Back catalogue: Disco/Nu-Disco

Review: David Morales' legendary track 'Needin U' is one of those enduring anthems that just keeps living on. Hammered by all the top funky house jocks in the late '90s, it resurfaced at the turn of the millennium as 'Needin' U II' with Juliet Roberts on vocals, then in 2009 there was The Face vs. Mark Brown's version released on the latter's Cr2 label. Now, to celebrate the track's 23rd anniversary, Paris veteran Dimitri From Paris delivers his take on it, which has a deeper and low slung groove to it and features live instrumentation. Comes on a limited red vinyl pressing and picture sleeve release.

Review: Hailing from Philadelphia, the Eraserhood Sound label has been fostering a particularly cosmic bend of synths and soul music which is primarily rounded out by their in-house band, Fantasy 15. Following a string of on-point singles, the group now coalesce for a hotly anticipated debut album which delivers on the promise of those early drops. Drop in on 'Ray Gun' and let the thick swathes of brain-tickling synths send you stratospheric - this is hot and heavy boogie colliding with the loftiest prog and coming up trumps. There is a luscious vocal cut featuring Kendra Morris, but primarily this is an instrumental trip to take you very far out indeed.

Review: Fabrizio Fattori has been a deep cover hero in Italian dance music since the mid 80s, and while he may have shifted his attention to tribal house music in the 90s, this collection zeroes in on his earlier afro disco funk work, which drips with Balearic groove appeal. Collecting sought after records and other archival gems, this lengthy EP is a joyous, synthy excursion through sunny climes, from the MIDI brass and plastic slap bass of "Leg Pulling" to the intricate percussion and live sax of "Bara-Hum-Ba." This is a quintessential Best reissue - beautifully packaged, and putting super rare music back in the hands of the fans.

Review: F.I.D.E.L (Further Individual Delusions) is the avatar project of Paris-based composer, producer and A&R, R. DIlouya; UK funk and soul and Northern soul legend John Turrell; and French hip-hop, soul and jazz force majeure Sly Johnson. Hailing from North Paris and Northern England, F.I.D.E.L release their latest project Out Of Sight to the great post-disco, boogie and new wave pop that shaped the world's collective unconscious at the twilight of the Thatcher / Cold War Era. F.I.D.E.L takes this as a jumping off point and channels its sound through the care and the musical craft of the past to a yet more modern soundscape using Prophet Synthesizers, Clavinets and Drum Machines to create a fast, nervous, funky, ironic and intoxicating satire of post-COVID Western society. While most of the musical heavy lifting is done by Dilouya himself, Turrell lays down socially anchored lyrics, rooted firmly in the gritty, no-nonsense world of a working-class man. Recorded over two week-long studio sessions in Paris, Out Of Sight showcases Dilouya's timeless songwriting and bold production style, setting ground for Turrell's classic vocal performances and Sly Johnson's revered musicianship.

Review: Italian producer GSQ adopts his given name for the very first time on a musical project here. That usually means an artist is bearing their soul and being more honest and vulnerable about the music they want to make but either way Francesco Fisotti does a fine job of captivating us here. The tress on the cover look very LA but the sounds inside are all Italo - deep house, downtempo, disco and Balearic all feature with distinctive synth melodies from Southern Europe. 'Mercedes Fantasy' has some great odds school raps, 'Bootyyy' bounces with some hip-hop charm and 'Mezza Estate' is a lush jazz-funk pearl.

Review: Cordial Recordings in partnership with Pilier Records are proud to announce the return of Philadelphia's legendary Mr Garfield Fleming, with this mini album of new productions. Fleming only released about three singles sporadically between 1981, 1984 and 1991 - but he's an incredibly under appreciated artist, we know that much. All female vocals are performed by fellow Pilier recording artist Mz. Nina. Featuring the sexy deep-funk of "Ain't Nothing Too Good For My Woman" - this one is a true diggers delight for those in the know! The late night boogie-down vibes of "Daddy's Home" or "Is That OK" takes things down slo-mo territory and of course we've just got to mention that terrific Daft Funk Funktion Creep Rub (yep!) of "Grass Ain't Greener".

Review: Salerno star Carlo Fontana is the subject of this new release from Futuribile. It is a collection of his most treasured unreleased gems and hard to find classics that provides a perfect overview of his wonderful sound for fans old and new. These lush sounds combine layered brass, jazz horns, sunny keys and crooning, loved up vocals with plenty of sliding bass and rich harmonisations. They're disco ready and perfect for Balearic gatherings as they ooze tropical and exotic charm from front to back. Each one has been remastered to sound as good as gold, too.

Review: In 2009, longtime collaborators Frankie Knuckles and Eric Kupper made their production partnership official via the Director's Cut project. This epic retrospective gathers together the best tracks and remixes the duo completed prior to Knuckles' death in 2014. Disc one offers up original productions, including ear-catching re-makes of some of Knuckles' most famous early works (we're particularly fond of the versions of "The Whistle Song", "Your Love" and "I'll Take U There"). On the second disc you'll find the best of their remix work, with standouts including a sublime take on Candi Staton's "Hallelujah Anyway" and a storming, previously unreleased version of Lou Rawls' "You'll Never Find Another Love Like Mine". As a bonus, the third disc mixes the best of the lot together in one suitably gorgeous, non-stop journey.

Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across three slabs of wax, there's naturally plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.

Review: Given the brilliantly simple concept behind this fine compilation - contemporary Detroit producers remix Funkadelic - we're rather surprised nobody's done it before. With 17 varied re-rubs stretched across two hugely entertaining CDs, there's plenty to enjoy. Highlights come thick and fast, from the deep house/P-funk fusion of Alton Miller's take on "Get Your Ass Off and Jam" and Andres' loose, hip-hop influenced revision of "Music For My Mother", to the thrusting loops and heady late night hypnotism of Anthony Shake Shakir and T-Dancer's version of "Standing on the Verge". While many of the versions stay relatively faithful to the original, the more "out-there" interpretations - see BMG's outer-space ambient dub of "Maggot Brain" and Moodymann's epic revision of "Cosmic Slop" - are also consistently impressive.