Review: Throwing down some hard yet warm and sweet disco grooves is this Computa Disco EP that takes in a whole range of '70s inspired dance music; be it jazz fusion, disco funk or a world of Afro-futurisms. Pumping vocal tracks come through in "Jump 2 Da Edit" and a breezy "Supa Lova (dub mix)" with some beefy house drums backing up the funkadelic licks of bass in "The Boogie In Me". Get your dramatic tribal disco outta "Dance It Feel It", some abstract double kick drums in the "Supalova" original and a touch of NYC B-boy breaks and Italo vocoders in "Computa Disco".
Review: Six re-edits from five different artists make up this latest missive from the WE MEAN DISCO!! camp. Kid Paris mines late-period Michael Jackson, Philly Vanilli loops up Lamont Dozier's original 1977 version of 'Going Back To My Roots' before taking a turn for the Latin on 'Los Cubanos', RoofTopDisco look to Geman-language new wave/disco of the early 80s and Phil Potts bites Gwen Guthrie's Levan-produced 1982 gem 'It Should Have Been You', but it's closer 'Your Brother' by Mister Larry that's the killer - not sure of the source but it'll be a proper treat for lovers of trad-style US garage.
Review: WE MEAN DISCO!!, aka Philly Vanilli, aka Uruguay-born, Vienna-based Manolo Brigante, serves up a five-tracker on his own eponymous label that covers a range of funk/disco styles. 'Freakin' Time' is a reworking of Asphalt Jungle's sax-tastic 'Freaking Time' from 1979 (if you don't know the song, you may recognise the synth topline), 'Detroit City' revisits Exit's 'Detroit Leaning' from 1982, 'Did You Mean Me' is a little more laidback and sumptuous, 'Always In Your Mind' is a lively chugger that'll keep 'em moving for sure, while the title track draws on Love Exchange's 'Got To Find A Disco' from 1978, or possibly someone else's cover thereof...
Review: Phil Pot is, as far as we can make out, a relative newcomer to the scene, with just a couple of re-edit EPs (also on We Mean Disco!!) to his name. Now he serves up seven more of 'em, albeit the only one we can identify the source of is 'Cocaine', which reworks Escort's nu-disco take on the Dillinger reggae classic. The rest of the album seems mostly to mine late 70s/early 80s Eurodisco for inspiration, with lots of foreign language vocals and lounge-y flourishes - the most notable exception to the slightly fromage-tastic rule being 'Liebe', which is a proper disco-house energy booster and no mistake, guv'nor.
Review: What we have here is the debut full-length from a mysterious producer who's previously best known for a handful of singles and EPs on the NuPanda label. Late 70s Euro disco would be the most obvious point of reference for the album as a whole - not least because there are vocals sung in Spanish, German and possibly more - but on individual tracks you can hear influences ranging from boogie (see the shimmering 'Kashif') to Philly soul ('Your Eyes'). Easily offended German-speakers might want to give 'Plandemie in Den Arsch' a swerve, but if you like your disco on the quirkier side there's much to enjoy here.
Review: Like many in the re-edits game, Phil Pot seems to like to keep his true identity quiet, but here he serves up a trio of re-edits for WE MEAN DISCO!! that definitely warrant a listen. 'Simply Red' bites Hucknall & Co's 'Something Got Me Started', and you can make your own mind up about that one! But 'Baby' gives Kid Creole's classic 'I'm A Wonderful Thing (Baby)' a superb makeover complete with Levan/Cowley-style use of FX, and as for 'Groovy Groove'? No idea as to the source, but no matter because once that looped vocal gets going, it's pretty much irresistible!
Review: Label regular Disco Doctor - whose true identity is a closely guarded secret - returns to Austria's We Mean Disco! with a five-track EP. There's a weird slipped-beat thing going on in the middle of 'Dancin' that doesn't really work for yours truly, TBH, but elsewhere 'Get Up' is an energetic, party-hearty kinda cut, 'Tonite' will suit those who are out hunting for some authentically 80s-sounding boogie vibes, 'Kat Mann Du' channels late 70s/early 80s Eurodisco and will probably appeal most to those who loved the sound first time around, while 'Dance Da Boogie' plays us out on a slightly rawer, funkier tip.
Cosmic Phunk (extended club mix) - (12:09) 119 BPM
What Cha - (9:49) 117 BPM
Review: WE MEAN DISCO!! bring us the sixth in a series of re-edit EPs from Discofiasco, which packs reimaginings of three well-known dancefloor cuts from days of yore. First to get the treatment is Donald Byrd's 'Think Twice' from 1974, as previously sampled by everyone from Jazzy Jeff, Pete Rock and Peanut Butter Wolf to The Orb and Armand Van Helden. 'Cosmic Phunk' revisits Mad Dog Fire Department's 1979 TK Disco gem 'Cosmic Funk', while finally we're treated to a very faithful and eminently playable take on Stephanie Mills' soul/disco classic from the same year, 'What Cha Gonna Do With My Lovin''.
Review: Five tracks in a total of seven mixes make up this latest missive from the We Mean Disco!! camp. 'Running' (served in Original and Extended rubs) is a slow-rollin' soul/funk affair with a curiously phased/double-tracked (?) b-line that probably marks it out as one for specialist floors only, while 'Dance' is a sunny, shimmery uptempo soul cut that comes complete with a more laidback 'n' groovesome rerub from Philly Vanilli. Elsewhere, 'Love U More' and 'Disco' are authentically 70s-sounding jams replete with squelchy bass, handclaps and soaring female vox, while 'Warp Time' echoes the more leftfield-leaning approach of 'Running'.
Review: Bruni Pagan's 1979 disco jam 'Fantasy' gets reworked by the brilliantly named Philly Vanilli, with three mixes to choose from. The Extended Mix doesn't, truth be told, actually sound that different from the original record - he's just beefed up the bottom end a notch or six, while stuttering the vocal and chopping up the beats in classic 'early 80s remix' fashion in the mid-section. The accompanying Dub ploughs a deeper, more eyes-down furrow, while finally the NY House Mix is brasher, sparser and spacier, and would doubtless have sounded right at home on the floor at Paradise Garage or Danceteria circa 1983.
Review: Philly Vanilli bring us a slice of lavish, late 70s-style disco-soul in the form of 'The Light' - think Teddy Pendergrass or Barry White and you're somewhere in the area! There are two mixes on offer but truth be told they don't differ hugely, with the Main Club Mix really just an extended version of the Original. So it's up to bonus cut 'Tonite' to add a little musical variety to the package, which it does by moving us a little further forward in time to the 80s boogie era, albeit in a wonked-out kinda way...
Review: This seven-track re-edits EP from We Mean Disco!! confused the hell out of us at first: opener 'Shut My Skin' and 'Sledgehammer' are BOTH re-edits of Peter Gabriel's 80s pop hit, which we're pretty sure they've done just to mess with our heads! Elsewhere, Patti Labelle's 'Music Is My Way Of Life' (1979) forms the basis for 'Music Is My Life', while 'Heavy Vibes (That's House)' is a shufflin' Latin disco groove topped with the spoken vocal from Todd Gardner's 'Do You Know House?'. The dreamy, dubby 'Hypnodelic' channels Chi-town deepness and has Robert Owens on the mic, 'Thinking About' is a more energetic strutter with a preacher-style vocal, and finally 'Slave' brings some full-on late 70s nostalgia.
Philly Vanilli - "Givin You All My Love" (<<<55 BPM
Review: Festive fun and frolics from prolific scalpel fiends We Mean Disco, as leading lights Philly Vanilla head to the dinner table with a steaming bowl of hearty "X-mash" (geddit?). It's a veritable feast of floor-focused party vibes, with the cheekily named twosome flitting between organ-powered disco-house (nine-minute workout "The Human Kind"), vibraphone-laced, delay-laden and suitably tooled up disco ("Heavy Vibes"), smile-inducing '80s soul/boogie-pop cheeriness ("Givin You All My Love") and disco-era Michael Jackson in dub ("Chilly Bean"). Since making this "X-Mash" was a collaborative effort, we also get to savour the woozy and dreamy old school house flex of Kid Paris ("There's No Hype Without Adelis (Wave Techdown Remix)") and the We Mean Disco crew (the party-hearty, pumped-up disco-funk goodness of "Ich Liebe Zu Tanzen!".
Feeels Like IM Yours (WE MEAN DISCO ReVision) - (16:10) 115 BPM
Afro Disco San Franz Disco - (7:55) 118 BPM
Review: Some six weeks after dropping his tasty "Feels Like" EP, We Mean Disco regular Philly Vanilli returns with a couple of notable "Bonus Mixes". First up is "Feels Like I'm Yours (We Mean Disco Revision)", a driving, heavyweight, house style revision of the producer's previous rework that's built around filtered loops from Sade classic "Paradise" and plenty of sweaty extra drums. There are naturally snippets of vocal dotted throughout, as well as some suitable soft-touch '80s sax action. Virtual B-side "Afro Disco San Franz Disco" sees Mr Vanilli add epileptic, fidget style cut-up sections to a guitar solo-laden disco cut rich in lilting trumpet solos, Chic style bass and dub-wise effects. We think it's a revision of a South American cover of "Rapper's Delight", but don't quote us on that.
Philly Vanilli & Robert Owens - "Too Late" (Tribute To Tom Moulton) - (8:41) 120 BPM
Philly Vanilli - "Zippin Up My Boots" - (7:22) 120 BPM
Philly Vanilli - "He S The Love Machine In Town" (Hommage To The Max) - (10:30) 128 BPM
Guy Banister - "Im Still Alright Also Tonite" - (9:13) 121 BPM
We Mean Disco!! - "Love Is Still Around" - (9:54) 114 BPM
Guy Banister - "Your Body Keeps Still Workin" (Clear Kleer Tribute) - (7:08) 122 BPM
Philly Vanilli - "White Horse Waiting Infront Of Disco Doors" ((Studio54 Tribute)) - (9:34) 124 BPM
Review: Unashamed booty-shakin' booty action, with six tracks credited variously credited to Philly Vanilli and Guy Banister. Standouts include 'He's The Love Machine' with its filtered, looping, Zapp-ish "I wanna funk you" vocal, the defiantly euphoric Brit-funk vibes of 'I'm Still Alright Also Tonite', a bleepy take on Laid Back's early 80s classic 'White Horse' and the lo-slung funk of 'Too Late (Tribute To Tom Moulton)' with its Robert Owen vocal, but if you're looking for tracks that'll give the dancefloor an energy injection and don't mind the odd well-worn sample, then any one of the six cuts here will do the do.