This week the second instalment of the Eros edits has landed at Piccadilly Records (specifically here) and so I thought it was fitting to give a taste of what these releases are all about. I know nothing about the label or the people behind the edit, but what I do know is that the first E.P. contained 4 choice cuts that covered the broad spectrum of the Discofutura dancefloor. Philly soul, italo, mid tempo disco and aciiid all got a facelift for dancing pleasure. For me the two real weapons on the E.P. were B1 and B2 (no track names or I.D. info I’m afraid, I’m slipping in my old age). B2 is a real Chi-Chi-Chicago acid banger suited to bouncing off the walls of some dark basement with all the elements of jack you could wish for. B1 on the other hand is a smooth and soulful disco edit, extending and looping the mournful strings over the intro then dropping some heart-wrenching vocals to take things to the next level. For sampling pleasure you’ll find it below, and I urge you to pick up one of the remaining copies from Piccadilly.
Here’s a top quality E.P. from last year that’s earned itself a return to my record box over the past few weeks. Onur Engin is Istanbul’s (or is it Constantinople?) finest purveyor of soulful edits and has been going from strength to strength of late. His choice of source material is always impeccable and his subtle style gives some wonderful tracks the extra power they need to sit comfortably alongside today’s peak time numbers. This E.P. on Square is the perfect example of his selection and style, taking on 4 glorious soul cuts, Diana Ross’ ‘Brown Baby’, Gene Harris’ cover of Stevie Wonder’s ‘As’, João Donato’s slice of latin funk ‘O Morro Não Tem Vez’ and DeVaughn’s timeless ‘Be Thankful…’ and enhancing the groove and warmth of each of the productions modernising but without losing the authenticity and appeal of the originals. The pick of the bunch is the ‘Be Thankful’ edit, sped up enough to fit into a set, but without losing its tone, looped and extended with some lovely touches like the chimes over the intro and with those glorious vocals soaring over the top. The original was already a classic and it’d be foolish to call this an improvement, but it is fair to say that this is the version you’d use to bring a dancefloor to tears, rather than for home listening.
Here’s an italo classic that predated the mash up scene by a good 20 years. Two covers of two 80’s classics merged together for full on cheese and sleaze appeal, the synths have that authentic period feel to drive this underground track along… wait, who are we kidding, this guilty pleasure is real deal pop made especially for Mediterranean discos and the smell of aftersun. Enjoy stupidly…
Mark Seven is one of my top names on the bearded disco scene and this new project is up to his usual brilliance. He first came to my attention with his standout batch of edits on Creative Use and then made major waves on the discofutura stereo with his exceptional contribution to Claremont 56’s Originals series. Last year’s ‘Pillow Talk’ on Endless Flight has been a frequent flyer in my dj sets and this single under the new moniker Parkway Rhythm follows up those 80’s club vibes in fine fashion. Metro Area styled percussion gets together with a deep kick and some shimmering boogie synths before one of those timeless synth basslines gets your shoulders moving. Sitting smack bang inbetween the smoothness of the boogie sound and the dancefloor power of proto house Mark has repeated his Pillow Talk trick and provided an absolute blinder. The 12″ is rounded out with a warehouse shaking ‘Deepa Dub’ and a dub version of the club mix for a little variety. This record is must buy and you can pick it up from here.
After a hiatus that seems to have lasted a lifetime, I thought I’d get back into the blogging groove by posting about some of the records that have been doing it for me of late.
Up first is this 12″ served up by Manchester’s own Evil K’Neil, the El Diablo’s Social Club main man. Neil presents, edited for your dancing pleasure, two certified, electrified, amplified disco funk jams in the shape of ‘Party’ by Harari and ‘Get A Little’ by Patrick Cowley. In its original form ‘Party’ is a classic funk cut, much loved by Rub N Tug and an El Diablo’s classic which they say ‘sounds like Hot Chocolate coming up on Mitsubishis at the Loft’, and who could argue with so vivid a description. Neil stretches the groove out and adds some intro and outro, throws some echo over the drums and generally creates a heavier dancefloor vibe. Nicely played.
Cowley’s ‘Get A Little’ is less pounding than you might expect from the Hi’NRG party maestro, combining a playful groove with some camped up and vamped up vocals and the trademark synth brilliance, and once again Neil has done the business squeezing every bit of dancefloor energy out of the original, with some super drops. This was a standout crowd ignitor at our most recent Discofutura party and should not be missed under any circumstances.