Review: Here is a selection of the finest reworks and remixes from the two most definitive disco labels. Thriving in the New York club scene of the 70's and 80's, West End is the definitive disco label, alongside the equally legendary New York City label Salsoul Records. They present some of the faces who soundtracked that movement. In this collection you'll find versions by remix extraordinaires like Tom Moulton and Shep Pettibone, NYC legends Danny Tenaglia and Masters At Work, Aussie veterans Late Nite Tuff Guy and Dr. Packer, as well as Dimitri From Paris, Joey Negro, Michael Gray and many more across 30 tracks.
Review: Bryan Gee and V Recordings do not mess around. They never have in the past, they're certainly not right now in the present and judging by this highly anticipated Future album, they're going to mess around any time ahead. 25 tracks from some of the biggest, best and baddest names in D&B (Dillina, Serum, Benny L, Paul T & Edward Oberon, Roni Size, DJ Marky, Drumsound & Bassline Smith, Bladerunner, Saxxon, the list goes on) this one's been a long, long, long time coming... And it's been well worth the wait. From L-Sides massive remixes of Dillinja and Krust to Need For Mirrors super-revved "Lambo" to Benny L's incredible remix of "Days", this sums up why Bryan and his label are as influential and respected in the game as they are today. Don't mess around.
Review: If you like your house music to be big, bold, celebratory and served with lashings of mirrorball-friendly disco flavours, this expansive compilation from CR2 should be right up your alley. It boasts plenty of tracks and remixes from modern masters of the revivalist disco scene (think Dr Packer, the Reflex, Birdee, and Sneaky Sound System) plus bona fide legends of the scene who have been operative since the original days of disco-house in the mid-to-late 1990s (Dimitri From Paris, Mousse T, Lenny Fontana and Rhythm Masters, to name just four). The plentiful highlights include Phil Fuldner's fine rework of Get To Know's chunky "I Just Love", the swirling, string-drenched peak-time rush of Exhibit A's "G Minor", Casual Connection's hybrid electrofunk/nu-disco revision of Sneaky Sound System's "Can't Help The Way I Feel" and the all-action, filter-sporting cheeriness of sometime Greenskeepers man James Curd's ace "Shake Yourself".