Trakker - "Woody The Hood Pecker" - (4:26) 174 BPM
Sikka - "You Know" - (4:56) 172 BPM
SUV & Mood - "Mambo" - (4:08) 175 BPM
Damageman - "Pain Relief" - (4:27) 175 BPM
Stokka - "Venus" - (3:47) 170 BPM
Vytol - "Nelson" - (5:12) 174 BPM
KC - "Bill Kill" - (5:11) 173 BPM
Jaxx - "Hurdles" - (5:11) 175 BPM
Coy & Coda - "Blinded" - (5:44) 172 BPM
Review: Squad up! Natty Dub celebrate 50 releases with this absolutely stinking set from some of their nearest and dearest, closest and bro-sest. Firing from all cannons, every track is a thumper; Saxxon gets his squelch on with "Brockley Fox", T>I is all screams, wriggles and giggles on "Pointless Torture", Sikka delivers one of his best tunes to date in the funk-fuelled form of "You Know", Suv and Mood give us a Bristol kiss with the slinky, hip-twisting "Mambo" and Jaxx nods his cap at the wild west of the mid 90s on the percussion heavy "Hurdles". Timeless, authentic and full of dirty funk - Natty Dub are one of the most true-to-the-core labels doing it right now. Bring on the next 50!
Review: Hailing from Canada, RMS has firmly established himself over the last couple of years as someone at the forefront of D&B's re-discovered love for jungle-influences and bouncy but hard-hitting basslines. Drawing upon those influences, he's back on Original Key for a full-throated five-tracker that kicks off with 'Down' featuring Kumarachi, a heavily weighted sine-based wobbler that pushes on every corner of the range. '90s Soundboy' has thoose wicked juddering bass pulses and that recognizable sense of hardware-based rawness, whilst the junglst vibes are seriously real on 'Mi Fi Tell Yuh'. This release has overtones of Manchester and undertones of the Great White North - proper UK underground stuff.
Review: This release honestly doesn't mess around. It carries a serious sense of potency despite its clear lack of pretentious sophistication, because D&B of this type simply isn't about sophistication, it's about making something so filthy the audience won't even understand what hit them. Everyone on this release has certainly accomplished that here, I mean just have a listen to the rippling sines, percussive naughtiness and bassline badassery that is 'Get Some Juice', a beautifully spacious tune that still manages to make you feel like you've been attacked by a dog. This is a crazy release from start to finish.
Review: Last spotted on Euphonique's Subwoofah with the series statement of intent "We Here", Speaker Louis and Grimesy tag up once again for this equally heavy collection on Deep In The Jungle. Four tracks deep, each one a stinker, highlight include the bonafide bludclart jungle ruffage of "Can't Touch", the bounding subs of "Burning" and the full-strength sirens and tidal wave bass surges on the title track. Bad boys for life...
Review: Filthy Habits and Jeopardize - two savagely on-point basssmiths usually spotted lurking around the G13 camp - land on Heist's Co-Lab imprint with this absolute barnstormer of a banger. Running drums, big flabby basses and a drive that can cut through any mix and knock crowds off their feet; both acts' longstanding collaborative history can be felt in every detail here. Tracks like this are built to last. They got the key... But what is the secret?
Review: For the 12th edition of Vintage Music's "Selection" compilation series, label founder Sunner Soul has dug deep into the archives and offered up 12 of his most potent reworks. While he built his career on summery, sun-kissed slo-mo revisions and baggy, near Balearic workouts, the material here is almost all energetic, peak-time ready and gleefully celebratory. Amongst the many highlights you'll find the shirts-off disco camp of "Bad Boys Disco", the gently housed-up deep disco-blues of "Couldn't Tell You", the Salsoul-goes-house bump of "Dr Love", the punchy horns, swirling strings and rubbery grooves of "Flying Violins" and the super-sweet disco-house bump of "The Mystery of Loops".
Review: The juggernaut that Audaz's 'Lolita' series of re-edit EPs has become lurches on remorselessly, with two more 10-track collections landing in stores this week alone. With the series now comprising a whopping 150 tracks, it's not suprising that this latest installment sees 'Lolita' digging deeper than ever for source material: '137' reworks Syreeta's 'Can't Shake Your Love' from 1981 (a Larry Levan classic) while '139' loops up Lowrell's 1979 soul jam 'Mellow Mellow (Right On)' to devastating effet, but that's about as much as we can tell you! Still, if its party-starting disco, boogie and 80s pop flavas you're after, you'll find them in abundance here.
Review: When rocking the V's Edits guise, Valique has a bit of a soft spot for spoonerisms and chuckle-some tweaks of artist names and track titles. It doesn't take a rocket scientist to work out the identity of the vintage rockers whose tracks have been given the touch-up treatment on "Rock We Dance - The Brits". Billy Idol classic "White Wedding" is the first to get a good going over, with Valique turning it into a confirmed indie-dance smasher thanks to some beefy new beats, weightier bass and wiggly, TB-303 style acid lines. Deep Purple's "Hush" is then turned into a psychedelic disco-rock bumper, before the veteran DJ/producer offers up "Starlit" by "Fuse" - a deeper fusion of moonlit psychedelia, nu-disco colour and club-focused grooves.
Review: The bright-light, groovy aesthetic of BLK PRL is back at the start of this year, so get out your Red Stripes and don ya wavey garms because Channel 2 isn't messing around with this one. Four ragga-infused numbers are here for you, uplifting samples abound and suddenly it's not January - it's June, July and August and the sun is shining. This doesn't stop 'Wait' from coming out the blocks in a moody way, though, and neither does it stop 'Boneman Connection' from attempting to knock your hat off. Channel 2 always manage to pull out the stops in a way that makes you nervously smile - this one is no different.
Review: When Andy Bull AKA Bully Boy launched the Act of Sedition label a couple of years back his aim was to release "the finest 45 edits" on seven-inch double-packs. It's something of a surprise, then, to see the label land on digital download with a sprawling collection of previously vinyl-only reworks and bonus edits. Expect a gloriously vibrant and floor-friendly mixture of gospel-tinged psychedelic soul (Jimi Hendrix's "Freedom"), Clav-happy disco-funk squelch (Disco-Tech's "Assassination"), sweet disco sing-alongs (SanFrankDisko's "Get It Right"), sweaty punk-funk/dub disco heaviness ("Cavern Dance" by V's Edits), high octane disco-camp (Mighty Mouse's cheerfully silly "Got To Have Nothing") and much more besides.
Review: Hidden away below the streets of Munich is a top secret workshop where dozens of Ableton-trained monkeys beaver away 24/7 producing re-edits for the 'Lolita' series - there has to be, because nothing else could explain the rate at which these ten-track EPs have been landing! Classic cuts getting the treatment this time out include MJ's 'Don't Stop Till You Get Enough' ('151'), The Trammps' 'Rubber Band' from 1975 ('152'), Strafe's 1984 electro-disco nugget 'Set It Off' ('155') and Brit-funkers Central Line's 'Walking Into Sunshine' from 1981 ('158'), while if anyone cares to ID the infuriatingly familiar "come back lover come back" vocal on '156' they just might stop one Juno reviewer from going round the twist...
Review: This latest installment in Audaz's re-edit series gets off to a flying start, with '101' reworking King's 1984 pop smash 'Love And Pride' into a Brit-funk workout that'd be worthy of contemporaneous acts like Cymande or Central Line. Buy the EP for that track alone and you'll be getting your money's worth, because it really is a killer - in which case the other nine high-quality reimaginings of Gwen McCrae's 'Funky Sensation' ('117'), The Escorts' 1981 boogie jam 'Make Me Over' ('115') and assorted unidentified boogie, funk and Afro cuts are merely a bonus!
Review: Bruk can really make music and his latest piece of work is out over on Sub-Cautious Audio. Full Speed Ahehad is an energetic piece of jump-up construction that doesn't hesitate to punch you in the face and its exemplified by the title track, a bass-filled expression of dancefloor hatred which moves in mysterious yet obvious ways. It bangs, basically, as does the rest of the single, with a B-side that could easily have been on the A.
Review: This is Volume 15 in Audaz's 'Lolita' series, so you should have some idea what to expect by now! But for newbies, the 'Lolita' EPs are made up re-edits of classic disco, funk and pop cuts, largely from the 70s and 80s, with this latest outing including the Lolita take on tracks such as First Choice's 'Dr Love' (now known as '144'), Gene Chandler's 'When You're #1' ('148') and Tommy Tate's 'For The Dollar Bill' (or '149'). And yes, okay, those are the only three whose original source we can name off the top of our heads... but with earlier installments having leaned perhaps a little too heavily on the well-known and familiar, that's a good thing.
Review: Falco's Deadlight's single on Raw Motion isn't one of those releases for people who like to sit back, sip on a mug of matured whisky and debate the stylistic evolution of music. It's not about pretention, it's about having a good time and for that purpose it's ideally suited. Two tracks full of dancefloor vigour, Falco has achieved his presumed goal of making music that'll get people moving. 'Deadlights' has that Souped Up-esque forcefulness to its bass lines, that torn, ripping feel that only a proper foghorn will get you; 'Surprised' hits that suspense in the build perfectly, leading in the snapping drums underneath something very special.
Review: Murky Digital don't tend to put out music that's weak, thin or otherwise not suitable for the dancefloor. Jaxx's Prepare For Take Off EP is a testament to that, all five cuts do some serious damage and the release overall is certainly on the sharper end of the spectrum. 'Take Off' is the best of the bunch and it's got a rough, Sofa Sound edge that injects a satisfying level of oomph into the arrangement, there's a serious vibrancy in the bass-drums relationship and it's a pleasure to listen to. 'Stacks' is a close second and its incredibly unique concoction of swirling basses and gargling pulsars adds a wicked futuristic element, all of it underpinned by a creative, stepping percussive line. There's a wicked variety here and everything feels accurate and well-placed - well played to the Murky Digital crew.
Review: Two very serviceable funk/soul edits here, although what they're actually edits of we couldn't tell you: 'Soul Power' sounds like it should be obvious but has nothing to do with the James Brown classic, and 'M' doesn't talk about pop muzik either! Still, with a nagging, fluttering guitar riff that plays throughout, brass fanfares, soaring saxophone and an ass-shakin' bassline, 'Soul Power ('Lego Edit 5am)' will get 'em on the floor without a doubt, while 'M', with its shuffle-y drums and hazy bassline topped with a mournful violin line, has a more laidback, almost Balearic feel, and would sound fantastic lazing by a poolside.
Review: Montenegro's own disco don Mitiko clearly isn't a subscriber to the "less is more" theory: since 2016 he's put out no fewer than nine albums, all on Disco Fruit, and now here comes number 10. Don't expect any huge, groundbreaking innovation here: faithful homages, not sonic experiments, are Mitiko's stock-in-trade. But from the chuggy, laidback 'Nights Near The Fire' to the 80s boogie of 'Having Any Doubts' and 'Standing On The Line', and from the jazz-funk groove of 'On The Rock' to the unabashed cheesy/novelty vibe of 'Bad Man Of The West', it's all well executed and authentic-sounding, making this an enjoyable listen all the same.
Review: One of the most attractive aspects of Audaz's mysterious "Lolita" re-edit series is the consistently surprising choice of source material. This 13th ten-track collection is a great example. While other editors often focus on sprawling New York disco and well-known anthems, this 13th Lolita collection giddily skips between versions of obscure Italo-disco jams, all-instrumental revisions of skewed synth-pop cuts, sweaty tweaks of muscular high-NRG tracks and throbbing John Carpenter horror fare (see "126", which plays around with the "disco version" of "End" from "Assault on Precinct 13"). It's refreshing stylistically, but it's the tightness and consistently on-point nature of the re-edits that hits home hardest. Well worth a listen.
Review: As one of 2019's most popular breakout sounds, we were thrilled to see new music from Sunday Roast landing on the Soulserious imprint, who invite him in for a five track selection, showcasing just how tight his production can be. We begin with the precise rhythmic designs and bass work of the title track 'Peace Of Mine' before 'Syncro' provides us with a healthy percussive injection alongside the groovy tribal drum expressions of 'Just A Dream'. To round up, we firstly take in 'Prey' a shuffling UKG stomper, complete with warbling bass leads, alongside the more minimalist funky flavours of 'Fuzzy'. Tasty stuff!
Review: This latest installment in Audaz's 'Lolita' re-edit series opens with the Soul II Soul-biting '101', and also reworks cuts from reggae legend Little Roy (his take on Nirvana's 'Come As You Are' provides the basis for '107'), electro pioneers Freestyle (1985's 'Don't Stop The Rock' becomes '108') and 70s soul outfit The Moments ('110' revisits 1974 jam 'Girls'). The source material for most of the rest of the EP has us beat, but this time out it's mostly actual soul, funk and disco tracks that have come in for re-editing (rather than rock or pop classics), which means that while that fuzzy warm feeling that comes with the familiar may be in short supply, dancefloor appeal certainly isn't!
Review: Reading's Soulserious are back with their second offering for 2020, following up Sunday Roast's killer Peace Of Mine EP back in January. Now it's time for mysterious newcomer Assado, who brings you a varied selection of moods and grooves inspired by UK bass and beyond on the Horizon EP. Taking you deep into the exotic on the mesmerising and sensual tech house of "Message", while equally and atmospheric and hypnotic is the low-end driven, afro influenced progressive house of "Hold You" and "Diesel" respectively. The latter's intoxicating use of melody and enchanting vocal loops, over a tightly programmed groove, make this for truly compelling listening.
Review: What an absolute pleasure it is to see Smasher back in the driving seat as On Top unveil a brand new two track selection, showcasing some of the most vibrant UKG to hit the shelves so far this year. We kick off firstly with the super groovy twists and turns of 'Got All Night', a fantastic title track, incorporating a combination of old school and modernized garage themes, bubbling away to brew up a certified belter. On the flip side the good vibes continue, as the scattered drum arrangements and unorthodox bass exhalations formulate an unusual rhythmic base, perfect for switching up the vibe in any dance!
Review: When operating under the V's Edits alias, re-edit maestro Valique can always be relied upon to bring the goods. It's little surprise, then, to find out that his latest collection of fresh cut-jobs - an epic affair featuring no less than 24 tracks - is packed to the rafters with high-grade fare. We don't have enough space to list all of the highlights, but we'd suggest checking out his rolling revision of Lee Dorsey's "Night People", the low-slung disco-funk heaviness of the Brass Construction rework ("Gotta Do It"), the intergalactic disco deepness of the Marvin Gaye revision ("Funky Space"), the lightly tooled-up, slowly unfurling take on Tom Browne's "Funkin For Jamaica" and the sweeping, string-laden disco brilliance of "Miracle (V's Edit)".
Review: Following up from a very tasty run of releases, we now sit down to take in this fabulous new selection from the incredibly consistent Substantial Audio, as they unleash the power of Aki, with the second of the 'Aki' series. If you want some classic dubstep flavour, look no further than 'Militant' to begin as a wash of warbling LFO textures combine with groovy drum switches to kick us off in style. Next, the project takes a more minimal turn as 'Super Silvers' deploys an array of sumptuous sub-lines and skippy drum designs, followed by the extra-terrestrial sounding bass synthesizers of 'Filter Abuse'. Finally, 'Stumble Dub' rounds us off with a nostalgic wash out of original dubstep flavour.
Review: When we take a second to look back through the recent FKOF catalogue, it's genuinely quite difficult to imagine them releasing anything that reads as less than a banger. This theory proves true here as they unleash another warhead four tracker from B-Say, kicking off with the demonic horn stabs and grizzly sub-structures of 'Empire', before then checking out the dungeon-style percussion and warbling LFO manoeuvres of 'Fever'. Next up, the pace quickens as the high energy structure and smooth LFO rolls of 'Lost Control' roll into play, followed by the spacy textures and eerie atmospheric design of 'Richter', which when coupled with organic percussive layers and marching drums provides us with a wicked wind down to close.
John Tareugram - "Glorieux Passe" - (5:10) 125 BPM
John Tareugram - "Laiton Sphere" - (5:07) 123 BPM
John Tareugram - "Paul & Dave" - (4:48) 133 BPM
Review: At six tracks deep, the latest volume in Columbian label Nomada's "White" EP series is an expansive affair. The first three tracks come from Phuture Shock Musik regular Karmasound, who first delivers some Rhodes and sub-bass heavy deep broken beat action ("Atrapado") before riffing on deep, Latin-tinged broken deep house ("Raices") and jazz-funk/broken beat fusion (the superb "Chichen Itza"). Lesser-known producer John Tareugram then takes over, confidently striding between drowsy, sample-rich deep house (the wonderfully groovy "Glorieux Passe"), insanely bass-heavy cut-up house heaven (stab-happy standout "Laiton Sphere") and skipping jazz-house pressure ("Paul & Dave").
Review: [Emotional] Especial stalwart and all-round underground progenitor Richard Sen makes a welcome return launching new label Darkness Is Your Candle with some of his inimitable muscular wave-tinted machine wares for seedy dancefloors. "No Sameness" is a stellar lead track, all evil one-note bass, freaky synth wriggles and the odd touch of splashy mixing desk FX. "Darkness Is Your Candle" is a touch more anthemic with its big melodic leads, but no less seductive. "Into The Abyss" completes the package with another brooding workout that slips in the cracks between vintage techno and minimal wave - classic tropes delivered impeccably.
Review: Dubstomp 2 Bass are the Birmingham based imprint of madmen who, day-in-day-out, push forth some of the vilest beats known to both the Midlands and the UK more broadly. Falco is their latest alumni and, judging from this EP, he's graduating with a first in D&B studies. 'Notification' is the standout tune from the album, a deep and dark roller that sits comfortably within current D&B trends and which hits harder than a train that's just gone off the rails, its knockout snare drum and monochromatic bassline effortlessly moving about the arrangement. 'Overthinking' gets light and 'Colliision' is the naughty kid of the groups and knows it, whilst 'Declared Hostile' is another vicious rolling little number. Cop this one.
Review: Lumberjacks In Hell welcome Croatian producer Andrej Laseech to the table following his promising early outings on Be Yourself and Sound Exhibitions. On this release, Laseech has reached out to the mighty, eternally prolific Javonntte for a little vocal magic, resulting in the utterly sexy deep house burner "More Than Friends". It's a track that Marcel Vogel & Tim Jules clearly dig, judging by the light touch they applied to their own remix of the track. "Take You Away" on the flip is another sweet and sultry warm-up or backroom jam that gets lifted even higher by Javonntte's stellar vocals.
Review: Known first and foremost as a deep house producer, the UK's Pete Le Freq takes a tour of more disco-oriented pastures on this three-tracker for Rayko's Rare Wiri label. The tracks are essentially re-edits, but there's no five-minute 'loop it up and chuck a 4/4 kick under it' shoddiness here, and you could equally see them as being fresh tracks that are merely 'inspired by' vintage cuts. 'Believe In You' is based on Patti Jo's 'Make Me Believe In You' from 1973, N-Joi's 1991 rave classic 'Anthem' (1991) gets disco'd up on 'Anthemic' and 'Love Is Sweet' sees Anita Baker's 1986 soul gem 'Sweet Love' given a nu-disco makeover.
Review: You can always rely on 1980 Recordings for no-nonsense house grooves, they consistently seem to have some tasty treats to pull out of their record bag, and so it is here. The three tracks show a pleasing degree of variety, though: opener 'Blow My Mind' is a summery, piano-sprinkled chugger with a sampled spoken vocal warning 1960s youngsters about the moral dangers of marijuana smoking, while 'Flat Impliments (Disco Mix)', with its spoken female vocal and mournful guitars, nods to the 'melodic' sound du jour. But the standout is arguably 'Watford's Groove', a tuff, garage-y number featuring US vocal legend Michael Watford's tonsils in full effect.
Review: Here's an EP that might ruffle a few feathers... the four tracks are all re-edits of classic Kraftwerk cuts, and there'll no doubt be many purists out there who'd say that was a job that didn't really need doing, but generally speaking the four producers concerned have done a pretty good job. Dim Zach's 'The Super Model (Dub)' nudges ahead of the pack, while Gatto's progressive house-leaning 'Computer Love (Vocal Mix)' is probably the most radical in approach. But the other two reworks from Fabiolous Barker and Don Dayglow are also perfectly serviceable, so if you dig Florian, Ralf and co and can get past the "sacred cows" thing, check it out.
Review: The latest in Audaz's prolific re-edit series is very much the proverbial game of two halves. The first four cuts all draw on early-mid 80s dancefloor sources, including P-Funk All Stars' 'Hydraulic Pump' ('162') and the Ronnie Laws version of 'Always There' ('164'), but the rest of the EP looks to classic rock and pop for inspiration, presenting us with Lolita'd up takes on The Byrds' 'Time Of The Season' ('165'), David Bowie's 'Starman' ('166'), Nik Kershaw's 'I Won't Let The Sun Go Down On Me' ('167'), The Cure's 'The Walk' ('168') and The Stranglers' 'Always The Sun' ('169'). If you play multi-genre DJ sets, there's some useful ammunition here!
Review: Following early outings on Electric Friends and Spa In Disco, fast-rising producer JMMSTR (no relation to Freerange boss Jimpster) makes a first appearance on Slightly Transformed. There are two tracks to set the pulse racing. Opener "New York" is a confirmed mid-tempo treat: a woozy, 112 BPM shuffler that layers flash-fried guitars and piano-laden snippets from a swirling, string-laden disco classic atop thickset bass and bongo-heavy nu-disco beats. Virtual B-side "You Took" employs bouncier and crispier beats, with the producer utilizing filter effects to tease in elements of a female-fronted disco-funk number. The vocal breakdown is life affirming, but it's the trippy treatment of the sample source's hard-wired guitars that catches the ear.
Review: The ever-busy Nick Beringer makes his first appearance of 2020 with this sure shot on Constant Black, bringing just the kind of funking and bumping minimal tech house the label has staked its reputation on. "Epsilon" leads the charge with a snappy drum framework as a vessel for deep sonar blips and swooping pads, before the vibe switches for something markedly cheekier on the delightfully freaky "Noseblunt". "Turning Point (Club Mix)" keeps things tight and functional for the dance, taking Beringer's sound in a more overtly techno direction, while the subsequent "Deep Mix" of the track keeps the vibe similar but works a richer spread of synth shapes into the mix.
Review: Jack The Ripper quite often pops up on this site with some of the filthiest jump-up around, and this time he's coming at your ears with a six-tracker of outsized proportions, courtesy of one of the best breakthrough labels of recent times: Walking Dead Recordings. Every single one of these tunes is laden with a feeling of roughness and they all pack that jump-up vibe we all know and love so well. The title track, '10th Commandment', takes the cake for us just because its drums have been nailed so damn well and the sample work is superb. Well played Veak.
Review: 2019 was a busy year for 84bit, a producer who released a mixture of deep house and nu-disco jams on a variety of largely digital-only labels. "Mamma Jamma" is his debut for Disco Fruit and features a number of notable cuts. Chief amongst these is the title track, a bustling, bass-heavy chunk of booming disco-house that's subsequently taken in a funkier direction by the ubiquitous Dr Packer, Hotmood and Tonbe, whose fine revision is looser, warmer and baggier. The EP also boasts two versions of "HN": an electric piano-laden original mix that expertly joins the dots between elecro, funk breaks and disco-funk, and a bubbly nu-disco revision by label regular Mitko.
Review: Three months after allowing DJs to rummage through the contents of his "Sample Bag", Lego Edit has decided to repeat the trick. Unzip the bag and you first find his "4am" edit of "Flash Back", a sax and flute-wielding revision of a colourful and bass-heavy funk outing underpinned by chunky house drums and tons of energetic handclaps. Reach further within the bag's velvet-lined interior and you'll come across his smooth, rolling and dancefloor take on Philadelphia Soul era classic "The Ghetto" - check the sweet jazz guitar solos, locked-in house beats and scat vocal sections - as well as the wild, loopy and insatiable heaviness of stomping Latin jazz-funk revision "Journey To The Old Town".
Review: As Icelandic techno receives recognition like never before, so NonniMal steps up to AE Recordings with a fine EP that sports many of the hallmarks of this particular corner of Scandinavian culture. There's a spacious, dubby minimalism that pervades throughout Freyja, but what really sets the EP apart is the considered deployment of found sounds, heavily processed and sticking out in the mix to inject some unpredictable energy into these largely calm oceans of rhythmic hypnosis. Even without such decoration the music is exemplary, as on the haunting lilt of the title track with its subtly shifting pads tuned to the emotional maximum.
Review: Ten more re-edits from Audaz's mysterious Lolita here. No idea what the source for opener '071' was but it's ended up as bluesy, organ- and harmonica-driven house stomper in the vein of Lemon Interrupt's classic 'Big Mouth', and sets the tone nicely for an EP that packs some killer dancefloor grooves, including a sterling re-edit of Geraldine Hunt's 1980 disco gem 'Can't Fake The Feeling' ('076'), a throbbing, Balearic take on 'Another Brick In The Wall' ('073'), the white-socked boogie of '077' and the driftaway space-lounge loveliness of '078' - though a beefed-up take on 'Oh What A Night' ('075') is probably one for the wedding jocks...