Review: There's no secret to the success of Late Nite Tuff Guy's long-running Tuff Cuts series. Buyers have simply responded to the consistency of the Australian producer's approach, and the quality of loopy, house-friendly re-edits. This eighth volume features more party-starting fare, from the glassy-eyed extended breakdown of "Go For That" (yep, a Hall & Oates rework) and soft-touch house take on Marvin Gaye ("Heard It"), to the end-of-night bliss of "Dreams", a decidedly warm and rolling rearrangement of the famous Fleetwood Mac cut of the same name. As if that wasn't enough bangers in one place, he finishes with a triumphant rework of disco-era Michael Jackson ("Starting Something").
Review: The Australian edit machine known across the globe as Late Night Tuff Guy offers up two sublime dancefloor weapons from his armoury for the second in his series of limited, hand stamped Tuff Cuts 12"s. "Ain't Nobody" from Rufus and Chaka Khan is a classic, and has been subjected to numerous edits and reworks over the years; this version from Late Night Tuff Guy belongs amongst the better ones, looping and extending the original and laying it over his trademark crunchy slo mo beats. Face down, the "Back To Life" accapella is joyously diced and laid down over a glistening disco production from the Nile Rogers and Bernie Edwards discography.
Review: For their latest journey into re-edit/original production fusion, Brooklyn's Razor 'N' Tape crew has turned to Munich duo COEO, who have previously impressed via fine outings on Toy Tonics and Let's Play House. The four-tracks here, which all blend samples from classic recordings with their own drums and musical flourishes, all sound like guaranteed dancefloor winners. Check, for example, the breezy Afro-beat-goes-disco cheeriness of "Nigerian Affair", the wonderfully rich keys and organic deep house bump of "Pajama Stomp", and the riotous, high-octane disco-house loop-funk of "Long Night Ahead". Best of all, though, is opener "Like It Is", a sweet, dewy-eyed, string-drenched soul revision that achieves the perfect balance between dancefloor grunt, and paying due reverence to the German duo's horn-heavy source material.
Want You In My Soul (Summer In London edit) (4:51)
Review: Stee Downes is one of contemporary house music's most prominent vocalists and here he lends his silky tones to Freerange, Defected and OM Records associate, Lovebirds for this new one on South Street. "Want You In My Soul" is a mix of old and new, where disco percussion and cosmic synths nestle alongside a mid tempo house groove with plenty of warmth. Downes' vocals are the loved up icing on the romantic groove cake. Flip over for the "Summer In London Edit" - a more stripped back and direct version, perfect for outdoor stages as the sun beats down.
Review: Late Nite Tuff Guy bursts through RSD 2016 with a hot selection of disco-flavoured house chuggers, and we'd been waiting on a comeback from both the dude and label - all boxes ticked from our side. "Hold Tite" is the perfect summer blazer, all luscious vocals and dripping beats, and "I Don't Like Acid" takes that same soulful spirit but strips the groove right down to a bopping little rhythm that is likely to be enjoyed by both hip-hop and house fans alike. The flip's "One Night In A Disco" is a sample-heavy, string-infused floor-melter, whereas "Shelter Me" goes all balearic and feet-up - the perfect lounge cut.
Review: Suave Parisian scalpel-botherer Dimitri From Paris continues to churn out top notch re-edits, slightly altering his famous production persona from label to label. Here, he delivers a second 12" for Razor 'N' Tape under the Dimitri From Brooklyn alias. Like its' predecessor, it features a couple of stone cold bangers. "Right My File" offers a thunderous, housed-up take on a lesser-known cover version of Dan Hartman's grandiose disco smasher "Relight My Fire" - all vocal breakdowns, big builds and big-lunged sing-along moments. As for "I Want Your Back", it re-casts Dimitri as The Reflex, laying down a version of The Jacksons' "I Want You Back" that sounds like it was done from the multi-track parts. It is, of course, dancefloor dynamite.
Review: Oooh! Angie Stone's "Wish I Didn't Miss You" definitely belongs in the canon of all time modern soul classics. Taken from her 2001 second album Mahogany Soul, the Swizz Beats produced track made optimum usage of an O' Jays sample and was instrumental in that LP going gold and propelling the former D'Angelo collaborator to stardom. It also inspired countless official and under the counter remixes with Blaze's perhaps the most recognisable. So yes this reissue on 7" from Outta Sight is worthy if you don't have the original in your collection and features a housed up remix from Hex Hector on the flip.
Review: When it comes to crafting lengthy, disco fired dancefloor treats, DJ Koze has previous form. His "Extended Disco Version" of Lapsley's "Operator" quickly became a White Isle anthem in the summer of 2016, and we fully expect "Pick Up" to be one of the disco-house hits of 2018. Based around spine-tingling samples from a heart-felt, orchestrated 1970s disco treat - think Tom Trago's "Use Me Again", and you're close - the veteran producer slowly builds the pressure before really letting loose in the closing stages. B-side "The Love Truck" is an altogether deeper, dubbier and dreamier affair, seemingly designed for leisurely warm-up sets and gentle, early morning shuffling.
Review: A home strictly for the tuffest cuts from the tuffest guy since last year, the Tuff Cutt label returns with a sixth grip of edits from Australia's finest exponent, Late Nite Tuff Guy. One of the country's true pioneers of house and techno under his previous House Master Cam guise, Carmelo Bianchetti has enjoyed a second wind as edit machine Late Nite Tuff Guy. Any jobbing selector that dips between house and disco will find these four cuts more than useful, featuring perfectly calibrated revisions of Aretha Franklin, Diana Ross, Revelations and The Jacksons. The latter take on "Shake Your Body (To The Ground)" is guaranteed to rescue any dancefloor.
Review: Brooklyn's Razor-N-Tape reach out to the Lowlands and coax Hans Peeman into donning his Junktion alias for a new four-track 12" on their Razor-N-Tape Reserve label. Living up to it's dignified and reserved billing, this fifth release on the offshoot finds the Nijmegen-based Peeman laying down some luscious, colourful disco vibes that will brighten up any sun laden afternoon on the terrace. Title track "Hot & Bothered" sets the tone with a summery vibe underpinned by some bumping drums, whilst "I'm wishin'" glides with a subtle house bump and some wonderful vocal touches. "Fling Cleaning" sees Peeman veer off into disco chug territory, whilst "Visions of You" ends the 12" on a soulful note.
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: Tough by name, sexy by nature, here we find Australia's LNTG focusing on two very well-known disco funk gems. First up is a chugging, jacked up take on Chic's "I Want Your Love". Adding rhythmic muscle and fine-tuning the bass, it's a fine example of a quintessential edit. Next up are two renditions of Tom Browne's "Funkin For Jamaica". The titles speak for themselves... Those looking for a dancefloor sing-along should head for the full vocal mix while those looking for more a bass-loving boogie showdown should head for the funkin' remix. Tough times call for Tuff measures!
Review: Razor 'N' Tape's two previous servings of Dimitri From Brooklyn edits (and, yes, they're the work of legendary DJ/producer Dimitri From Paris) were both must-haves, so hopes are naturally high for this third volume. Predictably, the disco-loving Frenchman is on fine form once more, laying down a trio of interpretations that breathe new life into classic jams. While the A-side "Kettle America" (say it phonetically) is something of a cheeky treat - impressively chopping between hard-wired guitar riffs and the original track's bustling disco groove - it's "I Knead You", an end-of-night, lights-up version of a Sylvester cut that smartly emphasizes the song's gospel origins, that really sparkles. "Without Rob", a harmonica-heavy rearrangement of a well-known favourite, completes another essential package.
Review: While his source material tends towards the well known, there's no denying the quality of The Reflex's "revisions". Their genius likes in his ability to source and utilize stems and master tapes, allowing him to remix and re-edit killer disco jams in the same manner as original masters such as Tom Moulton. It means that he can craft new instrumental breakdowns, stretch out portions that were originally overlooked, and generally breathe new life into otherwise all-too-familiar anthems. The two revisions featured here are typically impressing, with the impassioned, driving, heavily rearranged Philadelphia Soul flipside ("BD LCK") just nudging out anthem like A-side "Ansun" (a brilliantly teased-out version of one of the most familiar disco records of all time).
Review: The Late Nite Tuff Guy gets in on the action once again with this triple gripper of edit goodness. Those with a perfunctory grasp of disco knowledge will probably guess that the title cut from this Make Me Feel 12" takes it's cue form the classic disco track by Sylvester and in the hands of the Tuff one we have a beefed up rendition that will service any self respecting discotheque dancefloor perfectly. "Love To Love" eases down the tempo and turns up the heat as LNTG brings his Midas Touch to the Donna Summer standard, whilst "He's Mine" is a nice little muscled up tweak on the Brandy and Monica classic.
The Vision - "Heaven" (feat Andreya Triana - Danny Krivit edit) (6:21)
The Dangerfeel Newbies - "What Am I Here For?" (original NDATL vocal - Danny Krivit edit) (8:45)
Review: Since the 1970s Danny Krivit has been a prolific re-editor. We're used to him cutting up classic cuts - think disco and soul, in particular - but he's never been afraid to turn his talents to contemporary cuts. That's what you get on this surprise Defected release. On the A-side he turns his attention to "Heaven", the killer gospel-inspired modern disco single from The Vision and Andreya Triana, turning in a version with plenty of drops, instrument solos and more emphasis on the righteous, life-affirming vocals. He's in a smoother mode on side B, extended and rearranging the rich and soulful dancefloor treat that is Kai Alce's Original NDATL vocal mix of The Dangerfeel Newbies' "What Am I Here For?" - a gem from 2016 that has previously been criminally overlooked.
Review: Omar S treats us to a second release in the space of a week, with a much deserved reissue of some 1996 Roy Davis Jnr rawness across the A Side. The Stevie Wonder classic "All I Do" gets chopped up, laid over a killer Chi town beat filled with instantly gratifying raw drum edits and augmented by some evil bass thumps. Relentlessly brilliant and sounds just as fresh some 14 years on. Echoing a current trend this side plays outwards from the inside groove. On the flip Omar S teams up with DJ B Len D for the bongo heavy deep groove of "Da Teys" a track that's characterised by melodic keys which increase with curveball drama as the track progresses.
Review: Favourite France drop some absolute truth with this killer reissue of Beckie Bell's 1980 classic "Music Madness", from the album 'In Need Of...'. This is he funkiest disco you can possibly ask for, a chirpy, upbeat tune that calls for the good times. It's the sort of track that can be slapped on in just about any set, anywhere, and Bell's vocals are as infectious as the tight groove that pushes the track forwards. There are a couple of remixes, though, which bring out the best of the original and make it even more playable than before. The first one is a more beat-heavy reinterpretation from Voilaaa, while Tom Noble injects the perfect level of houseness into the equation thanks to a slamming 4/4 and some extra percussion. Perfect, and very much recommended if you've somehow slept on the original.
Review: Given that copies of the original 7" release flew off the shelves in record time, it's heartening to see that Classic has decided to give Sophie Lloyd's brilliant "Calling Out" a proper 12" release. Her fantastic original version - a jaunty, floor-friendly gospel treat that sits somewhere between house and disco - is this time accompanied by two fresh rubs from Robert and Lyric Hood's Floorplan project. Naturally, both mixes move further towards sing-along gospel house territory with the fantastic Revival Mix - all crunchy Chicago drums, wild organs, jaunty pianos and relentless chorus - hitting home particularly hard. It's very rare that we describe an EP as being "flawless", but this is as close to perfection as you'll find.
Review: Following the recent dip into the Theo Parrish archives that was The Twin Cities, Phil Weeks' Robsoul imprint looks to another one of Detroit's adopted sons in the form of Rick Wade. Like that recent Parrish reissue, Weeks re-releases another three tracks from Wade's bulging discography. The upbeat disco loops of "Players Theme" was originally released on French label Funky Chocolate in 2002 and still sound fresher than anything being plied by the Soundcloud dwellers today, while "Can't You See" from 2003 provides a more soulful take on house music. On the flip, the tracky funk and cascading string melodies of "I Feel Good" originally graced Wade's own Harmonie Park imprint in 1998, but sound no less vital today. Essential.
Review: Armed with a hard drive full of multi-track parts to a wide array of disco, rock, boogie and pop classics, the Reflex has spent the last decade offering up unique "Revisions" that often differ greatly to their source material despite using the same basic instrumental and vocal tracks. He's at it again here, offering up sneaky revisions of two dancefloor soul classics. On the A-side he handles "Dance To The Music", frequently stripping the track back to little more than a stomping groove, delay-laden vocals and wild organ lines. On the flip he turns his attention to "Pusherman", gently beefing up the groove while showcasing the attractive sweetness of the original track's fluid horn parts and bulging bassline.
Review: The inexorable rise of Purple Disco Machine continues, as his wholehearted tribute to machine disco originators Hot Streak, Patrick Cowley and Giorgio Moroder - the throbbing, anthem-like "Body Funk" - is given a deserved single release. The producer's own "Extended Mix" is quickly followed on side A by a punchy Claptone remix that places the original's sampled vocals over a suitably massive backing track high on piano stabs and big room house grooves. Over on side B, the mighty Carl Cox re-imagines the cut as a cowbell-driven chunk of techno/electrofunk fusion, while Dom Dolla douses it in mind-bending electronics, thrusting analogue bass and glitchy, hard-wired house beats.
Love Endeavor (Maurice Fulton remix instrumental) (6:09)
Review: For lovers, for dreamers, for anyone who knows a beautiful remix when they hear one... Maurice Fulton adds his magic to Alice's gospel-level 2006 album finale "Love Endeavour". That lavish piano hook, those powerful layered backing vocals and Alice's striking, yearning lead are all paid full respect by Fulton as he colours in the spaces with his warm signature discoid soul. Quintessential remix business with an instrumental thrown in for good measure. Feel the love.
Review: You can say that JKriv and Aaron Dae are big fans of L.A-based Afro-Latin funk fusionists Jungle Fire, as the latest release on Razor 'N' Tape Reserve features a quartet of fresh mixes of tracks from the band's bulging back catalogue. The headline attraction is undoubtedly a pair of reworks by Ashley Beedle and Rob Mello, the original founding members of Black Science Orchestra project, which recently reassembled following 15 years apart. This doubles up as a grand affair as the duo presents their first remix and release since their reunion. They first serve up a wonderfully percussive, analogue bass-propelled deep Afro-house "remix" of 2014 cut "Culebro", before reaching for the delays and delivering an arguably even better dancefloor "Dub". You'll also find JKriv's re-imagination of 2013 single "Firewalker" as a bumpin' chunk of horn-heavy dub disco, while Bosq gives "Village Hustle" a rolling Latin disco makeover.
Review: Another example of a classic disco track being thrust into the modern age thanks to TikTok, Silk's 'I Can't Stop (Turning You On)' was recently flipped by LF System in 'Afraid to Feel', turning the slow-burning Philly soul bopper into a hyper-speed house banger. For fans of that original sample, being able to hear the sultry vocals of Debrah Henry being manipulated by bpm. The Philadelphia septet hit the nail square on the head with this sensual love make that is so detracted from it's descendant that you're about to have two new favourite songs.
Hangin' On A String (Frankie Knuckles club mix) (6:26)
Hangin' On A String (Frankie Knuckles Classic club reprise) (6:07)
Hangin' On A String (12" mix) (5:58)
Review: Put simply, Loose Ends' 1985 hit 'Hangin' On A String' is not only a peerless UK soul classic, but also one of the greatest boogie-era dancefloor cuts full stop. You should really already own a copy, but if you don't, then this South Side reissue should be on your shopping list. Not only does it contain the band's brilliant original extended mix (B2) - a sing-along gem rich in hazy organ sounds, jazzy guitar solos and bustling electro-era beats - but also two celebrated 1992 remixes from Frankie Knuckles. Both are amongst the late, great DJ/producer's finest remixes, with the more instrumental and impeccably loved-up 'Reprise' version, in which Knuckles builds gently before eventually unleashing chorus vocals, being our pick of an incredibly strong pair.
Review:
The eleventh edition in the Tuff Cut series sees the artist formerly known as DJ Housemaster Cam (HMC) deliver a couple more low slung, slo-mo edits for maximum dancefloor potential. The Adelaide-based legend serves up some proper disco fever on 'Shame', with a real champagne flavour if you know what we mean. On the flip, hear the amazing grace of 'To The Rhythm', yes it's yet another resplice of the classic, but this time it's been done just right! Respectful edits of the highest calibre, from a land down under.
Review: It would be fair to say that there are few bigger contemporary disco producers than Purple Disco Machine. His particular brand of revivalist disco offers a near perfect balance of 1970s style instrumentation and contemporary dancefloor chops, thus delivering timeless tracks that guarantee good times for all those who hear them. "In My Arms" is a great example of this. It's authentic - walking bassline, swooping Salsoul strings, gospel-influenced piano riffs and so on - but also boasts builds and drops more associated with rush-inducing house anthems. Of the two versions it's the celebratory, full vocal "Extended Mix" that we'd recommend, though the instrumental take is pretty tidy too.
On Te L'Avait Dit (Dimitri From Paris Super Disco Blend) (7:37)
Spies Are Watching Me (Africaine 808 remix) (5:55)
On Te L'Avait Dit (Dimitri From Paris Super Disco dub) (6:37)
Review: Last year, Patchworks man Bruno Havart indulged his long-held love of Afro-disco via a fine album under the Violaa alias. Here, Africaine 808 and Dimitri From Paris take it in turn to remix tracks from that set. The latter serves up two epic interpretations of album title track "On Te L'avait Dit". There's a full Disco Blend, in which he carefully teases out the track by layering up the original production before unleashing the catchy vocal, and a pleasingly percussive, groove-driven Dub. Interestingly, Africaine 808's mix of previous single "Spies Are Watching Me" sticks fairly close to the original, craftily emphasizing Havart's percussion, punchy horns and rich, Afro-disco bass.
Review: Stockholm based Ari Bald is up next for Better Listen after inaugurating Honey Butter Records last year with that great release. He keeps on with that deep disco spirit with these four funky and lo-slung jams. On the A side, we have two ergonomic edits in the form of "That Lonely Night" and "Enchantress" respectively which are looped to perfection with some somewhat familiar hooks that gradually build up to that drop! That's where the thumping kick comes charging in and it's sure geared for maximum dancefloor dynamics. On the flip, get ready for the funk explosion that is "Moonshiner" or what could be your First Choice (mind the pun!) in the form of the smooth and sexy late night groove of "Are You Mesmerized?"
Review: This hand-stamped white label is the definition of a cheeky 12". It's an edit of the most celebrated tune by the one and only Gil Scott Heron that is primed and ready for good time dance floors. The drums have been beefed up and fattened out, the bassline has been given more weight and the vocal and flute have been left to do their thing up top. The results are high impact. The flipside is another edit of a big one in Aretha Franklin's 'Respect.' Once again the bottom end has had most work with some extra weight and richness, while a big sax rips up the groove as the vocals ring out.
In The Trees (Jerome Sydenham & Tiger Stripes rendition)
In The Trees (Jerome Sydenham & Tiger Stripes Dark rub)
In The Trees (Jerome Sydenham & Tiger Stripes club mix)
In The Trees (original 1996 version)
In The Trees (Carl Craig C2 mix #2)
Review: In 2007 Juno Records is ten years old, and we've decided to celebrate by releasing 10 singles throughout the year. Each one is a classic dance track featuring new remixes from the some of the most exciting and established names in the business, including Julien Jabre, Spirit Catcher, Dimitri from Paris, Lindstrom, Troy Pierce, Cobblestone Jazz and many more. These releases will initially only be available from www.juno.co.uk and www.junodownload.com. To launch the series we have pulled out all the stops with the re-release of the timeless "In The Trees" by Faze Action, featuring remixes from the legendary Carl Craig and Jerome Sydenham & Tiger Stripes, as well as the brilliant 1996 original mix. A genuinely huge release, this could be the first of 10 future classics! ***Stop press 19/12/07: the Carl Craig mix has been voted #3 in residentadvisor.net's "Top 5 Remixes Of 2007".
Missing (feat Andreya Triana & Ben Westbeech) (4:43)
Time (0:50)
Wasting (feat Ben Westbeech & Roy Ayers) (4:40)
Believe (feat Ben Westbeech) (4:58)
Facade (0:54)
Paradise (feat Ben Westbeech) (5:10)
Nebulous (2:11)
Satisfy (feat Ben Westbeech, Honey Dijon & Andreya Triana) (5:29)
Heaven (feat Andreya Triana) (4:57)
Tenacious (0:48)
Home (feat Andreya Triana) (3:53)
Review: Ben Westbeech and Kon are The Vision, an accomplished musical duo who first came together having made a chance meeting at Southport Weekender. Between them they have covered all dance styles from classic to contemporary and so it's no surprise this album is a special one with fine craftsmanship and exemplary mixes of disco, soul, house and funk over 14 lush tracks. The list of collaborators is also high class with Roy Ayers, Honey Dijon, Andreya Triana, Dames Brown and Nikki-O all adding their own excellence. It all adds up to a record that gets form dance floor delights to funk laden gems, soul drenched jams to heartfelt odes.
Review: For his latest trick, cheeky scamp The Reflex has turned his attention to the Herbie Hancock tune that inspired countless 1980s kids to don a tracksuit, grab a pair of Adidas Shelltoes and hurl themselves around like the Crazy Legs crew. Naturally, his version of 'Rockit' is a body-popping treat that subtly extends and rearranges sections - especially those containing Hancock's jammed-out synth parts - and adds a few tasty breakdowns before unleashing the now familiar melody. Over on the flip the French producer takes his scalpel to the Isley Brothers, providing a fine multi-track edit and extension of the group's much-loved, guitar-solo sporting proto-disco soul number 'That Lady'.
Review: GW Edits made a fantastic start to life with a big edit of an Italo classic back in September. Now the second volume of edits arrives with three more disco gems. Up first is a bonkers mix of Amerie in fine form and drums from The Verve's 'Unfinished Sympathy', a character cut with bustling beats. 'Gotta Keep Workin' It' the mixes up Miss Elliot with some old school funk to playful effect and 'Working The Illusion' layers up 80s synths and vocals with tambourines and hip swinging claps next to more iconic samples.
Hey Uh-What You Say Come On (Dave Lee Revibe) (6:35)
Steal Your Heart (Dave Lee Showtime mix) (7:39)
Review: Dave Lee is of course the given name of Joey Negro, the tireless UK music head, disco lover, record label owner, DJ, producer and archivist. 'Hey Uh-What You Say Come On' (Dave Lee Revibe) is first and is a big percussive workout with man Roy Ayers bells and xylophones over a steaming groove. 'Steal Your Heart' (Dave Lee Showtime mix) reaches for the big Philly strings and sets them free over a more chunky and funky groove that gets right under your skin. Lovely stuff.
Review: Late Night Tuff Guy's ongoing Tuff Cut edit series returns with three more dancefloor focused reworks of cuts from million-selling artists. As the title suggests, 'Deal With God' sees him re-tread the steps of Ashley Beedle and take his rusty scalpel to one of the year's biggest number one singles - a mid-80s, Fairlight-sporting classic that will be instantly recognisable the moment you drop the needle on the groove. His revision is well structured and impeccably crafted, as you'd expect. Over on the flip, he first turns his attention to a horn-sporting, mid-tempo Chaka Khan sing-along, taming the track's anthemic vibes while keeping the sing-along chorus in-tact, before stretching out, toughening up and dubbing-out another massive purple-coloured electrofunk hit from the mid 1980s.
Review: From Kon's forthcoming compilation on BBE entitled Kon & The Gang, this 12? sampler features two cuts taken from the LP and an exclusive remix from Boston producer and mix engineer Caserta, namely "Timeless" (Caserta mix)" a tasty serving of super deep and low slung disco goodness. A more functional edit for DJ use follows on "Timeless" (remix - Caserta mix)". On the flip Truccy (better known as Compost's Rainer Truby and Corrado Bucci) present "Closer", a gorgeous slo-mo house jam with a rolling groove fetauring all the good stuff: swirling Rhodes keys, groovy congas and hypnotic vox.
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