Classic Vinilo y CD

Review: Classic do a fine job here of enlisting various remixers to tackle key tracks from German house maestro Oliver Dollar's latest album. Label boss Luke Solomun goes first in cahoots with Chicago originator Honey Dijon, and the pair cook up a steamy, raw and right on remix of the gospel house original. Riva Starr goes for a slamming house take on "Crusader" and the 90s superstar Mousse T brings plenty of disco dazzle. Kelly G might steal the show with a low slung, warm and feel good dub mix to close things out in style.

Review: Classic Music Company welcomes a real legend to their ranks in the form of Detroit innovator Robert Hood under his Floorplan guise, which has more recently also included his daughter Lyric. The line-up may have expanded, but the sound remains the same - uplifting gospel house with a very real sense of spirit. 'Right There' has dusty hi hat ringlets and warm organ stabs over an endlessly shuffling beat that will get clubs in raptures. 'Holy Ghost' then gets a little more bouncy with lively chords and clipped vocal yelps bringing the energy.

Review: Eddie Fowlkes is one of those underrated American artists who has made as much of a contribution to house and techno as any of his more celebrated peers. His music remains innovative and essential and here he appears on an equally vital label, Classic. 'AHYEE' is timeless deep house with chunky drum funk and great vocal samples. 'Blow' is blistering, blown-out techno and 'Talking To Me' then flips it again with a late night seducer featuring warming chords. 'Complex' is the most melodic and freewheeling of the lot, a fresh house sound for sure.

Review: Whether she likes it or not, Sophie Lloyd will always be known for the unfeasibly uplifting gospel disco-meets-gospel-house anthem 'Calling Out'. That was released five years ago and ever since, she's struggled to embrace it's shadow. With 'Angels By My Side', Lloyd seems to have embraced this, delivering another fine gospel-powered number that inhabits a similar sonic space while being different enough to avoid accusations of treading water. It's genuinely good, too, with Pauline Taylor delivering superb lead vocals over a hybrid gospel disco/stomping gospel sound hybrid full of Hammond organ licks, booming bass guitar, piano house riffs and stirring orchestration. In other words, it's another anthem in waiting.