Review: The mysterious Belabouche is back after top releases on the likes of Paper Disco, OBM Rec. and Thunder Jam in recent times. For Katakana Edits' 64th edition, he serves up a bunch of respectful edits here optimsed for maximum dancefloor potential. First up is "Sneakin Up Behind You" and indeed its groove certainly will in super lo-slung fashion. Some deep down and dirty funk action awaits you on the sexy-sleazy "Once You Get It" and prepare to venture into the exotic on the sultry latin action of "O Preguicoso" featuring some mad rhythms.
Review: Nothing cheap about the complier of the latest installment of Katakana Edits series. Cheapedits has lined up a sizzling selection of party-orientated scalpel jobs, and gives The Supremes a thorough early 90s hip-house makeover on "Stopin". Inxs get a sleazy big beat facelift on "Tonight", and it's all about the vintage 60s shuffle on "Blacktel". "Buyer" provides some poppy ska and "Qui Qui" wraps things up with closing-time-at-a-tequila-bar vibe.
Review: Having previously plied his trade on Tonbe's Disco Fruit label, re-editor Disco Funk Spinner transfers to Katakana Edits. Providing the ongoing series' 40th release, the Tel Aviv-based producer delivers a trio of tidy reworks. "Breakfast Jam" is bold and brassy, offering a chunky, hip-wigglin' version of a lesser-celebrated Michael Jackson workout complete with crashing drum breaks, scratching, clipped guitars, bold horns and impassioned, freestyle vocals. "What's Your Name" expertly cuts up David Bowie's "Fame", emphasizing the original's killer disco-funk groove along the way, while standout "Written Letter" extends a sweet soul gem, in the process turning it into a six minute club workout.
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: Clarivo and Ivan's Hungary/Germany dub connection continues with another series of surgically edited funk-ups. Lee Perry enjoys the treatment on two occasions: "Soul Man" gets a bold wonky swing, echoed guitars and full focus on the golden harmonies while "Justice To The People" gets a chuggy rub with big dubby FX on the vocal elements. Elsewhere The Originals' "Got To Be Irie" is shaken with a mild lovers rock 80s feel, underpinned by some strange stretchy bass textures. Finally Black Uhuru's "What Is Life" gets massaged with a neat dab of disco. Consummate.
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: The Katakana Edits series reaches #70. DJ Laurel - also known for his work on Greek label Chopshop - is once more in charge of the virtual razorblade and sticky tape for this latest collection, which draws largely on source material from the 70s soul pantheon. 'I Can't Stop Ya' adds an outsourced spoken vocal and some fine sax noodling to a Ty Karim nugget of (nearly) the same name, 'It Only Happens' lends the late, great Aretha some extra lounge-y swing, while 'The More I Want' dares to take on the Teddy Pendergrass classic and actually manages to get away with it.
Review: Chopshop regular DJ Laurel returns to Katakana Edits - an imprint he's graced a number of times before - with a five-track selection of tried-and-tested revisions. He begins with a rolling revision of a full-throated disco-funk slammer ("Jam, Jam, Jam") before whipping off his shirt and dancing towards peak-time disco release via the spiraling madness of "I Will Get You Some Help". Those seeking loopy, piano-driven peak-time insanity should head for the bluesy brilliance of "Going For Another One", while "Just A Matter of Time" is an epic, everything-but-the-kitchen-sink slab of synth-laden AOR disco. Fittingly, he finishes with a bustling, tooled-up take on Evelyn "Champagne" King classic "Shame".
Review: Five more vintage cuts get a 21st Century refix from the ever-prolific Katakana camp, this time with DJ Laurel at the helm. The Chi-Lites' 'You Don't Have To Go' from 1976 is first to get the treatment, followed by Razzy Bailey's 'I Hate Hate', a 1974 country-soul gem that was something of a northern soul anthem and here gets served up in Disco Rework and Funk Rework flavours. Those first three rubs are all quite faithful to their respective originals; more liberties are taken with Benny Golson's 1978 rare groover 'I'm Always Dancing To The Music', which gets a boogiefied makeover and an added rap vocal, before finally Sam Cooke gets funked up and just slightly retitled on 'Stay By Me'.
Review: Lavr Berzhanin (DJ Laurel) returns with five more re-edited dancefloor nuggets from days gone by. Or perhaps four because, confusingly, raw funk-soul jam 'Hot Pents' comes in two near-identical versions, one 4:06 long and credited to Heavy Funk, one 4:26 long and credited to DJ Laurel. Go figure! Elsewhere, 'Windy City' reworks Lou Rawls' 'Dead End Street' (a 1967 spoken word cut that predated both Last Poets and Gil Scot-Heron), 'Stop Your Teasing' draws on an unknown disco source for inspiration, while finally 'I Don't Need Nobody Else' adds a little more dancefloor oomph to Eddie Kendricks' 1981 soul jam of the same name.
Review: The 'Katakana Edits' series dives headlong into its second century with a five-tracker from label stalwart DJ Laurel, and the Belarussian re-edit don has dug nice and deep this time out. 'You Are My Everything' is based on The Real Thing's 'You To Me Are Everything' (1976) and 'Everybody Needs Somebody' and Ann Margret's 'Everybody Needs Somebody Sometimes' (1983) gets reworked as 'Everybody Needs Somebody'; the source material for the rest has our disco detectives beat (despite the nagging familiarity of that main riff on 'Take Me'), but that surely just makes these tracks even more effective as DJ weapons!
Review: Under the DJ Laurel alias, Lavr Berzhanin has proved to be one of Katakana Edits' most reliable re-editors of recent times. We've lost count of the number of EPs he's delivered for the prolific imprint, but they're all rather good - as is his latest expansive effort. There's much to get the blood pumping across the six-track salvo, with our favourites including the rubbery, bouncy and glassy-eyed disco bliss of "All I've Got", the soaring, horn-heavy soundscape disco-soul shuffle of "Battend Ships" [sic], the blue-eyed soul goes drum and bass bounce of "Cookie" and the wah-wah guitar sporting two-step soul goodness of closing cut "Annie Mae". In other words, it's another rock solid collection of tried and tested reworks.
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: 62 collections deep and still blazing up any party in a 1000 mile radius; Katakana deliver yet another fun and funk-fuelled package. All laced with a heavy rhythmic theme, attention to groove detail is paid throughout as we're treated to range of classic and deeply dug edits. "Galaxy" sets the tone with a sleazy strutting war cry before we're hurled into a Latin frenzy on both the sultry "Camina" and the bull-fighting "Descarga". Elsewhere "Leroy Loves Ya" brings the soulful touch and "JB World" closes with a little psychedelic mystique.
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: 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: 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: Known for his work on Midnight Riot, Sound Exhibitions and Disco Fruit, among other labels, here London-based Argentinian producer Fabiolous Barker comes to the Katakana stable with three very fine re-edits. 'Only Fools Fall In Love' is a midtempo groover with female vocal harmonies, subtle guitar chops and an overall early 80s boogie vibe, 'Sending My Love' centres around a full-phat funk bassline and the Cameo-esque male "sending my love from me to you" vocal, while finally 'Weakness' has a male scatted vocal and tinkling keys. The source material has our disco detectives beat this time out, but all three are eminently spinnable.
Review: A DJ since the '80s, Argentinian by way of London Fabiolous Barker has appeared previously on Midnight Riot, Masterworks and Funkfusion and presents us with some quality disco edits. "Sticky Party (ReVamp 2016)" is a funky excursion to soul heaven that you'll never forget, while it's back to the disco on "The Boogie" which reworks Uncle Louie's "Full-Tilt Boogie" from 1979. "Into The Disco Scene" is the kind of recycled disco loops that Thomas Bangalter would be proud of while "The Crown" mashes up a few disco nuggets actually, but absolutely to perfection; try and guess which ones... but don't forget to dance!
Review: Three very serviceable re-edits here from the ever-prolific Katakana stable. It's a brave man or woman who thinks they can improve on a Prince track, but 'Push It!' makes a surprisingly good fist of 'Push' all the same, beefing up the beats 'n' bass for the house/disco floors while keeping the original's Sugarhill-like funk intact. Not sure where 'La Cotorra' is sourced from but its disco bassline, energetic hand percussion and frantic, almost angry-sounding Spanish-language vocal will rock floors without doubt, while 'I'll Send You All My Love' closes out the EP on a Balearic note, looping up Chris Rea's 'Josephine' to hypnotic effect.
Review: The prolific Fabiolous Barker gets his eager little re-edit mitts on a further 16 vintage cuts as he serves up the 99th EP in the long-running 'Katakana Edits' series. Among the tracks getting the treatment this time around are Prince & The New Power Generation's 'Push', Chris Rea's 'Josephine', The Michael Zager Band's 'Let's All Chant' and Perucho Conde's 'La Cotorra', an evergreen Latin funk nugget from 1980 that was penned as a Venezuelan "answer" to Sugarhill Gang's 'Rapper's Delight'. Some fairly obvious choices there, but the rest of the EP draws on more obscure disco/funk/boogie sources, so dive on in and enjoy!
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: 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: You could never accuse the Katakana Edits stable of sitting on their laurels - they deliver a seemingly endless supply of re-edit action on an almost weekly basis. This time out, the man at the controls is FL, who takes us into beats/leftfield territory with four edits that draw on film soundtracks by way of inspiration. 'Bloody Dance' is scratch-tastic, 'Last Monk' majestic and sweeping, 'Broken Days' jaunty yet delicate and 'Forgotten Tearz' ponderous and melancholic, with all four tracks featuring western movie strings/brass (think our gunslinger anti-hero riding slowly into a deserted Mexican village) and/or martial arts vocal samples prominently.
Review: Its not just noted Twitter collage artist Coldwar Steve who has a thing for tinned pies. Fray Bentos, a Midlands-raised re-editor and rework merchant, is such a fan of the 1970s favourite that he named himself after it. There's something fittingly meaty about "Groove To Get Down", the opening cut from the producer's latest Katakana Edits outing. It offers up chunks of jazz-funk piano, finely diced synth flourishes and a hearty vocal in a thick disco funk gravy. You'll find more horn-heavy heartiness in the shape of rolling disco-funk workout "Night and Day", while "Love For The Sake of Love" sees him extend, beef-up and slightly pitch-up one of disco's better-known dancefloor slow jams.
Review: Just under six months on from his last outing for the prolific rework label, tinned pie enthusiast turned hotshot re-editor Fray Bentos returns to Katakana Edits. He starts in typically strutting fashion, offering a slightly heavier and beefier version of Wild Cherry's funk-rock classic "Play That Funky Music" that subtly shifts from dubbed-out dancefloor stomp to full-throttle party madness over the course of six sizzling minutes. "House of Bricks" does a similar job on a hazy, horn-heavy chunk of flash-fried disco-funk goodness. This is perhaps a little more reverential than the producer's Wild Cherry revision, though it still boasts house-friendly beats to appease those who can't be bothered mixing records with live drums.
Review: Over the last few years Fray Bentos has proved to be one of Katakana Edits most reliable contributors. Here he hits the mark once more with another double dose of pie-eyed reworks. The pastry-loving producer begins with "Lose Your Love", a gloriously meaty and celebratory re-edit that successfully tools-up and stretches out an Emotions classic for guaranteed extended dancefloor pleasure. It's really rather good, all told, though the accompanying "Soul Casserole Edit" of "Grapevine" (yep, you know the original) is arguably even better, in part because it builds tension via an extended instrumental section before unleashing the song's oh-so-familiar verses and chorus. Whether either track needed tampering with is debatable, but these are undeniably excellent alternative edits.
Review: Oh dear, the Katakana edits are back once again, and that means pure and vibrant disco-house vibes for all shapes and sizes. Fray Bentos returns in fine style with two cuts, starting with the bumpy, utterly groovy "Body Down", followed by the deeper, more majestic jazzy feel of "Night Giver" - oh, those strings! DJ Laurel's up next, bringing through some proper stylish funkiness with "Yes I Know", sampling the late, great Pino Daniele on the vocals, while "More Shame" goes for the tribal touch, pushing through some lovely horns and a magnificent sway of seductive trumpets for that sexy feel. Yet more Katakana goodness!
Review: Fray Bentos is Adam Billingham - currently a resident DJ with Brighton's infamous Soul Casserole crew. He has supported the likes of Norman Jay, Craig Charles, Don Letts, Giles Peterson and The Reflex during his tenure. He returns on the trusty Katakana Edits with more handy resplices of golden oldies for modern audiences, supported by Goji Berry and Hawwis here for the label's 58th edition. Bentos' "Magic Work" is a lo-slung affair with a rolling funk bassline and some shimmering synth work - it's an edit of something quite familiar you think - but then that vocal dops and it finally hits you! Greece's Goji Berry delivers some smooth Italo styled business on "Mama" while Manchester's Hawwis serves up the sweltering Afro vibes and gets totally spiritual on "Amiga".
Review: Katakana Edits hail from Scituate, Rhode Island and are responsible for edits, re-edits, bootlegs and mash-ups only! Fair enough! The bulk of their new EP comes courtesy of Fray Bentos who is originally from the Midlands - where he cut his teeth blagging sets with the free party scene in the early 90's. He then lived in London where he ran his own night Deep Fried for 15 years. He's currently a resident DJ with Brighton's infamous Soul Casserole crew who have supported the likes of Norman Jay, Craig Charles, Don Letts, Giles Peterson and The Reflex. There's some familiar hooks on these fine edits such as on "Hot 2 Trot" which is absolute fire. "Come & Get It" has some some Summery NYC circa the '70s styled heat. Finally there's a track by Russian duo SO KA with "Loveliness". Their edit going for some smooth Curtis Mayfield styled flavour. Respectful edits on offer here.
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: Having contributed tracks to a number of their compilation style EPs, the Katakana Edits crew has finally offered Goji Berry a solo release. The mysterious re-editor has grasped the opportunity with both hands, delivering two killer rubs that should make their way into the playlists of lots of discerning DJs. First up is "Night and Reggae", a bouncy, hands-aloft-at-a-beach-party revision of a little-known 1980s pop-reggae number full of sweet vocals, jaunty horn stabs and rolling synthesizer basslines. "Wouldn't I" is similarly sweet, synth-heavy and 1980s in origin, with a chunkier house beat, eyes-closed guitar solos and dreamier chords adding to the holiday mood.
Little Prince - "Getting Down To Cuba" - (6:40) 118 BPM
Goji Berry - "My Man" - (3:44) 109 BPM
Goji Berry - "In The Heat" - (6:58) 98 BPM
DJ Laurel - "Right On" - (4:14) 72 BPM
Review: The 54th EP from prolific rework imprint Katakana Edits is a triple-header, featuring hot new cut-jobs from Goji Berry, Little Prince and DJ Laurel. The latter's "Right On" is an undeniably sweet and soulful affair, with the producer underpinning slick '80s soul vocals and rising disco-funk horns with a low-slung, filter-heavy breakbeat groove. Although Little Prince's "Getting Down To Cuba" is an undeniably cheery peak-time affair - he adds a little house flavour to a Caribbean disco classic - the undoubted star of the show is Goji Berry. The producer serves up a trio of edits, with the hybrid Italo-disco/ electro-funk jauntiness of "I Need" and slow-mo, saucer-eyed vibes of "In The Heat" standing out.
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: 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: 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: To celebrate a quarter century of releases, Katakana Edits has decided to do things differently, eschewing disco and afrobeat jams in favour of a six-track set of reggae, dancehall, ska and ragga reworks from Athens-based ManJah. His formula is simple: take a variety of cuts, and give them a massive boot up the backside to make them more appropriate for contemporary dancefloor plays. In some instances, this means adding toughened-up hip-hop style rhythms ("Kingston Knowing", "Smoking My Ganja"); at other times, he's more interested in the 4/4 shuffle of pitched-down house (the excellent "Raggamuffin"). The results are never less than solid, with the rich, head-nodding sweetness of "Roam" and "Rudies" standing out.
Review: Greek re-edit king MaJah has found that his cheeky productions work in his favour; the producer is being re-enlisted to take charge of another volume in Katakana's edit series (he only just recently helmed vol 25!). This time he presents six new tracks, again laying off the disco/Afro in favour of different sounds. Highlights include the lazy funk rock of "Sleaze", the big-beat-goes-big-band-isms of "Give Me What You Got" and the vintage reggae rhyme hip-house crackler "Volume".
Review: For their latest two-track trip into peak-time party territory, the Katakana Edits crew has recruited a couple of break-digging artists from Greece: MCurdit and former Timewarp sorts Funkin' Basstards. It's the former who kicks things off with the low-slung, head-nodding, hip-wiggling bounce of "Brooklyn Bount Sq.", where aggressive (sampled) rap vocals rise above heavy bass and chunky beats. Funkin' Basstards, meanwhile, jet to sunnier climes via a funky and chunky, slightly tooled-up mid-tempo breaks revision of a Tito Puente style mambo workout. It's really rather good, all told, with jaunty and memorable horn lines, timbales and Cuban vocals all emphasizing the track's party-hearty Latin mood.
Review: For the 48th instalment of the popular Katakana Edits series, the shadowy figures behind the rework stable have turned to Mister Vagz, a producer who has previously contributed to a couple of other label EPs. It's pleasingly varied, with Vagz effortlessly switching between spaced-out, bass-heavy mash-up pastures (the reggae/hip-hop/funk-rock hoedown of "Stopper Wayz") and echo-laden electrofunk-rap business ("Get Ice On It"). Throw in the pitched-down soul meets classic hip-hop shuffle of "Supernatural Soul" and the heady soul breeziness of "Wondrous Regulate" and you've got a fine EP of grown-up mash-ups. In three words: mature party-starters.
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: 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: 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: Party orientated re-edit man Morlack is the latest name signed up to curate a Katakana Edit compilation. Here on number 41 the 80s obsessed producer catches us on the wrong foot with the dubbed out reggae rework of Michael Jackson's Don't Stop Til You Get Enough. Normally known more for his boogie tastes, this dubby version is a real treat. "Funk & Roll" is a celebratory funk and breaks sing-along and the beefed up Afrobeat of "Ubirantan" is the best track on here. Party season has arrived!
Review: Paris-based Ben Morlack is the man at the controls for this latest addition to the ever-growing Katakana Edits series. 'Rainbow Mash' is just that: a mash-up of styles with house, big beat and P-funk influences thrown into the pot and serve up as a gloriously energetic dancefloor romp topped with a "party down!" vocal and a rolling, house-y piano riff. 'That Girl', meanwhile, beefs up Maxi Priest and Shaggy's 1996 ragga hit for modern dancefloors, while leaving the 'Green Onions' riff on which it's based intact. Both tracks can be safely filed in the box marked 'party-starters'.
Review: The chopper king himself Morlack returns here to the legendary Katanaka Edits imprint here with four stunning recreations, showcasing just why he is held in such high esteem by all of us here at Juno. The first track 'Here Comes The Hook' combines soulful, uplifting horn melodies with punchy drum moves for with fantastic results, whilst 'Here I'm' applies a similar format to some classic disco vocals. Next, 'Sossego' leaps to the forefront with some smooth, bluesy guitar riff, which is followed by the psychedelic grooves and twists of 'Lucy On Skate' to see out the EP in style.
Review: Parisian man of mystery Morlack is at the controls for this latest installment in the long-running Katakana Edits series, bringing us four more reworks of dancefloor cuts from days gone by. 'Terapeutica' tops a lolloping funk groove with brass parps and James Brown-like shouts, while 'Que Pasa' revisits Coati Mundi's 'Me No Pop I' from 1982. 'Manyoma' is a frothy, party-tastic cocktail of Latin, lounge and Afro influences, while completing the EP is 'Hot 4U', a more struttin', stripped-back disco jam with a late 70s kinda feel and, as the track nears its end, some scorching sax work.
Review: Congratulations to the Katakana Edits crew, who have now reached a half century of releases. Their 53rd EP comes from the mysterious Ben Morlack from Paris. He's had other releases recently on Funk Blasters, Breakbeat Paradise, Relative Dimensions, Homebreakin, Tru Funk and Boogie Boutique: so you know where this guys coming from! "Train" is a well funky joint with some super powerful vocals retained from the original of this fine track - that sounds quite familiar. Next up you get served to some serious soul power on the wicked "There It Is".