bitonti

God's House Records (basement boys) bangs the box. That bassline... Ann Nesby goes crazy on the vocals. Peak hour gospel house

there are other more progressive sounding/tribal mixes on the yellow record and more hard house type stuff on the red, but the Brian Bristol/George Morel mix is tops. It strikes a compromise with all these different elements and goes down smooth. The... See full review

As the Mike Diesel airhorn promises, this song is legit. It combines a spooky keyboard riff and ridiculous jingle bells... once you hear it, you can't unhear it. It's listed as gangsta but southern hip-hop is also an accurate description. "P.O.P. will... See full review

Margaret Grace rocks the vocals on this soulful house instant classic. Harry Choo Choo's usage of the iconic sample from Lil' Louis' French Kiss drives this Quentin Harris production relentlessly forward. the Yass remix is also a banger. Real nice and groovy. See full review

The Soul City always had top notch releases, and this Aaron-Carl track is no joke. Sublime synths, masterful samples (of his own vocal) and some sassy "Let me let you have it" spoken word towards the end. Really like how the intro goes right into a... See full review

The Dead Zone Mix (121 BPM) is early David "momo" Morales at his finest. The Martha Wash vocal is looped and sampled only for a few seconds at a start, to introduce the programming over a kick drum. There's filtered tease guitar and various bleeps and... See full review

This 4x 12" is full of under the radar gems. The vibe is experimental and underground, classy vocals with dirty Miami bass. . Murk has immaculate drum programming and that sync'ed out acid sound. B2 Tin Tin Out Strings for Jasmin Murk a Tronic is a... See full review

A2 It's Alright, I Feel It Alternative 12" mix is the highlight of this release. Jocelyn Brown's vocals are huge and the beat is a nefarious hip-hop inspired break. It's uplifting NY vocal house and a really fine M.A.W. remix. B1 Runaway an Armand Van... See full review

Digging in the crate tip: Sometimes the hot remixes are b-sides on other single promos. The b3 Vibes mix is only on the promo (eventually comes out on the Japan only Pete Rock & C.L. Smooth - Unreleased Joints release in 1996), uplifting but also super chill Roy Ayers styles vibes and... See full review

the Vocal on side A is listenable in certain circumstances but is a garage effort that hasn't aged particularly well. but the B side is dark synthy magic. Untitled Mix 1 is super deep but with active bassline with pulsing kick drums. the samples... See full review

The Dim's Re-Edit of Don't Leave Me This Way has been dropped by many big name DJ's over the years. It is beautiful disco, period. The Silk Hurley remix of Ten City is also extremely solid re-edit of a classic. Both of these songs have strong male... See full review

B2 Crushed is as nasty a house song as Detroit can release. It's an instant classic at least for me. Banging beat with chirpy highs, with layers of old school samples, filtered and EQ'ed to death. B1 Flemmenup is a spartan electro affair, shades of... See full review

The original Roy Davis mix is break-beaty and world flavor. Silky male vocal and sax. The solid groove remix takes that vocal and sax, but puts it in Chicago inspired house with obvious computer editing (Daft punk-ish). Nice rolling bassline. I prefer... See full review

There's several worthless mixes on this double pack but Silk's over house is funky as hell, easily the best of the class. Light and airy making best use of Ce Ce's vocal work. Honorable mention to Jamie Principle's Over the Swing mix, which is a... See full review

Everything on Silk Entertainment is bangin. But this record especially so. Bass heavy bounces like crazy. Oom-Dah is short dubby revisit of the Word Is Love release. I Don't Know is a deeper slower, more minor key acid type of song. Gets chripy and... See full review

Silk's journey to heaven mix features piano, gospel singers and lively bassline, all processed through disco filters. Steve Silk Hurley's mastery is on full display.

Terrence Parker the DJ uses hip-hop turntable ism (scratches, pauses) in his live shows and that carries over to his production. I love the track B2 "Something Here" - a deep builder with a funky guitar riff. TP stops the table, positions the First... See full review

I was very skeptical of this record But dam it won me over. As everyone knows it's a cheesy vocal. And it's not even well executed. Drunk people love it. To put it kindly, Madonna doesn't have the vocal chops of Aretha Franklin. The mixes use... See full review

agree I am also not convinced that these are two tracks. There is no obvious break. But a great record, funky super sample heaven.

Pinball Number Count... the number eleven never sounded so crazy. The Pointer Sisters make learning about numbers fun. The fact that these legendary R&B singers were doing educational television is really fortunate. Strictly Kev's mini-mix highlights... See full review

This album is well constructed. It's got a real flow, between songs and within the rhymes. West coast, latino, underground hip-hop with tons of sick mariache horn samples and scratch work. Western Ways samples Sade and it is listed twice; the Big Pun... See full review