Back catalogue: Disco/Reediciones

Review: Fans of UK street soul from the mid-80s you need this one in your life as Heels & Souls Recordings returns with its eighth reissue and unveils some treasures by Elaine Vassell and 3rd Zone. In 1993, amidst the rise of house music, UK soul thrived, accompanied by its DIY street soul sibling as perfectly exemplified here by 'Never Give Up' which boasts a raw, breakbeat-driven groove, blending soulful house, hip-hop, and r&b, while 3rd Zone's 'You Stole My Heart' from 1991, later featured on their 1993 EP No Real Reason, offers a tender yet tough underground vibe. Both tracks showcase the era's spirit, proving that creativity trumps big budgets. Each side includes an alternate version for added depth and diversity.

Review: Alongside Salsoul and West End, SAM Records - established by Sam Weiss in NYC in 1975 - was one of the definitive labels of the original disco era. This indispensable double-vinyl retrospective showcases the most significant and successful releases in the label's killer catalogue, moving between breathlessly brilliant and over-the-top 'proper disco' (think John Davis & Monster Orchestra's 'I Can't Stop', K.I.D's sensational 'Happendi Muzik Wangu? (You Don't Like My Music)' and Gary's Gang's 'Keep On Dancin' and 'Lets Lovedance Tonight'), boogie-era brilliance (Vicky D's electrofunk stable 'This Beat Is Mine', Glen Adams Affair's 'Just a Groove', Koniko's synth-heavy 'Feel Alright'), and lesser-celebrated all-time anthems (Conversion's 'Let's Do It', Steve Shielto's 'Don't You Give Your Love Away'). The epitome of 'all killer, no filler').

Review: French label Wagram is a go-to when it comes to quality compilations that take a broad look at certain sounds and scenes, and this one is an on-going series that focuses on house sounds with an Afro undertone. The grooves are lively and often come with plenty of percussion. The drums hit hard but with funk, the vocals are Afro-centric and plenty of irresistible hits come thick and fast from the jazzy tribal swagger of 'Imbalaye' to the big steel drum party sounds of 'Viet Dao' (Klement Bonelli & Yann DL remix). Another great collection of colourful Afro house sounds.

Review: The latest niche disco compilation to froth forth from Germany's Seismographic label is a self-described 'mysterious record', intending to both hide and show something at the same time. Indeed, we know the feeling, since when it comes to dubious emotions such as ennui and bittersweetness - both common to pop and disco - it takes a skilled artistic, productive and curative effort to pin down both emotions (unskilled hands would liken the art to catching eels in a barrel). Made up entirely of two records that were 'most probably' released in the mid-1970s on Turkish Roma, Disco Dances From Turkey does exactly what it says on the verso. Psychedelic motifs, hard-hitting drums, Arabesk percussion, and hip-hop friendly breaks all collide to produce a careful combo in nine takes, delving into the heart of Romano-Turkish pop music from the 70s.

Review: Although Salsoul Records and West End Records are more widely associated with the original New York Disco story, SAM Records - founded by Romania-born Sam Weiss in 1975 - also released a wealth of killer material during that era. This three-disc retrospective, which comes accompanied by detailed liner notes by the Guardian's Alexis Petridis, tells the story of the label via a mix of genuine disco anthems, early boogie gems, key 12" versions mixed by the likes of Shep Pettibone, John Jellybean' Benitez and Jonathan Fearing, and lesser-celebrated cult classics. All the label's key artists (think John Davis & The Monster Orchestra, K.I.D, Gary's Gang and Rhyze) are present, along with noted 'one-hit wonders' such as David McPherson, Mike & Brenda Sutton, Vicky D and Lucy Hawkins. A must-have for disco heads old and new!

Review: Gomma played a vital role in the popularisation of the indie-dance explosion that happened some 20 years ago now. Best known for being spearheaded by US indie outfit LDC Sound system, it combined dance, disco, wave, post-punk and more into a party-ready sound that found favour with both ravers and guitar heads. This second collection from the German label highlights the best of music they put out back then with names like In Flagranti, label co-founder Munk, Nancy Whang & Bonar Bradberry and many more all present and correct.

Review: NOW Music is on with a big project here that sees the long-running label present a new series of vinyl compilations, NOW That's What I Call 80s Dancefloor. Each one is set to include what they deem to be "an essential collection of tracks" that they hope offer fair representation of a number of key musical movements and genres from across the 80s. The first volume presented the best in HI-NRG and POP and this one, a double album, focusses on Soul & Disco. All the names you'd expect are here from Prince to Daryl Hall & John Oates, Loose Ends to Rufus & Chaka Khan, so it is a useful one indeed.

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Isle Of Jura propel their Instrumental Dubs series further forward with a second release. Capturing the etheric essence of the 'version' and ready-making it for the present day, the nominal series welcomes contributions and reissues from new and old producers alike. This time around, we're met with a slow, George Kerr-produced cut from 1984, 'If You Want My Lovin', followed by a Brit-funk-esque instrumental from Harold Melvin & the Bluenotes, originally released on the Philly World label. The A-side closes with the 'Sweeter' instrumental mix of boogie bomb 'Loving Sweet Devotion' by Idiater Edwards; then comes the B-side with that indelible Mad Professor flavour, bucking the dub trend with a syncretic of dub, freestyle and disco; and finally, we end on a touch of next-gen psydub bubbling up from The Underwater World (of Jah Cousteau, that is).

Review: Continuing Four Flies' dedication to delving into lesser-explored periods of Italian music, Africamore: The Afro-Funk Side of Italy (1973-1978) takes us on a captivating carpet-ride into the intersection of Afro-funk and the Italian soundscape prevalent in the six years between 1973 and 1978 - a time when disco was still in its nascence, and the nightclub market was rapidly expanding. Bottling the critical moment at which DJs such as Dave Mancuso discovered Manu Dibango's 'Soul Makossa' - with classics such like Jean Paul & Angelique's 'Africa Sound' and Nat King Cole's 'Calypso Blues' following as floor-bound hits - all these productions pushed the boundaries of dance music at a time when disco had not yet taken over.

Review: Four Flies continue their mission to plunge Italy's funk-historical depths. The pinnacle of their search so far for the sure-to-exist pearly gems on the sands thereunder is the new Africamore compilation, which homes in like a heat-seeking torpedo on the particular Afro- ends of the funk sound prevalent in the nation, in the crucial years between 1973 and 1978. This period was notable for its facilitating fertile ground for the emerging discotheque market in Italy at the time. From psychedelic-tinged tunes like Jean Paul & Angelique's 'Africa Sound' to Afrobeat-esque club banger 'Kumbayero' by Albert Verrecchia; from groundbreaking Afro-cosmics like Chrisma's 'Amore to mind-blowing floor-fillers like Beryl Cunningham's 'Why O', this is a multivalent compilation, among the best out there to document the burblings of that crosswise stew of disco, funk, electro and world musics.