Repeating the formula he developed re-editing Harvey Mason's "Groovin' You" to produce "Disco's Revenge", Gusto here serves up an instrumental re-edit of Love Committee's "Just As Long As I Got You", with beefed up house beats and effects. A good track, but as was the case with "Disco's Revenge", not a patch on the original.

Andrew Weatherall is a true pioneer of electronic music, but not a lot of people know that he also once starred in a feature film, the 1997 British gangster movie "Hard Men", in which he played the character of Buddha. Its only a minor role, in which he gets the shit kicked out of him by a couple of gangsters, and if you blink, you'll miss it. Interestingly, the Internet Movie Database spells his name incorrectly - Andrew Wetherall. His appearance in this movie earns him a "Kevin Bacon number" of 3.

Advance copies of this release are on white label with the Schatrax stamp on them, just like original Schatrax releases. Top record - the Silicone Soul mix houses up the Schatrax original, and the Funk D'Void mix Funk D'void's it up...(can Funk D'Void be considered a verb? - such is Lars Sandberg's unique style, I think it can)

I should add than none of these mixes is the same as any other released remixes of these tracks by Deep Dish

In my opinion, German Love affair is one of the greatest vocal house tracks of all time.

This track is based on samples from the track "Street Player" by Chicago. In fact, most of the track is directly lifted from Street Player - Kenny Dope has dropped the vocals, resequenced it and added chunky house beats. A great example of how a producer can take a great original track and create something new and interesting from it.

Judging by the styles of the remixes, I'm pretty sure D.D. stands for Deep Dish, although I can't find anything to confirm this.

As an Edinburgh native, I always look forward to hearing some local talent, and the latest release on Edinburgh-based Hush Hush Recordings offers the latest track from local DJ Craig H. Smith’s Shaw Height Assembly, with remixes by George T and Five20East. The Original Mix on side A offers some fairly standard filtered loop house – it’s a good track, but nothing that really grabs you. With loop-based house music, the track depends on the quality of the sample used, and while the loop sounds great at the start, by the end of the track, it just gets a wee bit boring. A good track that never fully delivers on its initial promise. The beats track that follows is good, and is a useful DJ tool.

On the B-side, there are remixes from George T (another Edinburgh local) and Five20East. As a huge George T fan, I came to this track with high expectations, and on first listen was somewhat disappointed. George T’s tracks and remixes vary between funky, loop driven house, and more tech-house offerings. This remix falls into the latter category. There’s nothing wrong with that, but the first time round it didn’t do anything for me. However, after a couple of listens it all falls into place – George has yet again delivered a quality track that bounces along in a staccato fashion, with plenty of bass and synth stabs.

The real gem on this record, however, is the Five20East remix. Kicking off with the sample “Watch yer bass bins, I’m tellin’ yer”, this mix throws out the 4/4 house beats, and delivers a great breaks track with a bass line reminiscent of early LFO releases on Warp, with an old school “j-j-j-jack” sample thrown in for good measure. Its perhaps less accessible than the other mixes, but offers a great tool for any DJ wishing to stir things up a bit on the dance floor!

Hailing from Leeds in the UK, but with a sound straight out of the back streets of Philly, Central offer the follow up to their successful “Catch The Light EP” from last year. Side A is “Block Party”, a slice of pure quality house. Central have taken the best samples and sounds from house tracks in years gone by, and cooked up an uplifting, soulful track, full of real funky bass, guitar licks, trumpets and female vocal samples with a beautiful wash of synth pads providing the background. After a great break mid-track, the whole thing kicks back in – guaranteed to get the dance floor moving. This reminded me of tracks by “The Black Science Orchestra” and releases on Paper Recordings – if that’s your thing, you’ll love this track. Quality house through and through.

Side B offers up another uplifting, soulful track “Be Thankful”. Again using quality sounds from classic house tracks, this adheres to the template of real house music, this time with a more “garage” vibe, with beautiful uplifting vocals urging the dance floor to “Be thankful for the thing’s you’ve got”.

In summary, a highly recommended release for lovers of uplifting, soulful house music.

A great release from Soma - each side of this record offer something different. Side A has the Two Lone Swordsmen in their element, offering up a quality dub of the Slam / Dot Allison original. Dot doesn't get much of a look in on this dub....if her vocal is there at all, its been twisted out of recognition by those dastardly Swordsmen. The dub is the closest the Swordsmen ever get to a house track, building up with a four / four beat, deep bassline and all the usual machine sounds that are their trade mark. The pay off comes in the middle of the track, with some bowel crunching bass, another of Weatherall and Tenniswood's favourite tricks. On first listen, this dub doesn't jump out at you, but after about three plays it'll have you grooving when that bass kicks in.

Side AA offers something completely different - Miguel Migs has taken Gene Farris' Black Satin' and funked it up big style. The original is a laid back house track with a latin flavour, but Migs has taken elements from the original and injected it with a pumping, funky house vibe. If you're into funky house, this one will have you jumping.

A highly recommended release from Soma.