Review: Very talented Leeds man Andy Buchan was for quite a while one of the biggest DJs in Dubai. Since his return he has had some successful tracks on labels such as Rare Wire, Editorial and now Thunder Jam Records: an independent label for promoting disco, funk and nu-disco. Starting off with a super low slung edit of a certain '80s NYC disco classic in the form of "Delayed Rapture, we then get into some Balearic slo-mo house vibes on "Better Things To Come". On "Techno Logic" we get some Madchester style dance grooves happening until "Dylan's Groove" ends proceedings in real style with this pumpin' funky house party starter.
Review: Grecian producer C Da Afro is notoriously prolific, delivering new reworks and edits on an almost weekly basis. The fact that he rarely puts a step wrong, despite this epic productivity, is particularly impressive. For further proof, check out the three nu-disco productions showcased on Don't Stop Groovin. There's something almost overwhelmingly positive about the cascading synthesizer melodies, tumbling lead lines, clipped guitars, and retro-futurist boogie grooves at the heart of "Unlimited Time", while "Don't Stop Groovin (Disco Dub)" melds the loopy, boogie-house funk of Tiger & Woods with the thrusting, disco-house hustle of vintage "French Touch" material. Further peak-time sweatiness is also supplied in the shape of "DiScO Sex", a raunchy disco-house stomper laden with twittering flute solos.
Review: The lads and lasses behind Thunder Jam were clearly impressed by Charlie Brown Superstar's re-edit outings on Alpaca Edits and Sound Exhibitions, as they've given the producer the chance to showcase an expansive selection of reworks. The six-track Keep On is quietly impressive, with the producer variously chopping up and rearranging peak-time disco anthems ("Keep On", the filter-heavy "Ain't No Way"), rolling disco-funk (the slipped, tooled-up beats and horn-toting hustle of "Please Don't Stop"), Stephanie Mills ("Got My Eyes On You", a loopy disco-house update of "What Cha Gonna Do With My Lovin"), The Jackson Sisters and killer space funk (the dub disco thrills of "Chicken Lickin").
Review: The late Tony Joe White's 70s/80s adventures in fusing blues-y swamp rock with disco and funk never met much success, and he's better known as a songwriter - he penned 'Rainy Night In Georgia', for instance. Here, though, 1983's 'Swamp Rap' becomes 'Country Rap', and the result is a slightly novelty-esque but truly distinctive-sounding funk slab. Fred Wesley's 'House Party' and The Chi-Lites' 'Bottoms Up' get similarly funked up as 'Gonna Have A Party' and 'Turn The House Down', respectively, while 'Other Sight' draws from sources unknown but has a go-go feel. 'Country Rap' is the one that'll really prick up ears on the dancefloor, though.
Review: Greek producer Chris GS returns to Israel's Thunder Jam with four more slices of reworked vintage funk/disco goodness. He's dug nice and deep for this set, so the original source material remains a mystery in most cases, but in his hands 'Shake It' is a strings-drenched disco number that would've sounded right at home on the 'Saturday Night Fever' soundtrack, while 'Lady' rocks a slightly rawer funk vibe. The same goes for 'The Funk', which reworks Positive Force's 'We Got The Funk' from 1979, while finally 'About It' leans a little closer towards early 80s boogie territory.
Review: While Mexico's electronic music scene is arguably getting more press coverage than ever before, little has yet been written about off-the-radar duo Dark Punk Hippies. They've been bubbling under for some time, releasing exspanive EPs and epic singles for Spa in Disco. Now they've joined Thunder Jam, offering up a suitably sizable package that backs their original version of "Janko's Drug" - a pleasingly loose and elastic fusion of flute-laden Balearic bliss, lo-fi bleeps, acid-influenced funk-rock and squeezable, boogie style nu-disco flavours - with no fewer than ten titanic reworks. These range from the warm, deep and woozy flex of Situation's drowsy nu-disco interpretation and Kellini's killer, revivalist synth-funk take, to the deliciously low-slung vibe of Planet Jumper's trippy dub disco revision.
Review: Hamburg resident Dee-Bunk is no stranger to Thunder Jam, having been one of the label's "go-to" producers since debuting in 2016. "Peace, Love & Gratitude" sees him effortlessly flit between styles and tempos, moving from the rolling nu-disco/rolling house fusion of sweeping dancefloor disco revision "Take Me" to the languid, head-nodding sunset bliss of downtempo wonder "Love You", via the grunting hip-hop-meets-classic soul shuffle of "Peace" and the stomping mid-tempo disco-funk thrust of "Thank You". The hits don't stop there, either; "Masterplan", a dreamy fusion of jazzy percussion, heart-wrenching soul and elastic nu-disco bass, is particularly alluring.
Review: Some classy contemporary disco fare here from Irish producer Jones, coming to you courtesy of Israeli label Thunder Jam. 'Fluty Loops' itself opens with an intricate, extended percussive intro, before funk geetar and stabby strings usher in the meandering flute line that gives the track its title - imagine Joey Negro remixing Roy Ayers and you're somewhere in the ballpark. 'Everybody' shows the same attention to detail in the percussion department but has a more Chic-ish vibe, while completing the EP is the more sultry 'Been So Hard', which comes on like Linda Clifford given a Balearic makeover...
Review: In 2016, Disco Funk Spinner and Goby both released impressive EPs on Thunder Jam. Here, the well-loved edit imprint has asked them to create fresh dancefloor gold out of the same source material, Starpoint's 1983 electrofunk/80s soul jam "It's All Yours". Disco Funk Spinner steps up first, looping up key vocal and instrumental passages from the Starpoint track. These, combined with some subtle new drums, give the re-edit a slightly more house-centric feel while retaining the synth-heavy swing of the '83 original. Goby's 'Dub Touch' is fully in keeping with original '80s electrofunk dubs, featuring as it does a killer mixture of chorus vocals and synth grooves.
Review: While he's yet to really taste international success, Disiac has been operating at the fringes of the bootleg mash-up scene since the tail end of the noughties. This five-track EP offers a showcase of his skills in melding elements from many different cuts into cheeky new, floor-friendly shapes. As ever with this kind of exercise, some tracks work a lot better than others. In this instance, we'd recommend "Give The Funk", where high octane rap vocals are expertly combined with elements from all manner of classic disco cuts, and "Hey You", which throws together Cream riffs, re-sung Rolling Stones vocals and one of disco's most famous horn lines.
Review: Italy's Franco Sciampli, a 35-year veteran of the Rome club scene, brings us two re-edits of Barry White's 'September When I First Met You'. Original 12-inch copies of this 1978 soul/disco smoocher, something of an end-of-night classic, trade hands for north of ?15 so these new rubs represent good value for money even if Sciampli hasn't "done" a great deal to the track, other than dropping some of the verses in favour of looping up the chorus, with the main difference between the EdiThink and ReThink versions being a choice of string-led or percussive intro.