Review: Anyone who decides to dedicate a fair chunk of his debut edits release to scalpel cuts of tracks from Led Zeppelin, Jefferson Airplane and Stevie Wonder must have gonads the size of watermelons. Sitting down could be an uncomfortable proposition, then, for the mysterious V, whose seven-track debut EP also includes chunky, floor-friendly re-tweaks of The Kinks and Sly & The Family Stone (as well as a couple of stonking disco bangers). While some would argue that much of the material here didn't need messing with, he's done an excellent job. The Dub of "Whole Lotta Love", for example, is pitched just right, offering much more bang and exactly the right amount of disco dubbiness.
Review: Given his credentials and track record, it's unsurprising that original disco and boogie artists are willing to let Joey Negro play around with their biggest hits. His first stab at this kind of multi-track remix, 2014's Remixed With Love, was such a success that he's decided to unleash another swathe of revisions over two vinyl double-packs. This edition features some killer reworks, including a sublime, on-point rearrangement of Gwen McRae's "Keep The Fire Burning" and a rolling, dubbed-out version of Grace Jones' "Pull Up To The Bumper" that rivals Larry Levan's classic remix. The veteran producer also successfully turns Pockets' "Come Go With Me" into a classic soulful house rub, and pushes Thelma Houston's "I'm Here Again" further towards disco anthem territory.
Review: The mysterious V has got some balls. You see, it's common practice in re-edit circles to steer clear of certain big tunes and artists. V clearly didn't get the memo, because this second volume of party-hearty, floor-filling reworks contains sneaky dubs of tracks by Steve Miller (a smile-inducing version of "Fly Like An Eagle"), the Sex Pistols (a filter-heavy tweak of "Anarchy In The UK"), The Lovin' Spoonful ("Summer In The City") and The Beach Boys ("Good Vibrations", which gets a weirdly breaksy Balearic rework). Better, though, are the versions of the more disco and funk-inclined material. His Betty Wright rework ("Slip & Do It") is particularly magical.
Review: This is a bit of a treat for funk breaks fans, as leading label Boogie Boutique gathers together a selection of its finest floor-filling bangers. With cheeky mash-ups and bootleg remixes from the likes of Hayz, Ursula 1000 and Nick Fonkyson, there's much to enjoy, not least the sheer silliness of some of the rump-shaking fusions. Check, for example, the anthemic grooves of Nine Lives The Cat's "Let Me In" (a brilliantly executed fusion of "Just Be Good To Me" and "Cross The Tracks") or Badboe's "Show Me Ghetto". None of the cuts will win you brownie points with chin-strokers, but they'll certainly smash up the dance - and that's all that matters.
Review: Welcome to the mid-2000s. A few years before Jalapeno took him on and developed him into the nu-funk guru he is today, but after he'd scored international kudos by syncing to an Apple advert "Channel Surfing", Featurecast was one of the biggest bootleg barons on the scene. 21st century big-beat and turbo-hip-hop, Goodgroove released some of the cheekiest sample-heavy tunes of his early career. And here they are in all their remastered glory. Highlights include the Wild Cherry sampling bootie shaker "Funky White Brother" and the Vandross-DMX love-in "Get It On The Floor". If you weren't around the first time, now's your chance to catch up.
Review: What more can we possibly say about nu-disco producer Valique and his two-year bootleg/edit/mash-up blitzkreig that we haven't already said? Listening back over these 31 offerings it becomes apparent that this is simply the soundtrack to one seriously mighty party. There are simply just so many dancing-on-tables moments here (we'll let him away with some of the shockers) including the grooved up DM cover "Personal Jesus" by Johnny Cash, the surreal, intoxicating deep disco take on Al Green's "Let's Stay Together" and the dreamy paradise melodies of "Still You". Here's to the next couple of years!
Review: The last missive from DJ Vas HQ was way back in November of last year. Thankfully the summer's sunny allure seems to have got his creative juices flowing and now we have four new offerings for our aural pleasure. Roy Ayers' "Our Love Will Bring Us Back Together" is teased out into sinewy, high-end boogie and BB&Q's "Imagination" home is improved, getting rebuilt into lasered robot funk. Crown Heights Affair also get two hip swaying brassy tracks featured here, rounding off the euphoric party vibes in style.
Review: As Eli Escobar let's it be known in "The Formula" that he's 'got something for you' as the sweet chorale chimes. There's a subtle Osunlade vibe to this album, the American's first, and Rhodes be flaying on "Visions" as they vamp to a climax like a Bootsy Collins solo. It's all stripped back business of "NY So Hi" - get down to this! And for some quality, sustained loops check out "Thank You Les". "Up All Night" is a dubbed-out, cool-as, disco-tinged burner and there's a whole load to discover here in a debut album rich with the type of soul you can only get from the streets of the big apple.
Review: Back with their second release, Disco Cakes assemble a talented mix of breaks producers of all different styles and collect them on this new, funk-fuelled set. Tom Drummond and JMC have fun with Daft Punk's "Robot Rock" on "Again & Again & Again", while big soulful vocals can be found on The Dancefloor Outlaws "Get Your Boogie Down" and Delimentary's "Why Can't There Be Love". Slynk and Ed Solo meanwhile update Skee Lo's evergreen "I Wish" in a whole new breaks-tinted way.
Review: Finally! Motor City Drum Ensemble aka Danilow Plessow drops the Raw Cuts series into one neat little package. Ubiquitous in 2009, the series showcased the Stuttgart native's ability to combine warm pads and luscious synths to create a house sound with a decidedly classicist tip. On this EP you'll also find two new jams from the Plessow-produced Jayson Brothers and a couple of new MCDE tracks, the highlight being "Prayer".
Review: Funk and disco breaks get put thoroughly through their paces on this exclusive collection from Boogie Boutique, featuring treats galore for DJs and fans of souped-up funk. Badboe's beefed-up treatment of UBB-staple "I Like Funky Music" by Uncle Louis, or Breakbeat Junkie's Northern Soul-indebted "Crazy Jerk" are just two of the highlights from this collection that also features nuggets from Rory Hoy, Chris Awesome and Hayz amongst others.
Review: For a label that only launched this spring, four volumes of creatively executed party jams is beyond impressive. We reckon this could be Funk Fusion's best yet, too. From Rhythm Scholar's respectfully tripped out twist on "Lucy In The Sky" to Fabioulous Barker's slap-bass blazed take on Skeelow via the funkiest ever version of 2Pac's "California Love", it's an impressive collection that leans towards the more subtle art of editing rather than crass bootleg cut-and-shuts and will have a lot more timeless appeal as a result.
Review: An offshoot of UK label Riddim Fruit, Booty Fruit is an imprint dedicated to mash-ups, bootlegs and edits that drops Homemade Bullets as its first release this week. Mr. Mention melts the Stereo MCs' "Connected" with the accapella from "Classic", a prestigious posse cut from a couple of years ago featuring Nas, Kanye, Rakim and KRS-1, while Dedy Dread cooks up a fun mix of chirpy reggae and Wyclef Jean. Funk Ferret chooses to add some big beats to UB40's perennial classic "Red Red Wine", and to round things off, One Funky Soul gives Jeru Tha Damaja a Northern Soul twist on "So Called Bro's".
Review: Norwegian disco beard Todd Terje launches this epic (and unmixed) collection of some of his best remixes. Ranging from the rare to the ubiquitous, the underlying theme here is quality. There's some killer cuts under his different aliases (Duliatten Disco Dandia, Kacic Kullmann?s Five), which includes an unashamedly awesome reworking of Ace of Base, erm, classic "All That She Wants" under the Chuck Norris moniker. Throw into that remixes of Jose Gonzalez, M, Rogue Cat, old chum Lindstrom and of course Shit Robot, and you have a compilation not to miss. Indeed, unless you have followed the Terje's career with an incredibly hawkish eye, there's sure to be a few gems on here that you missed the first time round. And there's even an hour long mix of Terje classics at the end to round it off.
Review: The Giant Cuts crew have been keeping the boogie side of the disco fire burning with their Disco Boogie Classics series for over a year now, and on this essential release they reach their fifth volume. Once again the source material is a closely guarded secret, but whether it's the cowbell-heavy, Rhodes-led funk of "Dance (Move Ya Body)", the smooth licks and sweltering '80s production of "Jump To The Edit", the party starting vocal on "Feel It" or the deep down disco sleaze of standout track "Limited Search", there's something here for everyone to get their own disco dancefloors bumping.
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: Amsterdam's Detroit Swindle duo pair up and land back on Jimpster's Freerange imprint...and you know that means swinging, dusty house grooves for all! The title track "Figure Of Speech" is a pleasant, beautifully Detroitified house swayer featuring some heavy chord action, and "Victoria's Secret" adds a further layer of beat-swing around cheery melodies for the summer haze. Flip the disc and you got "Live At The Cosmic Carnival", a disco-fuelled house anthem and another floor-filler to fill Swindle's ever-impressive catalogue.
Review: These guys have been flying the flag for quality amongst the disco re-edit community for a while now. This two-tracker is being hailed as one of their best yet, with the title track being a lean, super-perky chopped up floor filler with infectious female vocals and a just-go-with-it Euro-rap. The second cut is from the other side of the tracks: it's the type of slow n sleazy new wave-disco tune you can imagine in a dark early 80s New York fleapit, where the cast of Liquid Sky hang and dance in a beautifully nonchalant manner.
Review: Here's a downloadable version of Z Records' limited edition Record Store Day vinyl remix package of four tracks by label boss Joey Negro and his Sunburst Band. Sizzling electro-funk lead track "Taste The Groove" is given a low-slung, chugging 'Walk The Night'-style disco makeover by Hot Toddy. "Why Wait For Tomorrow" is teased out into up to 11 minutes of vintage disco ecstasy (in over three different mixes!) by Al Kent. "Definition Of Luv" also gets some super camp New York housey lovin' from Sean McCabe.
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: Some re-edit guys go for pop, some do disco and others opt for novelty jams. Not French funkateer DJ Vas, however, nope, no-way, not ever. He deals exclusively in quality, sumptuous disco. Here he delivers four more cuts, you know, the ones that sound like silly o'clock joy at the Paradise Garage - the loose, Fender Rhodes back beat shuffle of "Go Get The Money", the sparkly tingles of spacey funker "Double Journee", the slappy raunch-bass of "Hold On Me" and the New York in the bad old days electro-funk joint "Gigolo". The real deal.
Review: Don't be fooled by the plethora of comedic, pun-tastic artist names scattered throughout the track list for this sixteenth volume of Vehicle's Boogie Box Edits series. Look harder, and you'll note the distinctive scalpel alias of label boss Valique (simply "V") throughout. His edits - informed by his past in funk breaks as well as disco, boogie and shameless party-starting fun - rarely disappoint, and there's much to enjoy here. Highlights include a toughened-up, straightened out version of the Whispers' "It's A Love Thing" (complete with house pianos), a filter-heavy disco-house tweak of the Johnson Brothers' "Stomp", and a deliciously breezy rework of an old Billy Ocean fave that's worth the admission price on its' own.
Review: Bubbletease Communications' releases are defiantly infrequent, reflecting boss man Maurice Fulton's desire to only release personal projects and those he's somehow had a hand in. Given Fulton's track record, this approach guarantees a high quality threshold; in truth, Bubbletease releases are rarely less than excellent. This four-tracker from Tokyo-based DJ Nori, co-produced by Fulton, is predictably impressive. There's a touch of melancholic, acid-flecked stargazing in the shape of "Spaceg" (all heady synth melodies, fuzzy bass and 808 cowbells), some out-there, beatless space calypso (the unwieldy "We Don't Know"), and a mighty chunk of Syclops-ish wonk-jack ("80s Drugs"). Oh, and a moody, Detroit-influenced Fulton remix of "Happy Sunday" that breaks into a space disco jam near the end.
Review: There's a reason that Midnight Riot's eponymous compilations frequently charge to the top of the Juno Download charts. Put simply, they never disappoint. This ninth installment sticks to the now tried-and-tested formula - house-friendly re-edits and originals from across the disco, boogie, soul and funk spectrum - but predictably hits the spot throughout. As usual, there's a bonus mix - this time put together by globe-trotting scalpel jockey Rayko - and tracks come from both label regulars ('80s Child, Ziggy Phunk, Chewy Funk) and an impressive array of new or unheralded talents. It's in the latter category that you'll find some of the most impressive fare - see Phil Jaimes deliciously Balearic "Nowhere To Hide" and Cosmocomics' kaleidoscopic synth-funk jam "Mary Jane" - though the standard remains pleasingly high throughout.
Review: Here, Aaron Dae and JKriv gather together some highlights from the first three years of their popular re-edit imprint, Razor 'N' Tape. Given the label's infamously high hit rate, it's little surprise to find that Disco Cuts Volume 1 is full of tried-and-tested dancefloor smashers - the kind of dub-flecked, handily compressed jams that work wonders in both disco and house sets. Highlights are naturally plentiful, from the dubby pulse of Deep&Disco's ace Chic rework "Feel The Rhythm", and the cheery '80s soul revivalism of Ron Basejam's gospel boogie cut "Someday", to the undulating grooves of Luvless' "Castles In The Sky" (you can guess the identity of the original source material) and head-nodding pulse of Only Children's chugging "Falling".
Review: Sleazy McQueen's Whiskey Disco imprint continues to be one of the more reliable sources of disco and boogie re-edits. Rather predictably, this latest installment in the series is bristling with high-grade dancefloor material. There's some riotous, party-minded disco-funk from newcomer Scott M, who delivers a killer touch-up of Vernon Burnch's "Get Up", and a thrillingly low-slung chunk of rolling disco-house from VinylAddicted and SMQ. While Pontcharain also provides a tightened-up, filter-heavy tweak of France Joli's Prelude classic "Gonna Get Over You" - heavy on the delay, and with the urgent hustle of house - it's the contribution from Canadian stalwart Eddie C that stands out. A smooth, midtempo cut-up of a lesser-known rollerboogie jam, it rises and falls in all the right places.
Review: Every now and then we get a faint signal from this Beaten Space Probe, lost in the depths of the nebulous disco cosmos. It usually crackles through on our radio about once a year and is unanimously greeted with whoops of delight and much dancing on our analogue space consoles. This missive contains nine galaxian edits, presumably all peak time bangers on the hottest alien dancefloors. Highlights include the elasticated bass frenzy of "Double Lines", the Kool & The Gang redux "Don't Wanna Dance" and Fingerman's electro-boogie blaster, "Like 2 Baby". Far out!
Review: Roots For Bloom SHAG Edits series returns with volume 3. M.James brings us a track that will catch any music lovers ear. With the crisp percussion, delicate guitar riffs, a bassline that keeps evolving throughout and that vocal, this one ticks all the boxes. On the flip label boss Jamie Trench maintains the general feel for the record. This one focusing on a simpler yet just as effective bassline and obviously being heavily reliant on the sample being in the shag edits series. If you're looking for that record that stands out from the rest, this is the weapon you need.
Review: Spinforth's quest for freshness continues as he follows up the debut December Scour dispatch with another generous selection of chunky-jacksy bass joints. With gnarly fingers probing every party pie, across the collection we're treated to dubstep-meets-classic-Brooklyn ("Time To Rock"), 23rd century electro wobbles ("Boss DAT!") and VERY cheeky Cypress Hill booty business ("Insane Brains"... obviously!) And that's only three examples. Get Scouring.
Review: Bristol's X-Ray Ted is about the light and fun party jams, no cool digger's obscurities welcome here. Here he serves four guaranteed floor fillers starting with "Mild Mild West", a loose-limbed disco rendition of the Good The Bad and The Ugly theme, next "Too Good" sees Aretha Franklin get a house-shaped whoosh under her backside, "EveryMoney" meanwhile sees some vintage soul fused with classic Kelis and ODB and finally "Hold Tight" sees the show close with some sizzling neon-flecked arpeggiated disco..
Review: Fingerman's Hot Digits imprint has packed in a lot of releases over the past 12 months, as this expansive roundup of the label's second year in business proves. Featuring 27 tracks and a bonus mix by the South Coast dwelling label boss, there's naturally plenty to admire. Highlights include, but are not limited to, the rolling, head-nodding grooves of Eyeco M's "Keeping It To Myself", the killer proto-house throb of "Tonight" by Bad Barbie vs Evil Smarty, the sexy, string-drenched disco loveliness of P-Sol's "Can't You See", LTJ's trumpet-boasting funk bumper "Fat Thing", and the hard-wired, bass-heavy rework of Julia & Company's "Breakin' Down (Sugar Samba)" by Melon Bomb. It is, though, all pretty darn hot.