All I Do (Ryuhei The Man 45 edit instrumental) (4:05)
Review: Japanese live outfit, A Hundred Birds has a thing for creating classic covers. Over the course of their career, they've recorded countless covers, including organic, string-laden interpretations of techno scene staples such as "Blackwater" (originally recorded by Octave 8) and "Knights of the Jaguar" (The Aztec Mystic). Last year they offered up another warm and wonderous cover, this time of Stevie Wonder classic "All I Do". Here it gets a new lease of life courtesy of scalpel fiend Ryu The Man, who has delivered tightened-up, floor-friendly vocal and instrumental edits of the warm, rich, soulful and undeniably summery cover version. Both are rather good, though it's the vocal version that will win over dancers.
Akabu - "Ride The Storm" (feat Linda Clifford - Saison remix) (7:21)
The Love Symphony Orchestra - "Let Me Be Your Fantasy" (Dr Packer remix) (7:31)
Joey Negro Presents The Sunburst Band - "Everyday" (JN Disco Re-Bump remix) (7:28)
Art Of Tones - "Flower Child" (feat Anduze) (7:01)
Review: Like its numerous predecessors, 16th edition of Z Records' long running "Attack The Dancefloor" series is packed to the rafters with tried and tested dancefloor treats, most of which have never appeared on vinyl before. First up, Saison tackles Akabu's 2001 classic "Ride The Storm", turning it into a deep, bouncy and rubbery chunk of lilting, string-drenched house goodness, before Dr Packer delivers a subtly tooled-up take on The Love Symphony Orchestra's grandiose and sexually-charged 1978 disco classic "Let Me Be Your Fantasy". Label head honcho Joey Negro provides a superb deep disco rework of one of his own productions, the Sunburst Band's 2004 summer sing-along "Everyday", while Art of Tones' "Flower Child" is a flash-fried, disco-funk romp laden with superb lead vocals from Anduze.
Review: DJ friendly dancefloor cuts once again from the Gator Boots camp, with a two track EP of razor sharp heaters by the mysterious Ancient Deep, following up some great ones by G. Markus, Blue Mondays and Soul Clap. There is certainly a familiar vibe on A side cut "Underneath The Lights", a sultry late night vocal number with sleazy guitar licks, creamy Rhodes and a string section so warm it'll get the emotions running wild. On the flip, things go deeper into the night with its unmistakable hook from a right classic. It's called "Can't Stop The Jump" and is as slo-mo and lo-slung as you like it - perfect for the afterhours if we do say so ourselves!
Review: A new week, a new edits label, this time from BPlan & Fab_o. It kicks off in fantastic fashion with four edits that will boost your spot no end. There is loose and jumbled afro-disco on "Sweet Brasil" and then stripped back disco-house loops a la early DJ Sneak on "Aroma Club". The flip side again leans on afro for its sunny vibes with "Arabica Selection" and it might be that the best is saved until last. "West Africa" is built on funky bass riffs, with flailing percussion, chunky drums and vocal chants that will lock in any crowd.
You Can't Have Your Cake & Eat It Too (vocal) (5:57)
You Can't Have Your Cake & Eat It Too (instrumental Cake mix) (6:50)
You Can't Have Your Cake & Eat It Too (6:27)
Review: The Westend treasure trove seems as deep as Mary Poppins' bag once you start digging into it. This latest trick is from 1982 and has a real sense of humour as well as standout piano playing, joyful up beat vibes and powerful drums. As vocalist Taylor and her backing singers keep remind us throughout, we can't have it both ways when it comes to love, but we can have this song as a way to get over any romantic troubles. It comes with a vocal, instrumental and original mix that all offer slightly different but equally great variations.
Review: Having sold out in record time a couple of months back, Phil Mison's latest album as Cantoma - an all-star affair featuring a wealth of guest vocalists and musicians - has been rapidly reissued, this time with a colour insert. Musically, "Into Daylight" is sweet and soft-focused, with the Balearic veteran prioritising seductively shuffling samba beats, dewy-eyed vocals, gentle melodies, dubby basslines and tactile instrumentation (think meandering trumpet solos, acoustic guitars, flutes, twinkling Rhodes solos and Pat Metheny style jazz guitar). It's the kind of album that warms you like a hug, soothing mind and body whilst providing enough slow-motion excitement to reward repeat listens.
It All Began In The East (The Sacred Rhythm version) (11:48)
It All Began In The East (The Cosmic Arts Koto version) (3:39)
A Dance For Gratitude (Joaquin's Congo Arts Drum version) (7:15)
It All Began In The East (The Cosmic Arts Meditational mix) (3:18)
Review: Two years ago, Joaquin "Joe" Clausell donned his occasional Mental Remedy alias and offered up "A Journey To Noi", a decidedly spiritual album that mixed Japanese instrumentation with his usual ambient and deep house sounds. On this 12", Clausell offers up some heady new interpretations that - like much of his work over the last decade - are built around the percussive power of African rhythms. The opening "Sacred Rhythm Version" of "It All Began In The East" is particularly potent, with Clausell cloaking a warm, organic and percussive Afro-house beat in distinctive Japanese Koto melodies and jazzy piano flourishes. We'd also recommend the formidably heavy, drum-laden rework of "Dance For Gratitude", whose Latin American bassline and simmering synth-strings are almost as addictive as the weighty groove they sit upon.
Eminence - "Give It Up" (feat Kathy Brown - Dr Packer extended remix) (6:56)
Aeroplane - "Love On Hold" (feat Tawatha Agee - Dr Packer extended remix) (6:41)
Jean Jacques Smoothie - "2people" (feat Tara Busch - Dr Packer extended remix) (5:40)
ATFC - "Sleep Talk" (feat Lisa Millett - Dr Packer extended remix) (7:33)
Fish Go Deep & Tracey K - "The Cure & The Cause" (Dr Packer extended remix) (6:19)
Horse Meat Disco - "Let's Go Dancing" (feat Amy Douglas - Dr Packer extended remix) (6:39)
Hardsoul - "Back Together" (feat Ron Carroll - Dr Packer extended remix) (7:01)
Reel People - "You Used To Hold Me So Tight" (feat Angela Johnson - Dr Packer remix) (7:04)
Review: Aussie remix king Dr Packer is now Defected offshoot Glitterbox's go-to man when it comes to re-shaping and revising classic cuts. There's a reason for that of course, namely that he understands dancefloor dynamics and is an expert at adding just the right of easy-to-mix house flavour to records old and new. "Different Strokes Volume 2" gathers together 12 previously unreleased reworks from the Perth-based producer. There are some terrific, disco-tinged revisions on show, with our highlights including his interpretations of Jean Jacques Smoothie's early noughties gem "2People", Hardsoul and Ron Carroll's soulful house anthem "Back Together", Reel People's new-boogie cover of Thelma Houston gem "You Used To Hold Me So Tight" and the 21st century disco anthem that is Horse Meat Disco's"Let's Go Dancing".
Eminence - "Give It Up" (feat Kathy Brown - Dr Packer extended remix)
Bobby D'ambrosio - "Runaway Love" (Dr Packer extended remix)
Seamus Haji - "Boogie 2nite" (Dr Packer extended remix)
The Lab Rats Pres. The Experiment - "Music Is My Way Of Life" (feat Lisa Millett - Dr Packer extended remix)
Seamus Haji - "I Got You" (feat Bryan Chambers - Dr Packer extended remix)
Reel People - "You Used To Hold Me So Tight" (feat Angela Johnson - Dr Packer remix)
Seamus Haji X Those Guys - "I Walk Alone (For Your Love)" (Dr Packer extended remix)
Review: It would be fair to say that Glitterbox loves Dr Packer. Since the Defected offshoot launched, its executives have made the Aussie re-editor and remixer their go-to man for new versions of classic cuts old and new. They continue that trend with "Different Strokes Volume 2", a double-disc set of remixes from the Perth-based producer featuring soaring, soulful, disco-fired versions of tracks from the Defected and Glitterbox vaults. Interestingly, this time round he's got to work on far more house cuts than disco ones, delivering sumptuous, headline-grabbing reworks of classic cuts by Hardsoul and Ron Carroll, ATFC, Reel People, Fish Go Deep and Soulsearcher, as well as recent disco outings by Aeroplane, Horse Meat Disco and Shapeshifters.
I Want You For Myself (KON extended remix) (10:40)
Review: Acclaimed crate-digger turned disco re-editor KON has decided to launch his own reissue imprint, Kontemporary. The idea is simple: to accompany re-mastered original tracks with fresh rubs from the man himself. 12" number one offers another opportunity to enjoy George Duke's soulful, sun-kissed, disco-era jazz-funk bomb "I Want You For Myself". On the A-side you'll find Duke's own impeccable 12" version, with KON's re-edit gracing the B. Having access to the original multi-track tapes has allowed the New York-based producer to not only include an atmospheric, extended intro (a tactic regularly used by fellow rework merchants The Revenge and Joey Negro), but also give more prominence to Duke's superb piano solos.
Review: Fabrizio Esposito was born in Naples / Italy into a family of passionate musicians and vinyl collectors. His father played guitar in Tony Esposito's band who was responsible for some classic Italo tracks from the early 80's. He spent his early childhood immersed in his grandparnent's extensive vinyl collection which he has since inherited, this collection heavily influenced Fabrizio and made him a fan of Italian Wave, Italo Disco, Neapolitan Funk, Soul and Disco. After all these years working in clubs and with artists Fabrizio decided it was time to realise his other dream and become a DJ and producer himself fusing together his rich musical heritage combined with his clear vision for the future, creating his own unique sound. Fabrizio explains that since he was 14 he had always been behind the scenes of parties, from a PR to a promoter, always watching the djs and producers working to create the party around them. Since this time he has always been an obsessive vinyl collector, its in his blood, so now it's time for Fabrizio to share his own passion for music with the world.
Fast forward to summer 2019, Fabrizio made his Ibiza debut DJ'ing alongside DJ Harvey and Pete Gooding at La Torre and soon after Fabrizio finished his debut track 'This Way' which was premiered by Harvey at his now 'Mercury Rising' party at Pikes.
Review: We may not be able to gather to dance outdoors under a blazing sun or a blanket of stars, but there's no harm in a little musical daydreaming. That's what the latest multi-artist Ravenelli Disco Club release is all about: summery escapism that comes with a big dollop of rush-inducing disco release. Ethyene sets the tone with the colourful boogie-house fusion of "Let Love" - all twinkling synth motifs, echoing percussion hits, thickset grooves and hazy vocal samples - before Carlo raises the temperature via some jazzy deep house heaviness in the vein of Derrick Carter's "boompty" era. Over on side B, Hotmood's "Magical Flight" is a surging, string-drenched disco-house roller, while Rees' "The Way You Mood" is a tooled-up take on what sounds like a classic Philadelphia International cut.
Review: Brand new label Fat Edits succinctly sum up their MO with the title of their imprint alone. Whoever is behind the material knows how to mash up big samples and slamming drums right from the off. "West Of North" is sweaty and hard hitting with old school Chicago drums pumping away. "Love fever" recalls disco's hey day with its glossy diva vocals, here reworked over prickly drums with big horns and strings. "Who Have Nothing" is the righteous closer, with rapturous vocals getting hands in the air over tough kicks and incendiary hi hats.
First Choice - "Let No Man Put Asunder" (Moplen remix) (9:41)
Candido - "Jingo" (Moplen remix) (10:26)
Review: Italian purist editor Moplen gets given the raw stems of two famous Salsoul classics: First Choice's game-changing "Let No Man Put Asunder" and Candido's light-years ahead of time thumper "Jingo". The former gets a little dancefloor edge as the vocal begins to loop towards the end and the groove gains more momentum. The latter remains one of the most driving, physical and addictive tunes Salsoul ever released but with added length and more of dynamic in the percussion. Known for adding little to no additional production, once again Moplen's extensions and rearrangements are done in their most honest form.
Review: The first instalment of the Gallery edits series, which landed in stores at the very end of 2019, was an artful, off-kilter treat, so we're expecting big things from this eagerly awaited follow-up. A-side "Stop" is simply superb: a clattering, delay-laden, dub disco style revision of a poodle perm-sporting bunch of early-to-mid-'80s electronic disco laden with percussion hits, ear-pleasing synthesizers, druggy, arpeggio-style bass and familiar-sounding vocal snippets. It just keeps building throughout, suggesting dancefloor pandemonium is almost guaranteed. Flipside "Remember" is rather good, too, with the mystery audio art lovers re-wiring a deliciously camp, over-the-top electro-disco stomper.
Rafael Cameron - "Let's Get It Off" (Dr Packer rework) (6:13)
Ripple - "The Beat Goes On & On" (Dr Packer rework) (7:30)
The Salsoul Orchestra - "You're Just The Right Size" (Dr Packer rework) (6:07)
Review: UK born, Australia based DJ and producer Dr Packer is back with more of his on point edits. He tackles some serious disco heavyweights here on Salsoul and first off, disco diva Loleatta Holloway and her mega-hit "Runaway" gets a fresh 2020 update with some soul uplifting studio skills. A heavy funk remix of Rafael Cameron's "Let's Get It Off" is next, with the original still taking centre stage, then the shimmering and glistening disco gold of Ripple's "The Beat Goes On" follows before in-house collective The Salsoul Orchestra also get treated to some elegant orchestral work and a sultry vocal hook.
Falling Deep In Love (Joey Negro 7" Disco Blend) (4:06)
Review: For the last two years, legendary London crew Horse Meat Disco has been teasing the release of its long-awaited debut album via a series of scintillating singles featuring guest vocals from the likes of Amy Douglas and, even more impressively, Kathy Sledge. Here they offer up their second collaboration with the legendary disco diva. "Jump Into The Light" is little less than a tribute to the Chic sound featured on the greatest Sister Sledge records, with Kathy Sledge delivering a typical fine lead vocal over Bernard Edwards style bass, Nile Rodgers-esque guitars and glittering orchestration. Over on side B there's a chance to enjoy Joey Negro's cut-down "Disco Blend" of previous single "Falling Deep In Love", which adds a little house flavour whilst retaining the crew's disco instrumentation.
Review: Here's a record perfectly suited to the Emotional Rescue sphere. International Noise Orchestra was born out of a collaboration between Berliner Ulrich Homberg and Algerian drummer Jol Allouche, first embarked on in the 1980s when they sought to combine 'new technology with old'. The results are wonderfully vibrant, evocative of the era but also packed with open-ended experimentation that sounds fresh more than 30 years later. There's a push and pull between the collaborating parties, but the frisson between cultures and methods is where this record gets its unique groove from, all delivered with a slick 80s cool it's hard to resist.
Review: Earlier this year, Luca Di Mateo donned the Italo Brutalo guise for the first time in three years, delivering a tidy EP on Bungalo Disco that's well worth a listen. This speedy sequel is similarly ear-catching and piled high with shimmering, synth-heavy goodness. For proof, check opener "Taniacid", where vibrant, NYC freestyle inspired synthesizer motifs and wild TB-303 acid lines ride a thickset, arpeggiated Italo-disco bassline. He successfully dips the tempo on the pleasingly chugging and spacey "Trust Doesn't Rust", before opening side B with the more hard-wired, acid-flecked Italo-disco revivalism of "Knightmares". Rounding off another rock-solid EP is "Not To Drop A Drink", another moody affair that reminded us of early 1980s Italian horror movie soundtracks.
Review: Last time out, Longhair popped up on Claptrap with a fine EP that effortlessly joined the dots between turn-of-the-'90s dream house, breakbeat-driven deep house and colourful nu-disco. They've slightly switched focus on this Love On The Rocks label debut, adding big rays of sweltering Balearic sunshine to their usual warming and kaleidoscopic sound palette. In its original form, "The Forbidden Dance" brilliantly re-purposes the melody from a familiar old Mediterranean instrumental number (you'll recognise it when you hear it), re-playing it on sparkling synthesizer settings and layering it atop a tactile deep house groove awash with vibrant nu-disco sounds. Arguably even better is the almost beat-free flipside "Rhumba Mix", which reminded us of those bonus "ambient house" versions you used to get on Italian dream house EPs.
Review: When it comes to offering up authentically funk-fuelled, revivalist disco-funk treats, former crate digger to the stars turned re-editor and producer Lord Funk has an impressive track record. One of his most sought-after releases is 2018's colourful "Knock Me Out EP", so it's no surprise to see it being given the reissue treatment two years on. There's much to admire, from the early Sugarhill Records-sampling boogie/p-funk fusion of opener "Blow Your Mind", to the talkbox-sporting P-funk revivalism of "Knock Me Out" (seemingly a reissue of a lesser-known kaleidoscopic synth-funk gem from the early-to-mid '80s), and the rather brilliant, Prince style electrofunk headiness of closing cut "Do It (If U Like)".
Review: The people behind the Made To Dance re-edit series keep their cards close to their chest, offering up little information about their identities or aims other than some admirable words about drawing on "different musical traditions going beyond classifications". It would be nice to know a little more, because their occasional releases - and this tidy "45" in particular - are really rather good. A-side "Lothar" sees the mystery scalpel fiends make merry with a Latin jazz number, to which they've added squelchy acid lines and a little more dancefloor weight. Arguably even better is percussive and funky flipside "Bad Bad Puma", a tooled-up disco-jazz number that cleverly blends glistening guitar solos, wild Hammond organs, loose-limbed drum-breaks and locked-in, house-style kick-drum patterns.