Tiger & Woods – A Lovely Change
Marco Passarani & Valerio Del Prete have been actively operating under the Tiger & Woods alias since the early 2010s. Opting for a lower BPM chugger sound, solidified in their Golden Bear EP, they show no shortage in the funk department. Initially keeping their identities a mystery, they have since headlined events such as Disco Express and Discopanettone. In such, the duos’ fancy for the sound that roamed Studio 54 is self-evident. ‘A Lovely Change’ is a track that reminds us why their 2011 track ‘Gin Nation’ gave them the breakthrough needed. Sharing a dazed, roseate sound both tracks paint the dancefloor with a ray of sunshine. Released on the good-vibrations aficionado Gerd Janson’s label Running Back, it falls neatly in the middle of their latest LP release AOD.
The new album, short for “Album Oriented Dance” pays homage to Tiger & Woods’ predecessors. Tracks such as ‘01:00AM‘ & are ‘The Bad Boys’ are love-letters to the genre of Italo Disco. Their most intact imprint of the project, however, is ‘A Lovely Change’. Mingling aestival percussions, balsamic ambience and standout vocals it is sure to colour the sound of many upcoming summer parties. According to Running Back’s album description, the project is glinted with cleared samples from “the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium“. In a way this is a revival to the approach that gave the Italians a foothold in the scene. Speaking with Tiny Mixtapes, the collaborators claim there to be a “huge difference between using samples and making edits“. In ‘A Lovely Change’ the vocals bring Sade’s ‘Diamond Life’ to mind, soothing the soul in a similar fashion to Soul Clap & Ahmed’s ‘Give It Up‘. For those familiar with the Balearic sounds of Alfredo Fiorito the breezy, pacific effervescence of ‘A Lovely Chance’ fosters a throwback. However, despite all the nostalgia, the production does not sound dated, with an updated concision that was absent in a lot of the 1980s Italo output. Continue reading
Gary’s Gang – Makin’ Music (Dub Mix)
Imagine driving your Chrysler LeBaron convertible down the palm tree-filled streets of Miami in the late evening of a 1983s summer night. As roller-skating girls giggle in the shadow of the neon lights you tune through the radio stations to come across Gary Gang’s ‘Making Music’. The final piece of the jigsaw completes the picture. The track was released in 1983 by Radar Records, a label responsible for some infectious disco-funk gems such as Toney Lee’s ‘Reach Up‘ (check out the incredible music video) in its short-lived existence. Makin’ Music is a prime example of the fusion between electro and disco that that was experimented on by the of the fringe of dance music back in the early 1980s. The end result is an electrifying voyage filled with reverberating arp bass that Giorgio Moroder would be proud of.
The Dub Version elevates the track’s performance in the club setting. Adding muscle to the original mix, the dub spotlights the laser-focused arpeggio. This gives the cut a timeless edge that stands the test of time. Its no surprise therefore that Morgan Geist and Darshan Jesrani, the names behind the Brooklyn-based house and nu-disco duo Metro Area featured it in their fabric 43 mix. The jocular drum work is inherited from the forefathers of 1970s disco scene such as Cerrone & Patrick Cowley. The feature of the flute, later immortalised by Frankie Knuckles, is borrowed from a soundtrack of the off-kilter movies that characterised the preceding decade. The contrast between its tranquilizing melody and the track’s robust energy creates a vortex of daze. Continue reading
Marshall Jefferson – Open Our Eyes (Marshall’s Elevated Dub)
Everyone in the underground scene has come across Marshall Jefferson’s ‘Move Your Body‘ before. The anthem, a definitive Trax Records release lead by Curtis McClain’s vocals, embodies the free spirit of 1980s Chicago House scene. At times, referred to as the Godfather of House Music, Jefferson unquestionably was pioneer heavily involved with the nurturing of its early progress. Being a friend and collaborator of Frankie Knuckles, and the producer behind DJ Pierre’s groundbreaking ‘Acid Tracks‘ EP project are just some of the extracts from his CV. His 1988 release on the New York label Big Beat Records ‘Open Your Eyes’ offers a more gossamer take on production.
The track is an exhibition of a polished Jefferson drum programming, with the producer noted to have been an enthusiast of the Roland TB-303 back in the 80s. The profuse bass line used sounds very similar to Mr Fingers’ (aka one of the father’s of Deep House Larry Heard) 1985 release ‘Mystery of Love‘ that has more recently been sampled by Kanye West in his track ‘Fade‘ featuring Post Malone. The innocuous, yet poignant lyrics repeat ‘Open Our Eyes, Give Us The Light‘. The Elevated Dub offers a crunch that is more club-ready for a a crowd that have gathered for a shared communion of dance. Continue reading
Mézigue – Tu Me Manques Mumu Change Pas Le Moteur
Just like for their National Football Team, the future of the French underground scene looks radiant. Veterans such as DJ Deep, Appollonia & Oxia are supported by up-and-comers like Miley Serious or Zaltan & DK. Referred as a revival by some, it can also be seen as an emergence of a groundbreaking scene. Though the scene is rich in diversity, however, there will always be a soft spot for the French Touch on a track. None is more evident in a sturdy disco-funk track, as demonstrated by this 2018 release.
Sampling Muriel Dacq’s ‘Tropique’, Mézigue twists this 1980s gem (that should have featured in a GTA Vice City DLC) into a peak time AVA Festival grenade. If one takes a closer listen they’ll notice that the infectious bassline here used at the heart of the song shares the same chord progression as Kid Cudi’s Project X hit ‘Memories’. Though, here it caters for a rather different audience. Quirky, offbeat tempo changes characterise the song, guttural French-male vocals parroting a line from the original. For those lacking French literacy, the word ‘diskoteka‘ will illuminate the purpose of the chant. The fraternization of subgenres can be best understood by the description of the song as Italian Disco G-Funk House. Continue reading
Matt Whitehead – We’re Bombing
Matt Whitehead fooled us all. If you play ‘We’re Bombing’ with an absence of context, you’ll most like guess the release year to be situated in the early 1980s. Roland TR 808 drum patterns. Check. Miami Vice soundtrack inspired synths. Check. Toms akin to Nairobi’s 1982 release ‘Funky Soul Makossa‘ are also to be found. Above all, closest similarities can be drawn to the New York-raised DJ Hashim’s production. The computerised use of processed robotic vocals played a major part in the Electro scene, justifying the name of the subgenre. Collectively, this Super Rhythm Trax release just like the label aims to bring back the old school sound while ironing out the unpolished lapses of its predecessors.
Coming from his Bombing EP, the track brings the raw thud kindred to the distant cousin genre of Miami Bass. Drum loops intervene in rotation like breakbeats. The slaphappy snare drums are given room to exercise their drive. Yet, just as important to the track’s identity are the neon atmosphere created by the soundscapes. Deep analogue strings & an arpeggio that sounds like it comes from PPG Wave synthesiser, unite together to give the track its soul. In such, ‘We’re Bombing’ avoids falling into the trap of sounding like a bootleg of a rejected Robocop soundtrack compilation. Music Radar has published a breakdown of tips for creating a electro banger. It demonstrates the amount of detail is required behind the scenes. Blawan has placed his stamp of approval on Matt Whitehead’s production before, and that’s an endorsement to treasure. Continue reading
DA Rebels – House Nation Under A Groove
Jamie Jones & the Hot Creations crew reputation for releasing chunky funky tech house basslines undoubtedly come from production akin to DA Rebels. The DJ duo are Chicago house patron saints, made up of Curtis Alan Jones aka. Cajmere aka Green Velvet and Lidell Townsell. Together they carry a legacy of essential early-house releases that paved the road. You can find quite a few Townsell solo releases on the iconic house label Trax Records, including this acid melter. Jones’ residue is self-evident to those interested in the genre.
Its mind-boggling to think that the track was released all the way back in 1989. Released as part of DA Rebel’s D.I.U. (Deep In Underground) cut, this is unapologetically a house track. Continue reading