Deep Disco Edits - "Get Down Boy" - (12:03) 126 BPM
Disco Doctor - "Get Up" - (12:38) 126 BPM
Disco Bongo - "Boradway" - (10:15) 127 BPM
Charles Mann - "Philly Vanilli Mix" - (17:34) 126 BPM
Review: With 30 tracks to choose from, you certainly can't fault this latest collection of re-edits from Manolo Brigante's Vienna-based WE MEAN DISCO!! stable on the value for money front. You might, admittedly, question whether a collection that packs reworkings of Chic's 'Good Times', Marvin Gaye's 'What's Going On', James Brown's 'Sex Machine' and Peter Gabriel's 'Sledgehammer', among others, can really set sail under the 'deep disco' flag and keep a straight face. But never mind that, because there are some very playable remakes on offer here for sure, ranging from the lightly beefed-up to the truly transformational - as well as plenty of less obvious sources to keep the 'spotters happy.
Review: Sicky Piano is a new alias for Austrian producer Manolo Brigante, AKA We Mean Disco!! AKA Philly Vanilli, and this latest guise - as the EP title subtly hints! - finds him moving away from his usual disco and boogie vibes into housier territory. 'Tribal' is a serviceable drum- and organ-led workout, 'The Gallery' comes on like a tuffer take on Hed Kandi-style disco-house, while 'Tech Da House' fuses disco elements (is that a snatch of 'Let The Music Play' we heard?) and tech-house, with all three tracks adopting Brigante's trademark kitchen-sink, 'more is more' approach to production and instrumentation.
Review: We Mean Disco!! bring us a four-track re-edits EP featuring some very familiar scene names. Philly Vanilli's 'Money Love' loops up the guitar from Funk Masters' 1980 cut 'Love Money', then does that strange vari-tempo thing that they're so fond of, while We Mean Disco!!'s 'This Way Before' mines some unidentified but 70s-sounding disco jam for inspiration. Phil Pots' 'Back 2 Luv' then reworks Carl Smith's 1984 boogie gem 'Come Back Lover', while finally Mister Larry throws something of a curveball as he gives Billy Idol's 1984 hit 'Flesh For Fantasy' a slow-grindin', sleazoid makeover that's actually the surprise standout.
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: 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: 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.
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.
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!".
Philly Vanilli - "He S The Love Machine In Town" (Hommage To The Max) - (10:30) 128 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.
From Frisco To Disco (Karl Koks vocal mix) - (7:25) 127 BPM
Review: Classy Austrian re-edit crew We Mean Disco! are always able to find tracks that perfectly rest in both the disco and house camps. Here they do it again with this short sharp two track EP, From Frisco To Disco. The single features two different takes on a suspiciously familiar Euro disco jam. The cheeky Karl Koks is up first, presenting nearly eight minutes of pulsating tech house from space. Next is the Lo-Fi rework, a much cooler affair with its louche Balearic grooves and seemingly drunken narrator.
Review: This classy Viennese re-edit label have been conspicuous in their absence of late, but never fear as they're back with ten new reworks to get our booties shakin'. It's a veritable smorgasbord of disco flavours on offer, bound to result in countless happy dancefloor memories. Highlights include the incessant riffage of the Philly Vanilli reworks of "That's Why They Call It The Blues" by Mister Trump and the (almost) seven minute long soulful 80s groove-a-thon "Stop That Hunk" by Hunk Da Skunk, as well as the thumping string-laden house of "Summer Mood" by Porn Star Long Dong Silver!
Review: The latest audio missive from the impressively enthusiastic We Mean Disco camp comes from 5 Star Disco Patrol. Little info is available about his/her/their identity, but it matters not; all you need to know is that Disco Police is a decent first outing. The deep house-meets-deep disco flex of "Spirit Of The Night" kicks things off, before the tempo dips on the early Parliament style party funk flex of "Fire Fighters". Punchy disco percussion and steel drum melodies are the order of the day on "Final Path", while "Final Promises" offers an instrumental, flute-heavy disco-house take on Joe Smooth classic "The Promised Land". Finally, there's a deliciously dubby rub of a slow-disco classic previously reworked by the Idjut Boys in the early noughties.
Cant Live Without My Radio (Giorgio Took Her radio retouch) - (5:48) 127 BPM
Review: The We Mean Disco formula is a simple one - think reverential reworks of their favourite disco, boogie, and '80s Paradise Garage favourites, with the occasional addition of metronomic house drums - but rarely less than hugely effective. Certainly, the four cuts here, which range from a subtle re-arrangement of MFSB's "Love Is The Message", to the string-drenched Munich Machine silliness of "Can't Live Without My Radio", stick rigidly to the script. Weirdly, the standout cut is "Da Freak is Chic", a chunky, house style re-interpretation of Chic's much played disco standard "Le Freak". While it probably didn't need fiddling with, they've done a rather good job updating it for contemporary floors.
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