MIKE DUNN 黑胶唱片和CD

Review: After four decades in the game, Chicago original Mike Dunn knows a thing or two about serving up killer, party-staring house cuts. He's at it again on his latest outing for the reborn Nu Groove label, offering up a quartet of ear-catching, peak-time ready treats. On 'Git'cha House On' Dunn goes straight for the jugular, joining the dots between UK interpretations of hip-house and Kraftwerk-influenced Windy City house, before opting to add another of his part sung, part rapped vocals to a rolling, piano-sporting good time groove on 'Don't Pay Me No Mind'. Over on side B, 'Rock Ya Body (Deepa)' is a glossy, classic-sounding and percussively energetic big room workout, while 'Le'tcha Love Fall Down On Me' is deep, dreamy, energetic and lusciously loved up.

Review: Mike Dunn's first album since 1990, 2019's "My House From All Angles", was awash with high-grade Chicago jack-tracks, proper acid workouts and bouncy late-night house. It's one of the latter tracks, the superb "If I Can't Get Down", that's given the remix treatment here. German veteran Mousse T expertly re-invents the track as a squelchy fusion of hip-house and disco-house, while Oliver Dollar tips a wink to Classic's boompty past via a rework that sounds like vintage mid-noughties Derrick Carter. Over on the flip Luke Soloman delivers a low-slung house version that cheekily samples Modern Romance's dub disco classic "Salsa Rhapsody", before Snips Broken Sweet re-imagines Dunn's house workout as a jazzy bruk-up number. As good a set of remixes as we've heard in ages - don't sleep!

Review: ***B-STOCK: Creasing to corner of outer sleeve with split spine but otherwise in perfect working condition***


Mike Dunn's first album since 1990, 2019's "My House From All Angles", was awash with high-grade Chicago jack-tracks, proper acid workouts and bouncy late-night house. It's one of the latter tracks, the superb "If I Can't Get Down", that's given the remix treatment here. German veteran Mousse T expertly re-invents the track as a squelchy fusion of hip-house and disco-house, while Oliver Dollar tips a wink to Classic's boompty past via a rework that sounds like vintage mid-noughties Derrick Carter. Over on the flip Luke Soloman delivers a low-slung house version that cheekily samples Modern Romance's dub disco classic "Salsa Rhapsody", before Snips Broken Sweet re-imagines Dunn's house workout as a jazzy bruk-up number. As good a set of remixes as we've heard in ages - don't sleep!

Review: Chicago house original Mike Dunn continues to serve up dancefloor gold some 31 years into a long and storied production career. As with its predecessors, We R Tuesday Nights Vol 5 delivers dusty disco reworks from the producer's personal stash of peak-time scalpel works. To kick things off, Dunn makes merry with a lesser-known orchestral disco-funk slammer, before brilliantly chopping, looping and rearranging a rubbery disco-boogie cut rich in bold synth bass, hazy "keep on dancing" chorus vocals and jangling piano riffs. Over on side B, Dunn turns his attention to an epic chunk of seductive disco, adding spacey delays and emphasizing the crunchy Clavinet lines to guarantee serious peak-time pleasure.

Review: For those seeking sweaty, Ron Hardy style re-edits, Mike Dunn's white label We R Tuesday Nights series has long been a source of guaranteed dancefloor dynamite. Predictably, there's much to enjoy on Volume 4, from the razor-sharp horns, sweeping orchestration and lolloping groove of the opener (track 1), to the Mystic Merlin style, early '80s disco-funk goodness that is closer "Track 4" (whose combination of hard-panned left guitar licks, rubbery slap bass and impassioned vocals is an EP highlight). In between, Dunn serves up some killer, Rio carnival-friendly jazz funk ("Track 2") and the pure disco celebration that is "Track 3".

Review: Astonishingly, My House From All Angles is Chicago house legend Mike Dunn's first album for some 27 years. Fittingly, it features a number of killer tracks that pay tribute to the early days of house music, including a swathe of heavy, on-point acid jackers. Dunn frequently takes to the mic, too, adding spoken word and hip-house style rap vocals to a handful of rambunctious, all-action cuts (check, for example, the Adonis style late night sleaze of "Coal Mine", "Let's Go" and "Move It, Work It"). Naturally, it's no all TB-303 heavy sweaty jackers, with Dunn wisely throwing in some sparkling Chi-town deep house and a handful of bumping, disco-sampling workouts. In other words, it's a killer collection of club tracks from one of Chicago's most underrated producers.

Review: Mike Dunn returns on top form with "DJ Beat That Shhh", a fine slab of warm and rich, '90s style Chicago deep house. While that track is inspired - Dunn rarely puts a foot wrong, production wise - we actually prefer flipside hip-house jack-track "Move It, Work It". It's raw and stripped back in typical Illinois fashion, with the action focused around crunchy drum machine percussion, occasional ghostly chords and a killer TB-303 bassline. The vocal mix comes on like a long-lost hip-house collaboration between Fast Eddie and Phuture, while the Dub strips things back further for greater dancefloor pleasure.

Review: Chicago legend Mike Dunn presents We R Tuesday Nights Vol #2 with three absolutely kick ass edits for serious DJ use only. The first track is a crafty cut-up of Prince's classic "Controversy". Yes, there's been many others before it, but this one is cleverly executed for maximum dancefloor satisfaction. Next up is a re-splice of a certain track called "I'm An Indian, Too" by Don Armando's 2nd Ave. Rumba Band which we found curious (yet not altogether unpleasant!) and finally we can never get enough of The Jackson 5 right? "The Life Of The Party" is presented here with the right amount of pizazz, yet again displaying Dunn's deft hand for revising classics for modern audiences.

Review: Amazingly, it's 28 years since the original release of Dance You Mutha, the single with which producer Mike Dunn announced his arrival on the Chicago house scene. As this welcome reissue proves, the track - and its' various accompanying mixes by label boss Chris "Bam Bam" Westbrook and Dunn himself - has aged far better than many from the period. Dunn's original mix - all clanking, jackin' drum machine rhythms and layered scat vocals - is still a powerful beast, while Westbrook's "Bam The Dub For The Club" retains this grunt while playing around with some spacey synths and a classic Chicago house bassline. There's also a handy "Multipella" for creative DJs, and a sweatier Jazz Mutha Mike version that almost out-dubs Westbrook's take.

Review: One of the best ever house records. Yes that is a big word...best house record ever. But for us this is definitely one of the best house releases ever. Originally released on Underground Records from Chicago, we managed to get the rights for this classic. 4 tracks of vocal acid house, with such power and energy and totally rocking. Can you imagine what happened when we heard these tracks for the first time 15 years ago?? We couldn't stop jumping around. This was completely from another world. Acid was music from another planet and Mike Dunn was an alien who came with irresistible beats and basslines. Mike Dunn and Tyree Cooper also wrote the lyrics which are still relevant for everybody who has some hassle with relationships now and then (isn't that all of us ;-). This is all about the basics of good innovative music. Essential!

Review: The first instalment in UK label Big Love's A Touch Of Love vinyl EP series brings together some of the label's latest and finest moments for the vinyl heads. Chicago legend Mike Dunn serves up the deep late night mood music of 'It's A Groove Thang' (Black Glitter LB mixx), before teaming up with label head Seamus Haji on the deep down and dirty funk of 'Disco Dreams'. Over on the flip, Nigel Lois rediscovers '7's Philly sounds on 'Brotherly Love' with Jamie 3:26 and Rotterdam producer Danou P stepping up for a seriously lo-slung remix.

Review: ***B-STOCK: Slight surface marks ***


The first instalment in UK label Big Love's A Touch Of Love vinyl EP series brings together some of the label's latest and finest moments for the vinyl heads. Chicago legend Mike Dunn serves up the deep late night mood music of 'It's A Groove Thang' (Black Glitter LB mixx), before teaming up with label head Seamus Haji on the deep down and dirty funk of 'Disco Dreams'. Over on the flip, Nigel Lois rediscovers '7's Philly sounds on 'Brotherly Love' with Jamie 3:26 and Rotterdam producer Danou P stepping up for a seriously lo-slung remix.

Review: Mike Dunn is one of the many heroes of the Chicago house scene. He always brings those real raw vibes, a hip hop sensibility and drums that pop. His own vocals often feature to bring some extra attitude and so it is right that he cradled as a Defected House Master on this new collection in the long running series. Mike has a rich collection of classic to his name and many feature here - the chunky goodness of 'God Made Me Phunky', the tight drum programming of 'Jass Yo Azz Off', the sleazy, low-slung funk of his biggest moment 'Phreaky MF.' Add in the blistering acid attack of 'Magic Feet' and you have a vital overview of a house mainstay.

Review: ***B-STOCK: Creasing on outer sleeve, also the record has light surface marks/smudges, but otherwise in excellent working condition***


Mike Dunn is one of the many heroes of the Chicago house scene. He always brings those real raw vibes, a hip hop sensibility and drums that pop. His own vocals often feature to bring some extra attitude and so it is right that he cradled as a Defected House Master on this new collection in the long running series. Mike has a rich collection of classic to his name and many feature here - the chunky goodness of 'God Made Me Phunky', the tight drum programming of 'Jass Yo Azz Off', the sleazy, low-slung funk of his biggest moment 'Phreaky MF.' Add in the blistering acid attack of 'Magic Feet' and you have a vital overview of a house mainstay.

Review: More box jam bliss from the Clone stable with this debut release from Berlin resident Murphy Jax. "It's The Music" evokes perfectly the spirit of early Chicago house, with the only contemporary concession some tighter drum programming. Of course some vocals from Mike Dunn - one of the voices of house music - adds that hint of authenticity too. Clone dons Legowelt and Alden Tyrell get busy with remixes on the flip. The former lays down a rewired organ line that adds some real emotion to the track, a sensation expanded when those strings hit. Acid pulses and a shower of hi-hats dominate Tyrell's version, the raw qualities augmented by a sinewy double bassline and plenty of drops into just Dunn's distinct voice.

Review: Defected's numeral EP series is up to a 13th edition but this one is in no way unlucky for anyone. It collects together some of the biggest and most widely heard tunes of 2022 across two sides of wax. First up is the summer banger 'Rise Up' from Harry Romero & Inaya Day which dropped in June and was never far from a big moment. The Deep In Jersey remix of 'Rise Up' is more deep and dubby and then on the reverse Spanish artist David Penn offers 'Push The Feeling' with vocals from Leon Stanford. House hero Mike Dunn then pairs off with LOA for a hip-hop-leaning sound.

Review: Newcomer Gary Todd hooks up with one of house music's most recognisable names, Mike Dunn, for the Bring Me Down single, which also features a dub version and Trus'me remix. The original cut is what this EP's all about though; a track destined for late night warehouse play suitable for both house and techno DJs (for those not in the mood for vocals there's the dub version). Trus'me removes most of the big room sounds from his mix, albeit a little reverb, and splices much of the original elements into a new and stripped-back framework. Considering this only has the one track, Bring Me Down is a versatile record for the DJ.

Review: A lesson in simple mathematics: Alden Tyrell + Mike Dunn x Clone Jack For Dazed = you need to check this! Tyrell has been busy of late remastering the back catalogue of Drexciya for Clone, yet still finds time to come up with the excellent "Touch The Sky" for the Rotterdam empire's crucial sub label. Little more than the distinctive tones of Dunn freestyling over a f******* huge acid riff and thumping kicks, the track's simplistic composition is outweighed heavily by just how devastatingly effective it is. 4Lux boss Gerd steps out of his Geeeman costume for a remix that evens out the kinks of the original while Tyrell and Clone boss Serge go in the opposite direction on the International House mix which lays down some classic piano lines where the acid was and severely fucks with the vocal programme. Such a good record.