Review: Originally pressed (on a limited run) in 2013, LA Latin funk troupe Boogaloo Assassins have reissued these two spellbinding cover versions again due to public demand. Still on a highly limited run, both cuts need to be in your collection: Dawn Penn's "No No No" gets a strict samba switch with lavish percussion and consistent vocal harmonies throughout while Sonny Henry's "Evil Ways" (best known from its Santana cover) gets the dreamy instrumental treatment where the horns and glocks do the narrating over a tight bed of wood blocks, shakers and liquid Rhodes. Killer stuff and Juno is one of the few stores outside of USA which is carrying the 45. Don't Sleep !
Review: REPRESS ALERT: As far as collaborative delights go, this really takes the cake. Miami boogie wildcard Noel Williams, aka King Sporty, throwing it down heavy with legendary Jamaican reggae axe man Ernest Ranglin - as you might expect, the results are incendiary. "Soft Touch" has a hint of the cosmic about it as it romps through insanely catchy chorus chants, stirring brass stabs and Ranglin's sweet licks. "Keep On Dancing" has a more uptempo feel, "In The Rain" slips into a laid back reggae skank and "Be What You Want To Be" turns the vintage disco heat back up. Throughout this wonderful mini LP, the duo switch between each other's strengths and bring out the best in each other, like all good collaborations should.
Review: Surprisingly, Don Blackman originally wrote and recorded "Just Can't Stay Away" to play as the recorded message on his girlfriend's answering machine. He later included it - tweaked and turned into a mid-80s style boogie banger reminiscent of his work during that decade - on his second and final album, 2002's CD-only "Listen". Here it finally gets a vinyl release thanks to reissue specialists Melodies International. If you're a fan of boogie, electrofunk and synth-soul it should be an essential purchase, not least because it's every bit as good as more celebrated Blackman productions made earlier in his career. There are "Stereo" and "Mono" mixes to enjoy, with the former naturally offering a more refined and intoxicating listening experience.
Flying Fantasy (exclusive instrumental version) (4:35)
Rhodes E Serenidade (3:37)
Review: Small repress of the Modern Sun Records founder and experienced jazz-wise producer Marc Friedli AKA Skymark. A-side "Flying Fantasy" originally appeared on the Spanish producer's 2016 album "Resistance Sonore", but is here featured in instrumental form for the first time. If anything, it's better than the original version, largely because we get to revel in Friedli's mazy Fender Rhodes solos, rubbery jazz-funk synth bass and loose-limbed, West London style broken beats. You'll find plenty more jaunty jazz-funk vibes and liquid electric piano solos on B-side cut "Rhodes E Serenidade", which first slipped out way back in 2015. DJ Support so far from Dom Servini, Emanative,Red Greg,Kevin Beadle, Mike Chadwick,Dynamite Cuts & Rocafort Records so far
Melody Nelson (unreleased instrumental edit) (3:50)
Cargo Culte (unreleased instrumental edit) (3:58)
Review: This rather tidy, limited-edition "45" offers up two previously unheard instrumental edits of stone cold classics from the bulging back catalogue of Chanson hero and sleazy but chic singer Serge Gainsbourg. Side A boasts a superb revision of "Melody Nelson", a sweeping, string-drenched affair underpinned by sweaty drumming that arguably benefits from the removal of Gainsbourg and Jane Birkin's vocals. Over on side B you'll find an equally evocative version of Beck favourite "Cargo Culte". Stripped of the original lead vocals, the track sounds like a lo-fi art-rock instrumental smothered in ghostly choral vocals and creepy, foreboding musical flourishes. Top stuff!
Review: Sound Signature's latest release is an all-star crew affair, with an impressive cast list of vocalists, musicians and producers joining main man Theo Parrish in the studio. He's at the controls on the sublime A-side mix, a jazzy affair where layered twinkling electric piano motifs, spacey chords, jazz-funk riffs and sumptuous deep house grooves combine on a fearlessly loose and organic dancefloor workout. On the flipside friend of the family Dego offers his interpretation, adding even more warmth and some tasty additional hand percussion parts whilst wisely utilizing most of the original version's intricate musical elements.
I Want To Thank You (KON Shine Your Light remix) (7:54)
I Want To Thank You (KON dub) (7:49)
Review: Having previously breathed new life into classic cuts from L.T.D, George Duke and Sylvester, Kon has now turned his attention to another all-time favourite: Alicia Myers' 1981 stunner "I Want To Thank You", a disco-era gospel-soul favourite that remains one of the era's most timeless club records. Working from the multi-track tapes, Kon teases out Myers' killer vocal - drenched in just the right amount of reverb and delay - atop a slightly stripped-back groove before giving it the full kitchen sink treatment. Just as good is the flipside Dub, which flits between beat-free sections and the track's killer groove in the manner of disco dubs from the early 1980s. The song itself may not have needed tampering with, but Kon's versions are genuinely superb.
Review: After years spent offering up impressive blends of ambient, drone, electronica and experimental drum and bass as ASC, James Clements has decided to commit more time to Comit (sorry), an alternative project which first surfaced via a debut single in 2016. Here the San Diego-based Brit delivers a first full-length excursion under the alias. There's plenty to soothe and seduce on the eight tracks stretched across two slabs of wax, from the undulating, occasionally skittish beats and sweeping chord sequences of opener "Behind Dulled Eyes" and the icy, doom-laden electronic melancholy of "Reverie", to the early Black Dog Productions flex of "Clouded Over" and the dubbed-out, slow motion bliss of "Soft Focus".
Review: New Zealand based not for profit label Rain & Shine are proud to present the first official reissue of Skye's highly sought after "Ain't No Need" since it's 1976 release. Remastered and reissued, it has long been a favourite of some of the most well respected DJs across the scene: from Floating Points and Sadar Bahar, to Mr Scruff and Theo Parrish. Strictly limited to 1000, never to be repressed - hand numbered, 7" picture sleeve with a dinked centre hole. Say no more!
Review: Since launching last year, Lil Static has offered up new, lightly altered editions of classic tracks from Jeru the Damaja, Kraftwerk, Run-DMC, Nas and the Notorious B.I.G. Here they continue to serve up vital beats for break-digging DJs via classic cuts from Eric B. & Rakim and Mountain. The A side sports an edited version of 1986 cut "Eric B. Is President", a synth-bass propelled NYC hip-hop gem rich in unmistakable rap vocals and tight scratching. Over on side B there's a chance to savour Mountain's late '60s rock cut that provided the Eric B. & Rakim track (and so many others since) with its distinctive drum break, "Long Red". This edited version gives more prominence to the breaks, making it an ideal mixing tool for hip-hop DJs.
Review: Horishi Yoshimura was something of a pioneer of Japanese electronic music, particularly ambient. He came to create his first masterpiece, 1982 debut album Music For Nine Postcards, following a near 10-year spell exploring the early potential of computer music. The album has long been considered a "must-have" for ambient collectors, despite high second-hand prices and very limited stock. Thrillingly, Empire of Signs has decided to reissue it on vinyl for the first time. Entirely performed and produced by Yoshimura, it features a series of impeccable compositions rich in slowly unfurling electric piano motifs, spacey synthesizer chords, delicate organ lines and, on rare occasions, the musician's own voice routed through all manner of outboard effects. Simply stunning.
Review: What more can be said about the output of Alex 'Omar' Smith? The Detroiter's releases have perhaps been a little more varied of late than we've come to expect, but the quality nevertheless remains dizzyingly high. This white label excursion is full of floor-friendly gems, with Smith's use of classic house samples and familiar vocal samples also making it one of his most party-hearted releases for a while. Check, for example, "Catch Ya", where a much-loved turn-of-the-'90s acapella rises above bouncy New Jersey organs and snappy machine drums. "Better Believe It Baby" brilliantly wraps a chiming synth loop and R&B style vocal snippets around a chunky, disco-fired deep house beat, while "Cheat" and "Pull Ovaa" are deliciously dusty, bass-heavy deep house workouts with just the right amount of hypnotic late night charm.
Review: Silent Season's mainstay artist Segue returns with a new album, following up on the well-received immersion of his 2016 LP "Over The Mountains" with further explorations in the hinterland between dub techno, ambient and a more pastoral kind of palette. It's a field he's well versed in, and one that typifies Silent Season's approach as well, but there's plenty of fresh ideas to latch onto here as Segue weaves gorgeous threads of melody around tactile, mossy beds of sound and understated grooves that carry you to far away, inviting places. Even the more pronounced dub techno stylings of "Mirage", for example, sound vibrant and invigorating in Segue's hands - another sterling album from an accomplished producer.
Review: Dinky-Di is a modern disco ensemble conducted by Waq Takahashi with just a few key releases spread out across the past 15 years. Now Million Dollar Disco main man Al Kent has cherry picked one of the hottest jams from their oeuvre and given it a special rub down - the kind of treatment that warrants a single-sided 12" no less. In Al's hands, 2005 track "Gold Wave" becomes a sizzling party monster that romps along for more than 10 minutes. With scintillating peaks, heavyweight drum breakdowns and sumptuous musicianship throughout, this is how an epic disco bomb should sound in 2019.
You Make Me Feel (Mighty Real) (Michael Gray remix) (7:33)
You Make Me Feel (Mighty Real) (Michael Gray dub mix) (7:38)
Review: What more needs to be said about this timeless disco hit? A staple of DJ sets by everyone from Derrick May and Laurent Garnier to James Murphy, this Harvey Fuqua and Patrick Cowley production from 1979 is a truly timeless classic whose spirit still lives to this day on modern dancefloors. Here we are treated to a rework by Britain's undisputed king of funky house Michael Gray (Full Intention) on his Sultra label. With full respect to the original, Gray's rework injects some dancefloor dynamics for the modern sound system. You even get a bonus instrumental "Dub Mix" on the flip!
Review: German DJ/producer and Dimitri From Paris doppleganger Purple Disco Machine has been on a fine run of form of late, offering up a fine mix album on Glitterbox and a swathe of peak-time-ready singles. His latest workout is another all-action anthem that should delight both disco and house fans. "Emotion" sees him place re-sung vocals from a well-loved disco classic atop a bustling disco-house bed of Giorgio Moroder style arpeggio bass, Nile Rodgers-esque guitars and Italo Disco-aping synthesizer motifs. Over on the flip he joins forces with pal Lorenz Rhode to offer up a P-funk flavoured boogie-house onslaught rich in throbbing synthesizers and tasty talk box vocals.
Review: In 2016, Family Groove Records released a 12" of previously unheard 1979 demo recordings by Webster Station, a boogie-funk band from Dayton, Ohio whose studio efforts were initially binned by Warner Brothers for not being commercial enough. Demand for Family Groove's limited 12" of their recordings has remained high, so the label has decided to do a reissue. There's much to admire throughout, from the high-octane thrills of opener "Are You For Real" and the spacey warmth of the super-soulful "Can You Feel My Love", to the sugary sweetness of the Latin tinged ballad "Lady" and righteous closer "If You Feel Like Dancing", a killer combination of spacey synths, crunchy drums, urgent vocals and killer Clavinet lines.
Review: Casa Voyager's second release comes courtesy of Kosh, a producer who debuted on the label's previous, compilation style 12". The '80s electro revivalist kicks things off with "Catch the Train", where ghostly, Kraftwerk style synth melodies and punchy vocal samples cluster around a Drexciya style rhythm track, before wrapping spacey, Motor City style electronics in crunchy breakbeats on "Null 212". B-side opener "Electronic Setups" is a drifting, intergalactic and evocative shuffle through deep electro pastures, while "Bug in the System" combines snappy electro beats and squeezable acid bass with the kind of beguiling, almost melancholic chords more often found in early '90s ambient records.
One More Round (86 House mix By Frankie Knuckles) (8:10)
Walkman (86 House mix By Brett Wilcots) (7:17)
Review: Best turn their attention to that sweet mid 80s spot when the petri dish of party music was shaken up between disco, boogie, Italo and the emergent house sound from Chicago. Claudio Simonetti was a titan of the Italian groove, but his monster jam as Kasso, "One More Round", reached the stratosphere when Windy City godfather Frankie Knuckles gave the track his Midas touch. No more justification is needed for this pressing, but don't overlook the flip which finds 80s remix supremo Brett Wilcots taking on "Walkman" and whipping up a boogie frenzy of the highest order.
Lou Rawls - "You'll Never Find Another Love Like Mine" (Kenny Summit, Frankie Knuckles & Eric Kupper unreleased remix) (7:43)
Kenny Summit, Frankie Knuckles & Eric Kupper - "Loving You" (feat Yasmeen) (6:50)
Review: Apparently made in tribute to the legendary Paradise Garage club some years ago, these two previously unreleased workouts are the work of Kenny Summit, Eric Kupper and the late, great Frankie Knuckles. Side A boasts the trio's near legendary (and previously unavailable) remix of Lou Rawls classic "You'll Never Find Another Love Like Mine". It's a wonderfully positive and life-affirming affair, with the three legendary producers wrapping echoing guitars, warming disco orchestration and Rawls' sublime lead vocal around a deliciously percussive Afro-house groove. The flip features another unseen and unheard gem from the vaults: a loose, groovy and positive soulful house wiggler featuring the seductive vocals of Yasmeen. Terrific stuff.
Review: Blue Feather were a truly blue-eyed funk outfit from the Netherlands who had a prolific run in the 80s with two albums and a string of club singles to their name. "Let's Funk Tonight" was surely one of their bigger hits, and it sounds resplendent with a fresh master and the full extended version spread out across the A side here. Offering something new for the modern market, Best call upon Faze Action to flesh out this reissue with a killer dub of the track that treads softly but funks deep, just like a good dub should.
Review: A throwback to early '90s hardcore rave here, courtesy of tight knit UK producers Objekt and Call Super. Running with the story of the mythical DJ Bogdan: legend and resident DJ of Berlin's fictitious Q Bar in the city's Schoeneberg district - which ran from the early 90s until its closure in 2012. "Love Inna Basement" is presented here in its two original versions: the Morning Dub which is cited by Objekt as the inspiration behind his 2016 tribute "Theme From Q", and 'Midnite XTC', hailed by Call Super as 'the track I've taken the most garys to in my entire life'.
Review: After building a reputation via a swathe of rock solid, digital-only EPs on About Disco (an imprint he founded in 2015), Rafael Cancian has finally been given a chance to showcase his wares on wax. There are lots of top-notch edits to enjoy on the Brazilian producer's first Razor-N-Tape outing, from the sax-powered, solo smothered disco-funk cheeriness of "C'est La Douceur", to the low-slung South American disco grunt of "Fragil" and the jazz-funk tinged carnival goodness of superb closing cut "Besos Libres". There's no needless production trickery or shamelessly beefed up house beats, just perfectly DJ-friendly rearrangements of obscure, little-known gems.
Review: Emotional Response do a great service here to all lovers of braindance craving new fixes since Rephlex shut up shop. Brainwaltzera's debut EP Marzipan was a self-released concern that sold out quickly back in 2016, meeting with emotionally charged responses from those wanting to nab a copy. Now it's more widely available, the gorgeous lilt of bubbling 101 melodies and delicate drum machine patterns can spread their wings and bring some healing vibes to a broader audience of electronica devotees. Coming on with the sensitivity of Wisp and other contemporary braindancers, this is how comforting home listening beats should be done.
Review: Described in the accompanying press release as "the halfway point between Bollywood and Balearic", Rupa Biswas' 1982 debut "Disco Jazz" has long been a favourite of dusty-fingered diggers with a healthy bank balance and a penchant for the quirky. All four tracks are cheery, charming and superior to many "Bollywood disco" records produced in the same period. The sunny disco-boogie of "Moja Bhari Moja" is followed on side A by the delightfully eccentric, bass-powered AOR-disco/funk-rock fusion of "East West Shuffle" and the effortlessly Balearic cheeriness of "Aaj Shanibar". Best of all, though, is the exotic and intoxicating flipside cut "Ayee Morshume Be-Reham Duniya" which expertly joins the dots between cosmic rock and Balearic disco grooves for 16 spellbinding minutes.
Review: The Andromeda Orchestra project was last seen on Faze Action last year, when "Get Up & Dance" got the remix treatment by Nick The Record. This time around the project gets a serious disco treatment from Ray Mang, who stretches "Don't Stop" out across the A side for a nine minute pleasure ride that's heavy on the funk. "Kano Line Dance" kicks off the B side in another loose and nasty party jam, before the original Philly string busting brilliance of "Don't Stop" completes the set in fabulous fashion.
Review: 10 years ago, El Michels Affair - a hip-hop loving funk combo spearheaded by Leon Michels - released "Enter The 37th Chamber", an instrumental tribute to the world of the Wu-Tang Clan. To celebrate the record's tenth birthday, they've decided to reissue two of that album's most potent cuts. On the A-side they re-imagine Ol' Dirty Bastard's 1995 anthem "Shimmy Shimmy Ya" as a fine fusion of rousing horns, jazz-flecked hip-hop beats and vocals provided by what sounds like a children's choir. Over on side B, Raekwon's "Incarcerated Scarfaces" gets the cover version treatment, with the band peppering their deep, jazz-funk influenced groove with sharp horns and evocative electric piano solos.
Review: It's been a while since we heard from the Cobblestone Jazz boys and given their massive influence over contemporary house and techno, it's always a pleasure to listen to their truly singular take on dance music. The Matthew Jonson-led outfit return with an EP for the Itiswhatitis label, the original birthplace of Jonson's beats. "Northern Lights" is classic Cobblestone, where an ultra compressed kick meanders amidst calculated drips of sound pouring mathematically from every angle. "Drawn From The Side Of Crime" is a little more chirpy, its sounds bleeping away with greater intensity and freedom. It's a must have for fans of the group, recommended!
Don't You Want My Love (Joe Claussell 1986 Reel To Reel edit) (8:54)
Don't You Want My Love (Cratebug More Love remix) (9:06)
Review: Defected's fabulous Glitterbox off-shoot has thankfully repressed these two fist pumping disco remixes of Debbie Jacobs' classic "Don't You Want My Love". Stepping up on the a-side is the master of the mix, EQer extraordinaire and founder of the legendary Body & Soul party, Joe Claussell. His remix is perfect for said New York party with its loose percussion, big string stabs and relentless disco drums. Cratebug strips things back to a more functional and contemporary club track that builds in layers, with subtle filters bringing the tension until finally he lets the groove drop, no doubt to devastating scenes on the dance floor.
Cult Hero (Do You Wanna Touch Me) (with Simon Topping
Sly Is Watching
(Vi-Vi) Vicious Games (with Josh Caffe
Review: When it comes to jackin' Chicago style acid house revivalism, few can hold a candle to Paranoid London. As this long-awaited second album proves, the duo is the undisputed masters of sweaty, TB-303 driven jack-tracks and - as recent single "(Vi-Vi) Vicious Games" and LP opener "Starting Fights" prove - classic-sounding vocal cuts that recall the glory years of Fingers, Inc in the mid-to-late 1980s. Interestingly, "PL" boasts far more collaborations than we've seen from Paranoid London before, including a string of ragged club cuts blessed with evocative spoken word vocals, a thrusting acid throb-job with lead vocals by Simon Topping and a suitably twisted, machine-driven hook up with Arthur Baker and Alan Vega (the raw and weighty "Angel Of Hell").
Review: Chicago groove professor and deep digging selector Rahaan makes a welcome return with two juicy disco funk edits. "Down Comes The Rain" struts with a Princely vibe and a piano-slapping flare that'll have your floor dancing for well over 17 days. Flip for an equally sweet take on a cult 82 boogie joint where Rahaan proves you actually can have your cake and indeed eat it. Crumbs!
Review: Founded in 1967 by singer/producer Carlos Oliva and other Cuban immigrants to the United States, Los Sobrinos del Juez were briefly one of the leading protagonists of the turn-of-the-'70s "Miami Sound" - a humid and intoxicating fusion of blues, rock, funk and dancefloor-focused Latin sounds. Their 1974 debut single "Harina De Maiz" - here reissued for the first time since - is a perfect example of that short lived style, offering up a mixture of wah-wah-guitar and psychedelic organ-powered Latin funk grooves and righteous Cuban vocals. On this edition it comes backed by the previously unheard "Corned Beef Hash", a swinging Latin-jazz number rich in vibraphone solos, jaunty piano riffs and plenty of hip-wiggling percussion.
Review: Cannon & Mirrorball may not be the disco edit scene's answer to moustache-sporting 1970s/80s comedy heroes Cannon and Ball, but they certainly serve up tracks that will put a big goofy smile on your face. Their latest Disco Bits adventure begins via "Black Rhythm Rap", a chunky, hip-hop friendly rework of an obscure, late 1970s disco-rap bomb rich in funky guitar licks, cut-glass strings and party-starting MC flows. On the flip they get even cheekier, placing Loleatta Holloway's incredible "Love Sensation" vocal over a stomping, Blaxploitation-era disco-funk backing track and all manner of familiar soul and funk samples. Purists will no doubt sneer, but they really shouldn't: this is tastefully produced disco heat of the highest order.
Review: Over the course of his short career to date, Forest Drive West producer Joe Baker has developed a trademark sound that gleefully mixes and mangles elements of techno, post-dubstep bass music and vintage jungle. That trademark sound is naturally at the heart of the producer's first outing on Neighbourhood, from the smooth, spacey and slightly creepy hypnotism of opener "Un", to the deep space electronics and jazzy, off-kilter rhythms of EP highlight "Reshape". It can be heard, too, on the locked-in peak-time techno of 12" closer "Functional" and within the delay-laden blacksmith's percussion hits, moody bass and body-jacking kick-drum beat of the mind-altering "Wait". Supported by Etapp Kyle, Sigha, Ben Sims, JP Enfant - this will go fast, don't wait!
Review: This is when reissues feel like they truly do a service to music that would have certainly disappeared into obscurity - Desmond Coke was a gifted musician who sat in on sessions for the On-U Sound label amongst many other places. His sole solo record was a private press job that very nearly blinked out of existence, but Emotional Rescue have been on hand like the diligent diggers they are to rescue his heartfelt, mightily expressive boogie jams from the one dollar bin. Sunny, sweet and soulful, but also with enough depth and punch to stand up to big budget productions of the era, this is a truly wonderful find that will no doubt be a surprise to even seasoned selectors.
Review: "Looking back in hindsight to the activity and accomplishments of Axis is with much pride - to witness the relationship between the music and listener evolving to this point. The Director's Cut reissue project is about manicuring detail. It's about a rare opportunity to enhance what we've done so that the relationship strengthens for the long term" - Jeff Mills
Essential Paradise (feat Slikk Tim - Fred P Reshape) (6:57)
Mystery Of Fantasy (reprise) (2:34)
Mystery Of Fantasy (G Fantasy mix) (8:06)
120 Black Key Experiment (Continuation interlude) (2:48)
Review: Having decided to retire his long-serving Soul People Music label, Fred P has immediately replaced it with Perpetual Sound, an imprint he says will serve up a far more eclectic range of records. To mark the label's debut, the acclaimed deep house and techno producer has decided to reignite his Black Jazz Consortium project after a five-year hiatus. Up first is "Essential Paradise", delicious fusion of jazzy deep house and tech-soul whose spacey pads, bustling beats and Herbie Hancock synths come accompanied by some wild, unchained solos from keys player Slikk Tim. Elsewhere, attention will naturally fall on Mr G's sleazy, heavy and low-slung techno take on "Mystery of Fantasy", which is also available as a tasty, ambient style "Reprise" (all synthesized orchestral sweeps, warm bass and glassy-eyed electronics).
Review: Somewhat surprisingly, two years has passed since Traumer launched the "Gettraum Hors Series" of ultra-limited, hand-stamped singles. We're not quite sure why the French producer - real name Romain Reynaud - has held back volume two, but we're happy to say that it's been well worth the wait. He hits the ground running with "Exercise", a sun-soaked chunk of tech-house funk built around jaunty stabs, glistening chords and a thickset synth bassline, before reaching for sub-heavy analogue bass, rolling drums and more sparkling electronics on the similarly positive sounding "Pago". Over on side B, "Bassomatic" is an acid-fired slammer shot through with sneaky audio references to turn of the '90s "bleep and bass", while gorgeous closing cut "Brocomania" wraps attractive dub techno motifs and ambient chords around warm bass and bustling breakbeats.