‘Made in Earth’, the label has seen dusty and delicious edits from the likes of: Disco Funk Spinner, The Gaff, DJ Laurel, Timewrap, Voodoocuts, Manjah and more.
Review: Hard on the heels of volumes 133 and 128, MBO returns with his third contribution to the long-running 'Katakana Edits' series, and two tasty little nuggets he's served up too! In the blue corner we have 'I Can't Stop', a funk-fuelled disco chugger (origins unknown) with a female vocal intoning the title, a slinky-assed bassline, brass fanfares and some seriously soaraway sax work. In the red corner, meanwhile, there's the slower-moving 'Once You Get It', which reworks the BT Express cut of the same name (from their classic 1974 long-player 'Do It ('Til You're Satisfied)').
Review: The latest in the 'Katakana Edits' series sees GreySkoolEdits reaching back to two different eras in the long and storied evolution of Da Funk. In the red corner there's 'Trouble In My Mind', a reworking of Sir Joe Quarterman & Free Soul's '(I've Got) So Much Trouble In My Mind' from way back in 1973, while there's more "trouble" to be found in the blue corner, where we find the Greys revisiting Troublefunk's 1982 go-go fave 'Pump Me Up' - this time, somewhat unusually, augmenting the source material with some brand-new scratch shenanigans courtesy of UK turntablist The Incredible DeeJay Random.
Review: A worldly trawl through some excellent global retro gems marks out this latest set of "Katanka Edits" by Jorge Bits. From the wild and crazy Latin funk of "La Bomba" to an excellent edit job on The Spinners' classic soul jam "It's A Shame", Volume 5 comes loaded with five perfect and surprising floor-filling funk workouts.
Review: In keeping with the previous five releases in this series, Vol 6 of Katakana Edits once again takes vintage tunes and chops 'em up, adding extra modern percussion and the like, to deliver contemporary dancefloor fillers with an old skool twist. This release uses very old songs as the basis for each tune: vintage blues for the Moby-esque "Run Blind", Latino mambo on "Pussycat" and Mexicana on "Yiri Cumbia". Conversely, and perhaps to keep the audience on their toes, "Bitch Boot" features samples of foul-mouthed rap including "My Neck, My Back" by Khia!
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: TMW warms up his edit mangler and sharpens his scalpels to go to work on a fabulously exotic set of rarities that swing through Balkan beat, Latin and indeed Swing on this invaluable five track Katakana Edits EP. The Eastern '60s pop of "Koulouri", the Northern Soul stomp of "Dr. Ray" and the electro-swing of "Ain't Swing It" especially all make for very canny DJ food for spinners of a far-out persuasion.
Review: If you're looking for some cheeky, party-starting music with a difference, this selection of electro-swing re-edits could be perfect. Featuring reworks that range from straight-up swing ("Swing In Rome"), and sweaty mambo-house ("Vira IV"), to heavyweight Arabian jams given a contemporary twist ("Caravan Boot"), there are plenty of horn-toting global rhythms to enjoy. By far and away the best track, though, is closer "Drum & Salsa", which dispenses with additional kits and house production trickery in favour of intricate percussion, Latino swagger and choice vocal samples. Does what it says on the tin. Well, kind of.
Review: Since making his bow on Katakana Edits last April, Amsterdam-based Brit Gary Shepherd AKA Streamer has become a reliable source of cheeky re-edits and reworks. Unsurprisingly, the producer's latest outing - his first of any kind since July 2018 - contains four more high quality revisions. He begins by joining the dots between stab-happy funk, hip-hop heroes House of Pain and acid funk on "Pain Around", before turning a Cajun style hoedown into a skittish, rap-sporting drum and bass roller ("The Fastest Gumbo"). Arguably even better is his punchy, horn-heavy bossa-boogie take on Beats International classic "Just Be Good To Me", while "Feel Good (Funksploitation Version)" is a dub-wise workout rich in James Brown samples and fuzzy horns.
Review: The ever-reliable Katakana Edits crew returns, this time with a quartet of goodtime funk reworks from Berlin-based edit fiend Voodoocuts. James Brown gets a going over on "Voodoosexmachine", a flute-laden re-cut of the Godfather of Funk's best-known tune. Another familiar favourite - check the snaking sax line, as sampled by The 45 King on B-Boy classic "The 900 Number" - is given a dancefloor touch-up on "Blow Ya Woopie", while "Get Up Brother" turns a cover version of Bob Marley's "Get Up, Stand Up" into a deep, bassy, fluid house jam. Finally, there's more bumpin' rare funk business on the ludicrously bottom-heavy "Stay Excited".
Review: Katakana Edits regulars Timewrap return to the ever-reliable label with another trio of dancefloor-focused reworks. Perhaps the headline attractions are the two alternate takes on Duran Duran's '80s classic "Girls On Film" (here re-titled "Girls on Drugs"). Both versions (vocal and Dub, the latter of which is our pick) make much of the original's restless punk-funk bassline, tough (but tasteful) new drums and plenty of delay. Arguably even stronger, though, is "Yakayaka", a stretched out, tweaked and teased version of Monyaka's odd (but essential) 1983 reggae-boogie cut "Go Deh Yaka (To The Top)". Stitching together the best bits of the original and dub with new electronics and even more dubwise effects, it offers an excellent, dancefloor-ready alternative to the '83 12".
Review: Last spotted on volume 10, Katakana mainstay Morlack returns with six more distinctive edits and rubdowns. In keeping the series' Latin, jazz, soul and boogie motifs, each of these cuts oozes smooth funk sophistication. With a sound that ranges from Papa Levi's rapid chatter on the skank-packed "Trouble In Africa" to the slapbass and horn-heaved sensation on "We've Got", Morlack tickles every corner of the dancefloor with gusto. Essential.
Review: Oli Garch was last heard of covering Bryan Ferry; here he returns with five swingy cuts with a slight hip-hop bent. Things kick off with the Latin lounge-via-the-durrty-south vibes of "Rollin Stone", the instrumental "Oh My Man" goes way back for a Louis Prima-style sound married to trippy hoppy beats, "Get Your Enjoys" loops some vocals from a similar retro tune, whilst the two versions of "Hollywood Swings" explore the housier end of the electro-swing spectrum.
Review: The mysterious Crateditors is the man (it IS one man, we know that much!) at the controls for this latest in the long-running 'Katakana Edits' series. 'Jump Up Shake Down' (source unknown) finds us in party-hearty reggae territory with its lyrical homage to "a Kingston party in New York City," while 'Spaceship Love Affair' reworks 'Spaceship Lover', a space disco cut that was recorded in 1977 by Canada-based British singer Laurice (AKA Laurie Marshall) but not actually released until 2015. 'Memories' closes out the EP - again, the source has us beat but think torchy, hi-camp disco from the Grace Jones/Eartha Kitt school of thought.
Review: Vol 134 finds DJ Laurel back at the controls as he serves up three more reversionings of classic tracks. First to get the treatment is Chuck Brown & The Soul Searchers' 'Berro E Sombaro', an irresistibly danceable, Latin-flavoured cut from 1979's 'Bustin' Loose' album that recently saw a Record Store Day reissue and that was also revamped by Chewy Rubs a year or two back. Then it's the turn of Tomorrow's Edition's 'U Turn Me On' from 1981, before Laurel turns his attention to Chanson's 'Don't Hold Back' from 1978. All three will get 'em moving for sure but 'Funky Sambaro' stands out.
Review: The long-running 'Katakana Edits' series rumbles on, with regular contributor DJ Laurel back in the driving seat for #104. He's got us beat when it comes to source material for a couple of the tracks, but 'Ha Chica' is a tropical-style funk/disco cut sporting lively brass flourishes and an infectious sing-song vocal, while 'Strugglin' Together' has a mid-70s funk-soul vibe (think Curtis Mayfield, Bill Withers or even Gil Scott-Heron). Elsewhere on the EP, Laurel revisits William Wilson's raw, Ohio Players-esque 1978 funker 'Up The Downstairs' and Leon Ware's superb 1979 Minnie Riperton cover 'Inside Your Love'.
Review: For his outings on Breakbeat Paradise Recordings, Pecoe has served up party-starting, sample-heavy cuts that join the dots between funk, soul, disco and breaks, often mixing in raw and weighty basslines. For this Katakana Edits EP, he's switched to re-edits and hush-hush remixes, with predictably fun and funky results. He begins with 'Handle It', a smooth and gently loopy house style tweak of a killer disco gem with added hip-hop vocals, before expertly blending disco and R&B flavours on the loved-up lusciousness of 'Little Love Case'. 'I'll Be There' sees him tweak what sounds like a house-tempo, street soul-era cover of The Spinners' 'I'll Be Around', while 'Funky Situation' is a gritty and heavy pumper marked out by funk-rock guitar riffs and vintage rap vocals.
Review: The latest in the long-running 'Katakana Edits' series features five funk reworks, three of which we can identify the source for: Timmy Thomas's 1972 classic 'Why Can't We Live Together', Billy Paul's 'People Power' (1975) and The Four Tops' 'Are You Man Enough?' (1973). 'Stomp The Floor' has us beat, though, and as for 'Don't Stop The Music' - well, it isn't the Yarbrough & Peoples one, and nor is it any of the tracks of the same name by K.I.D, Cascade, Bugz In The Attic, Supermax, Bits & Pieces or Brecker Brothers! But it's a decent lil' funk/boogie groove all the same...
Review: The Katakana edit express thunders on with their 11th installment of party breaks. This time the overwhelming vibe is of retro soul, jazz and swing. The latter is handled with a Latin influence on "I'll Be A God Man" and "Lovely TV" by DJ Clairvo, while the amazingly-named DJ Oli Garch provides a breaky, swingy version of jazz standard "Summertime. Lastly Timewrap opts for some Cuban-tinged grooves on "Miami", as well as a cheeky retweak of The Velvelettes' Motown classic "He Was Really Saying Something".
Review: We can usually identify the source material of Padcore's re-edits, but he's got us well and truly stumped with the four cuts featured here, though the overall cinematic vibe leads us to suspect he may have been rummaging in bins full of soundtrack albums! In any case, 'Kayne' is a slow, looping affair with a vaguely western-ish feel, both of which are qualities it shares with 'Play With Fire', while 'Track 02' is a livelier number with what sounds like a mariachi brass section. 'Track 04' completes the EP on a more straight-up funk/soul tip. File under 'obscure esoteric pleasures'.
Review: The latest addition to the Katakana Edits party is the mysterious FH. Equally mysterious are the source tracks for the edits featured here. However there's no ambiguity about the standard of tunes though. There's five of them and unlike the more swingy vibes of the label's recent releases, "Vol 12" is going for a tougher funk vibe, almost rare groove in places. Highlights include the gritty "Down In The Basement", the percussive Latin jam "Diablos" and the loose and groovy "Yo-Yo Beat".
Review: The Katwana Edits crew can usually be relied upon to deliver reliable, floor-friendly edits that get just the right balance between contemporary dancefloor chops and original swing. This four-tracker from Timewrap and Lee Mazah is, unsurprisingly, pitched perfectly. The epic "We're Gonna Rule The World" cleverly blends a number of shuffling disco-soul classics, without ever sounding lie a needless mash-up. "Listen To This" ups the tempo, brilliantly chopping up a soaring, basement-friendly disco-funk jam. Lee Mazah's cheeky "Funky Cameron" goes straight for the P-funk jugluar (via an electrofunk take on the US national anthem and some ace party atmosphere samples), while "Revans" is an outlandishly groovy disco-funk stomper.
Review: How many edit series can boast reaching a tenth volume? Ok, well how many can boast of attaining ten successful ones? Here French funk party commander Morlack provides five new top-notch retweaks that take no prisoners. "Loose It" is a tight James Brown-style jam that occasionally veers into French electro territory, "Let's Boogie" is all funk grooves and tough hip-hop breaks, "Big Pill" is total rubberband disco-funk,"Capital S" is more electro-boogie and finally "Tough" wraps things up with a big ole slap bass and flute singalong!
Review: Usually, Katakana Edits releases have us furiously Googling lyrics to try and identify the source material, but for this latest volume Fray Bentos saves us a job, opting to work his magic on two very well-known tracks, Linda Clifford's 'Runaway Love' (1978) and Rick James' 'Give It To Me Baby' (1981). 'Linda's Marathon' is aptly named, as Bentos stretches out the original to a full 12:39, making for a sultry groove that'll go down a treat at Horse Meat Disco, while on 'Give It To Me (Unity Edit)' he goes for a struttier approach with a tech-house style "some Rick James, some Rick James" vocal loop for an intro.
Review: Fresh-faced funkateer Manjah steps up to the party-hardy Katakana series, and does so with distinction. It's a game of two halves as the first two cuts are dedicated to chanteuses Smokey Robinson and Donna Hightower. Both powered by swashbuckling 60s funk riffs, these are authentic edits done with true creativity. Later on in the EP we head West to the Caribbean as Manjah gets his skank on with Dancehall Queen. Those with a penchant for Greek taverna flavours should hold tight for the rustic groove on "Orienta Patria". Nice work.
Review: The latest in the 'Katakana Edits' series comes once more from label regular DJ Laurel, who delivers six soul/funk/disco cuts that, as a rule, seek simply to update the source material for contemporary floors rather than rework anything too radically. That source material this time out includes Herbie Mann's 'Hijack' from 1974, Millie Jackson's 'Never Change Lovers In The Middle Of The Night' from 1979 and Arthur Prysock's 'When Love Is New' from 1976 on a straight disco tip, as well as the lounge-y, Latin vibes of Carmen Costa's 'Bateu, Doeu' from 1973 - the other two have us beat, but all six cuts are very playable.
Review: The ever-dependable 'Katakana Edits' series rolls on, and while this latest installment might not win PECOE any deep diggin' brownie points, it does pack some very serviceable dancefloor-friendly reworks of classic cuts from days gone by. Leading the charge for this reviewer is 'Ice & Snow', which does unspeakable but very satisfactory things to Led Zeppelin's 'Immigrant Song', but elsewhere you get a fresh take on 'Jingo', 'Grandmaster Mash' fuses 'White Lines' with chunks of the rap from 'The Message', while 'Bold Sister' revisits James Brown's 'Bold Soul Sister' - leaving only the 60s deep funk source for 'You Can't Hide' unidentified.
Review: The long-running 'Katakana Edits' series reaches #94, with Parisian funk and disco producer Morlack at the controls and bringing us four tracks. Opener 'Wipe Mo' (source unknown) has a soca-ish feel, while 'Dance Dance Dance' feels like it's been reworked from an old African disco record. 'Wonderful', on the other hand, revisits Kid Creole & The Coconuts' 1982 hit 'I'm A Wonderful Thing Baby', while 'Whip' is a slowed-down, Temazepam disco reversioning of the Dazz Band's 'Let It Whip' from the same year. The EP as a whole will suit those who like their disco on the more leftfield side.
Review: To our mind, Fabiolous Barker is one of the most dependable re-editors around. For proof, check his previous releases for the likes of Midnight Riot, Alpaca Edits and Disco Fruit, and of course his latest outing on regular home Katakana Edits. "Let's All Chant (Everybody Move The Body Mix)" sees him making merry with a bold, sing-along disco workout rich in electronic bass, Chic style guitars, energy-packed handclaps and rolling beats. It sounds like a peak-time anthem in the making. On the virtual reverse you'll find the "Nobody Move The Mix" version), which strips out a lot of the vocals, offers a stripped-back and heavy build-up, and surprisingly showcases a clarinet solo. It works well, of course, though it's not quite as spine tingling as the other mix.
Review: The unstoppable Katakana Edits series rolls on, with Vol 85 coming from label regular(s) Padcore. First to get the Katakana treatment is the Beasties classic 'Intergalactic', while 'Sweetback' revisits Viola Wills' 1969 ghetto funker of the same name (which predates Melvin Van Peebles' Blaxploitation flick by two years, fact fans). 'All The People' cuts up an unidentified, lounge-y soul take on Blues Magoos' 1967 garage/psych nugget 'The People Had No Faces', while Esther Phillips' 1971 cover of Gil Scott-Heron's 'Home Is Where The Hatred Is' provides the basis for the EP's standout cut, heartbreakingly melancholic closer 'Home'.
Review: Katakana Edits comes rolling through with its 57th edition, and they've scoped out a new artist by the name of Vagz. Yes, you're in for some supremely heartfelt funk. "No More" kicks off with nothing but love and tears, ?Brother Man? travels at a much "cooler" tempo, "Umba" is an ode to Brazilian carnival funk, "Something That Can Make You Do Wrong" offers a bit of electronic meandering - a blend of deep house and boogie - and "The Only Way" is an out and out soul monster, literally dripping with delightful sensation. Strong.
Review: Next up on Katakana Edits is emerging edit wizard Gary Shepherd aka Streamer, an expat in Amsterdam who turns in a bunch of cheeky resplices here of some obscure covers and versions. From the deep, down and dirty rendition of Stevie Wonder's classic "Superstition" which gets high into the stratosphere, some spiritual African disco by way of reggae on a cover of "Lively Up Yourself" and likewise some more Jah dubwise shenanigans on the block rockin' beats of "Raggamuffin Soul".
Review: Volume 66 of the Katakana Edits is nothing but vibes from start to finish, and surely exactly what we need in the blazing summer months - edits, edits, and nothing but more edits! SO|KA's opening "Grease" is a dubby, weighty house chugger that blends effortlessly with juat about any form of dance tune, while DJ Laurel's "Lost In The Crowd" is a disco charmer that leads with horns and is backed by pumping beats, leaving the final "All Or Nothing" to provide the seductive charms thanks to a gentle r&b charm. Beautiful stuff.
Review: Has any re-edit imprint ever released more reworks than Katakana Edits? Certainly, we can't think of any. In the wrong hands such productivity would impact on the quality of the label's output, but Katakana keep delivering gems even as they nudge past 130 EP releases - as Those Guys From Athens' new EP proves. They start in fine fashion by turning a dusty disco-funk number into a lolloping chunk of locked-in, head-nodding mid-tempo goodness on 'Hello There' - think bouncy beats, weighty bass, addictive guitar licks, lazy horns and luscious vocals - before subtly tooling up an urgent, peak-time-ready disco workout on 'Off The Ground'. To round things off, they add their own trademark beats and filter effects to an early-to-mid-80s disco number (complete with attractive synth sounds) from what sounds like Thelma Houston.
Review: Something of a departure for the 'Katakana Edits' series here, as Pecoe, taking the helm for Vol 126, shifts the needle away from straight-up re-edits and moves it into the zone more properly labelled 'mash-ups', with most of the five taking an 'old meets new' approach. So contained herein you'll find The Whispers going head-to-head with Kelly Clarkson, Will Smith doing battle with Sister Sledge, Montell Jordan showing us how he does it alongside T-Connection, Hamilton Bohannon rubbing shoulders with US rapper Cupid and Busta Rhymes gettin' down with Unlimited Touch. File under 'surefire party starters'.
Review: Doctor Music recently released his Party Has Just Begun album on Timewarp, but this restless disco soul has already returned to his Katakana Edits series, releasing this, the 20th installment! "The Real Thing" is a slice of feelgood quality disco with an amazing, totally liquid bassline and golden honeyed (largely) female vocals. Looks like we'll be playing this one for months!
Review: Inventive re-edit maestro Vida G has invented edgy scalpel jobs for a plethora of recognised nu-disco labels, and now he commandeers the latest installment of Katakana's long running Edits series. We get two tracks - "Nu Soul", which sees stoner G-funk vibes fused with hazy filtered disco samples (it also gets a speedy adrenaline boost via Maikon's mix), and the choppy cut-hop of "Supa Soul", which is also remixed - this time in a swooshy trip-hop style by Timewrap.
Review: The latest curator of the esteemed series of groovy re-edits is none other than rising star, Ree Keen. There's four reworks featured here, all of which perfectly capture the noted diversity of his influences. Opener "Blue Devils" is all bluesy looped nonchalance, "Smooth Changes" is a party ragtime jaunt through Annie-style musical swing. "Horny Me Swing" is a mash-up of Mousse T and big band jive that's as improbable as it sounds and "Paper Bossa Loser" fuses vintage Beck with chiming, sunkissed bossa nova. It shouldn't work, but it does!
Review: Forever to be considered a spelling mistake, re-edit hero Timewrap handles creative duties on the latest installment of the Katakana Edits series. With just two tracks on this 32nd volume, it's a short and sweet affair, but hey, it's the holiday season. Timewrap certainly has holidays on his mind here with both tracks having a dubbed-out and rum-soaked sunny atmosphere, based around the riddim from the Willie Williams classic" Armagideon Time." The chunkier version wins it here.
Review: The latest driver to be given the keys to the Katakana Edits series is the Go-Go lovin' Morlack. He's delivered four sizzlers aimed, as always, firmly at the heart of the dancefloor. "Hang It Up" sees tough, breaky beats leading sassy brass, quirky bass and honky tonk piano, whilst "Bom Bom" is pure unadulterated 80s holiday cheese - imagine Black Lace on a bender in the Caribbean circa 1984 and you'll get the postcard. This theme continues with the digital-reggae sing-a-long "Ganja Man" before the pure, phased funk of "Love Thing" wraps things up in cool early '80s style.
Review: It appears that lately, the Katakana label have opted to keep their Edits Series releases shorter and more frequent. Here, we get the 34th installment this time features tracks by two different talents: RSN & Mister T who deliver the funky party breaker "Son Of A Gun" and the retro soulful big beat of "Dig It". Elsewhere Mister Vagz appears with the cheeky beefed-up mash-up, "Love Me Venus" (a blend of The Doors, Shocking Blue and 90s drum breaks!).
Review: High-grade schmokin' disco is on the menu here on the latest Katakana Edits installment, courtesy of Fabiolous Barker and Amir Perry. The former flexes his re-edit muscle over three beguiling tracks: the frisky funk fizz of the housey "Sing", the sultry low-slung "NightGrooving" and the punchy Flash & The Pan 80s rework "Why D'Ya Run Away". Perry mans the decks for the final tunes - the diva-funk strutter "Watch The Dub" which comes in both standard and extended versions.
Review: Katakana have thrown us a bit of a curveball for this, their 36th volume of their Edits series, with DJ Clairvo and Dr Ivan lending a reggae-tinged twist to proceedings. Opener "El Diablo" has a big beat swing with some digi-reggae vibes, "The Living Dread" is synthy, cut-up dancehall, "Stay Dread Now" ups the heavy riddims and "Grumbling" is a brass-laden feel-good closer.
Review: Lee Zamah has appeared on stargazing re-edit label Katakana before, but only on various artist EPs. Here on Volume 22, he gets to blossom with two of his reworks featured. "The Cator Groove" is fiery, tight and urgent '70s funk-rock, whilst "Ginga" is more emotional, with soulful loops and plenty of brass action. Overall a well-rounded EP.
Review: Normally one for the grand gesture (his last album boasted 27 tracks!), master of the gently nefarious art of the mash-up, Morlack, comes back down to earth to deliver a mere four edited disco gems for Katakana. As usual, the production quality of his sample-fuelled jiggery is second to none, with the slow and elastic funk of smoocher "The Dude", the slap bass twitcher "Morning", the stormin' electro-funk of "Dusic" and the raw, cowbell bustin' hoe-down of "Spinnin'" proving to be dancefloor devourers one and all.
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