Back catalogue: Disco/Nu-Disco

Review: Legend Danny Krivit takes on two different disco moods for his latest edit on 45. This one is of Tony Orlando's 'Don't Let Go', a rarity originally released in Japan in 2012 that immediately became a much sought-after, hard to find rarity, with Krivit's creative edit utilizing a DJ-friendly instrumental intro. Like previous editions in the series, these unique selections from The New York City legend's personal archives are cut on a loud 7-inch pressing.

Review: Mr. K and Most Excellent Unlimited are back once again and this time featuring a lowdown and stomping disco gem from Minnie Riperton. Her 1977 single 'Stick Together' rather sticks out in her discography of smooth modern soul, but that's not to say it isn't great. The second half to the original is what has been reworked in this edit and so we are treated to a lengthy exploration featuring keyboardist Sonny Burke (laying down some irresistible keys. Flip it over for his take on 'Body Language,' an album cut on the Jackson Five's last Motown album and here served up with an iconic bass line that just doesn't quit.

Review: The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade. The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.

Review: Mr K (Danny Krivit) is back once again with another vital selection of his edits kicking off with the title track 'It Should Have Been Me' a lazy and heart wrenching soul jam with deep cut bass, guttural female vocals that are as raw as you can imagine and some lush strings. It's a great vision of a stone cold classic that will never fail in any setting to get tears going. On the flipside, 'Brand New Lover' picks up the pace with a silky disco-funk-soul groove to carry you into a lovely headspace.

Review: You know what you're getting with Mr K - "high-powered disco intensity" as he says himself, in this case in the form of two neglected cuts rescued and fully refurbished by the master. On the A-side comes the Dynamic Superiors' essential gay disco classic 'I Can't Stay Away (From Someone I Love)', boiled down to its most concentrated form, reshaped as a hard-charging, peak time disco climax with their proudly out singer Tony Washington - an influence on the soon-to-emerge Sylvester - setting the tone of pride and liberation.
Flip it over for the slap bass and brass of the frenetic 'Hit and Run', first released by the obscure Opus 7 in 1979 but overshadowed at the time by the slower, funkier 'Bustle'. Eliminating everything but the transcendent ride out, which is extended to a glorious eight minutes in order to fully enjoy its pumping bass and Philly-style group harmonies, Mr K ensures both sides of this are killer club weapons for the serious DJs and dancers alike.

Review: Danny Krivit aka Mr K, that veteran of the Roxy and Paradise Garage, turns his attention to the 80s for his latest Mr K edits aka brush ups for the sound systems of today. 'Pleasure Boys' by Visage epitomised the new wave crossover sound when was released in 1982, and Krivit would eschew the vocal, using two copies to concentrate on and extend the thunderous synth bass break in his sets instead. Here he recreates the trick - a bare bones riff that still sounds enormous on a club system.

For the flip, Krivit goes a little deeper with his edit of 'Emotional Disguise' by Peter Godwin again ditching the overwrought new wave vocal in favour of the atmospheric synth stylings of the instrumental, which he recalls being a big tune with hip-hop crowds at the Garage and Roxy alike.

Review: The one and only Mr. K presents a two-sided treat here starting with Janice McClain's underrated 1983 disco track and featuring a smooth, laid-back groove that blends steppers vibes with mid-tempo Philly soul. Written by McClain's uncle Milt Tennant and Thom Page, it captures a classic sound that is further enhanced by McClain's heartfelt vocals. This edit trims the rare 12" version for a 7" debut with pristine sound and the B-side flips to a fresh take on 'Brazil', which was a 1975 hit by the Ritchie Family. Mr. K's edit extends the vamp section, offering a full, uninterrupted four minutes of irresistible disco joy.

Review: New York's incomparable edit king, and a hugely prolific one at that, Danny Krivit aka Mr K returns with some elongated reworks of a couple of Stevie Wonder's most timeless tunes. First up is his version of 'Master Blaster' which was originally the sound of Stevie paying tribute to Bob Marley. In his hands, it has a big intro and drums ready to rock. Flip it over and you will find 'I Was Made To Love Her' which has big r&b overtones and the sort of breakdowns that really build a vibe in the club. Adding in lashings of signature soul and you have two more steamy and effective tributes from the one and only Mr K.

Review: Mr. K has an amazing knack for knowing what will fill a dancefloor, and it's hard to imagine this pair of tunes causing anything less than a roadblock. On the A-side, he pays tribute to beloved NYC DJ and editor Gail "Sky" King by recreating her extended edit of the Frankie Beverly and Maze sureshot 'Before I Let Go'. The edit arrived a decade after the original surfaced on the best-selling 1981 Live In New Orleans LP, although the track was not actually a concert recording but a new studio track made to fill out the final "D-side" of the release. Alas, the gorgeously danceable funk/soul hybrid was pressed at low quality, the harsh sonic nature meaning it never got the support it truly deserved. It comes here backed by 'Hollywood's Message' from legendary hip-hop pioneer DJ Hollywood, a self-released single from the man who was one of the first to grab the microphone at a jam and rhyme over records. As a backing track for his rhymes, Hollywood took a shortcut and used the renowned 'Love Is The Message' edit created by Mr. K that repeatedly runs the groovy clavinet break from MFSB's tune. Here, Mr. K tightens up the instrumental chant version for its first 7" release, adding a touch of Millie Jackson's 'Now That I Got Your Attention Again' as an intro. Two slices of absolute gold.

Review: Legendary DJ and edit king Mr K is back on Most Excellent Unlimited with the latest in their essential collaborative series. As always this is a slab of wax that offers up two gorgeous cuts that have been skilfully cut down to a maximum 7" 45rpm format. The first is Luther Vandross's 'Funky Music (Is a Part of Me)' which David Bowie later reworked to become one of his many hit singles 'Fascination.' In its original form, it has rickety soul grooves and lavish stings next to the soaring vocals. The tune second is Zulema's 'Giving Up' which has a dramatic intro, Mr K remasters it and allows the rolling piano, great string ensemble and guitar sounds to really cut through clearly. Two bonafide dancefloor delights.

Review: The legendary edit king Mr. K is back with more of his trademark sonic treatments here, this time focussing on some lick funk sounds from the Motor City. His mid-tempo selections on this Detroit-themed 7" open-up with G.C. Cameron, a Motown mainstay with a wide vocal range as demonstrated on this classic rare groove cut, 'No Matter Where.' On the backside is more rare groove from Detroit but this time from the 80s and Candye Edwards's 'Time Is What You Need.' Edwards was part of the Detroit funk powerhouse One Way and through that got connected with songwriter and multi-instrumentalist Kevin McCord. They cooked up real gold together on a solo debut album with this being the standout cut from it. Perfect for warm outdoor dancing.

Review: Mr. K Edits' latest release caters to roller skaters and groove enthusiasts alike. It features two mid-tempo tracks uniquely edited by the studio scalpel master himself as they make their debut on 45rpm. First is Rodney Franklin's 'Felix Leo,' which was originally overshadowed by his hit 'The Groove.' It unfolds with hypnotic chords trimmed to their essence and unfolds at a gradual, majestic pace with captivating and lush strings making it all the immersive. Second up is Prince's early gem 'In Love' which showcases his instrumental prowess with drums, bass, guitar, and creamy synth lines. Mr. K extends the mix seamlessly, enhancing its danceable rhythm and timeless appeal with his usual class.

Review: No one edits a classic like Mr. K, as he has proven time and time again. Now the legendary studio craftsman is back and revisiting Paradise Garage and some of the club's legendary sounds. First up is TW Funkmasters' 'Love Money,' which was conceived by UK radio reggae jock Tony Williams and fuses Dennis Brown's reggae hit 'Money In My Pocket' with early rap influences. The dub version was embraced by New York's dance scene and became iconic at the 'Garage, with many homages coming later such as Larry Levan's Man Friday remake, 'Love Honey, Love Heartache.' On the flip, Janice McClain's 1979 Philly disco classic 'Smack Dab In The Middle' shines as Larry Levan's mix is reworked by Mr. K who turns up the jazzy groove with fresh breaks.

Review: Mr. K's series of edits continues. Any self-respecting music head is well familiar with the Most Excellent Unlimited series from Mr K aka Danny Krivit by now, and the latest entry into it is another doozy on 45rpm. The A-side features an edit of the title tune from a 1972 Ralph Bakshi animation originally played by a top crew of San Francisco area musicians. It is a steamy funk workout in a Latin jazz style with plenty of reverb and DJ friendly grooves. Flip it over and you'll find a gem from Philadelphia's Executive Suite which In Mr. K's hands is lit up with addictive strings and driving rhythms that never let up.

Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.

Review: The arrival of the Acapellas Anonymous series in the mid/late '80s was a massive gamechanger, giving immediate access to DJs and producers to hundreds of vocal samples that would have taken a fortune (and a lifetime) to collect. Edit king Mr K has rebuilt, remastered, and carefully portioned them onto a five disc set of 7-inch singles, "including all the classic vocal bits that became iconic samples," and more than a few new additions to bring things up to date. You'll know more than a few of these on first listen, others you may have never even realised were samples, but no-one will underestimate the power of a great vocal sample dropping in the right way in the right mix. An absolute essential.