In
 the
 end
 it
 happens
 to
 them
 all.
 There’s
 only
 a
 certain
 amount
 of
 time
 before
 DJs
 gets
 the
 urge
 to
 make
 their
 own
 tracks
 to
 spin
 at club
 nights.
 If
 we’re
 lucky,
 said
 DJ
 will
 have
 been
 holding
 down
 a
 local
 residency
 and
 have
 honed
 their
 craft
 to
 perfection,
 knowing exactly
 what
 makes
 the
 crowd
 rock
 without
 having
 to
 resort
 to
 the
 ‘classic
 trax’
 trick
 (one’s
 enough,
 two’s
 for
 an
 all-back-to situation,
 three
 or
 more
 and
 your
 name
 is
 Norman
 Jay).
One
 such
 DJ
 with
 this
 skill
 is
 the
 newly
 monikered
 Evil
 K’neil,
 who
 you
 may
 already
 know
 as
 Neil
 Diablo.
 Over
 the
 past
 eight
 years Neil
 (or
 Evil
 if
 you
 prefer)
 has
 quietly
 and
 steadily
 been
 building
 a
 reputation
 as
 a
 consistently
 high
 quality
 DJ
 who
 always
 has
 the dancefloor
 full.
 Joint
 resident
 at
 El
 Diablo’s
 Social
 Club
 since
 2003
 (and
 sole
 resident
 since
 Danny
 Webb’s
 move
 down
 south
 in 2008),
 Neil
 has
 always
 spun
 a
 heady
 mix
 of
 house
 and
 disco
 (in
 all
 its
 forms,
 from
 cosmic
 to
 boogie),
 leading
 the
 club
 to
 be considered
 the
 rightful
 heir
 to
 the
 dear
 departed
 Electric
 Chair
 (that
 other
 long-running
 Mancunian
 clubland
 institution).
 Neil
 is
 also part
 of
 the
 furniture
 at
 Manchester’s
 respected
 Piccadilly
 Records
 shop,
 and
 can
 be
 found
 behind
 the
 counter
 at
 weekends
 ‘pulling tunes’
 for
 punters,
 or
 more
 likely,
 for
 himself.
 His
 DJ
 tastes
 also
 feed
 into
 what
 stock
 Piccadilly
 take,
 pointing
 buyers
 in
 the
 direction of
 new-to-vinyl
 hidden
 gems
 that
 he’s
 been
 spinning
 off
 burnt
 downloads
 for
 an
 eternity.
So,
 several
 years
 of
 DJing
 and
 many
 studio
 hours
 later,
 Neil
 has
 reached
 that
 ‘level
 one’
 entry
 point
 for
 DJs
 moving
 into
 production; the
 re-edit.
 Danny
 Krivit
 did
 it,
 Dr.
 Dunks
 does
 it,
 Greg
 Wilson
 never
 seems
 to
 stop
 doing
 it...
 In
 fact,
 everyone’s
 at
 it!
 Therefore,
 in
 a musical
 sector
 that
 is
 practically
 collapsing
 under
 its
 own
 weight
 of
 releases
 you
 only
 need
 to
 know
 one
 thing
 before
 bothering
 to listen
 to
 the
 MP3
 clips
 provided,
 or
 parting
 with
 your
 hard-earned
 cash
 for
 a
 slab
 of
 wax:
 Are
 the
 tracks
 any
 good?
 Well,
 of
 course they’re
 good;
 proper
 dancefloor-friendly
 disco
 cuts
 with
 the
 BPMs
 set
 for
 peak-time
 play
 (we’ll
 have
 none
 of
 that
 turgid
 early
 doors bar
 business
 here,
 thank-you).
 If
 you
 like
 your
 edits
 at
 the
 Disco
 Deviance,
 Cosmic
 Boogie
 and
 Try
 To
 Find
 Me
 end
 of
 the
 disco spectrum,
 then
 this
 release
 is
 for
 you.
Both
 cuts
 have
 been
 100%
 road-tested
 over
 the
 past
 six
 months
 at
 El
 Diablo’s
 and
 have
 also
 gone
 down
 a
 treat
 at
 the
 likes
 of Glastonbury,
 the
 Big
 Chill
 and
 the
 Garden
 Festival
 this
 summer.
 But
 don’t
 just
 take
 Neil’s
 word
 for
 it,
 as
 the
 tracks
 have
 also
 received plays
 from
 the
 likes
 of
 Eric
 Duncan
 (Rub
 N’
 Tug
 /
 Still
 Going
 /
 COMBI),
 Severino
 (Horse
 Meat
 Disco),
 the
 Unabombers
 (Electric Elephant),
 and
 Crazy
 P.
 Favorable
 crowd
 reactions
 were
 obtained
 every
 time.
This
 release
 is
 limited
 to
 300
 and
 is
 hand
 stamped,
 sprayed
 and
 numbered.
 You’ll
 only
 end
 up
 sorry
 if
 you
 don’t
 buy
 one,
 you
 just know
 you
 will.