Back catalogue: All genres

Review: David Byrne's label Luaka Bop Records is back with another carefully and thoughtfully dug out reissue. This one looks back to a little known gospel album from the 1970s that was recorded when members of the band were just in their early teens. When Do We Get Paid by the Staples Jr. Singers - who are no relation to Mavis and Co - from din 1971 and were a family band. They played local talent shows and grew their reputation with tours across the Bible Belt. This is their one and only record and they sold it from their front lawn after its one and only original pressing. The members all had successful solo careers but this record takes some beating.

Review: Berlin-based Dina Summer - a synth-loving trio fronted by the suitably sassy and no-holds barred singer Dina P - impressed with their Italo-disco and turn-of-the-millennium electroclash inspired debut album, Rimini. Three years in, they return with an arguably even stronger set - the notably darker, more stylish and more new wave-influenced Girl's Gang. Many of their trademark elements remain to the fore - Dina P's dead-eyed spoken word vocals, the use of vintage drum machine rhythms and sequenced basslines - but this time round come accompanied by black mascara-clad nods to post-punk, New Romantic, goth-rock and Depeche Mode style synth-pop sounds. As previously stated, it is genuinely stylish and impeccably observed stylistically, but what makes it stand out is the substance behind the sheen.

Review: The Wanderer has been in and out of print for many years since it first landed in 1980. The last time it was reissued was in 2014 but here it comes again on white, heavyweight vinyl. It does feature Summer's most famous track but it does reach plenty of brilliant synth-disco highs all the same. It is said that Summer was done with disco when she wrote this and that it was a more rock-inspired record co-written and produced by Giorgio Moroder and Pete Bellotte, but drop these in the club and they will cause carnage. The album peaked at 13 on the Billboard Chart and the title cut was number 3 on the singles chart for a while, though none of the tracks cracked the UK charts.

Review: Big Crown have been big gin up the work of Sunny & The Sunliners for a while now with various singles and also an homage compendium Mr Brown Eyed Soul. Now that fine collection is backed up with a second volume that is again packed with gorgeous sounds. They are lo-fi in nature, with dusty drum hatstand shimmering orang chords next to blasts of brass and with soothing vocals all present and correct . Lazy Sundays, love-up dances and plenty in between will all benefit from these glorious tunes.

Review: Sylvester's Live At The Opera House is a monumental release capturing a pivotal moment in his career, celebrated with unrivalled splendour. Recorded in 1979 at San Francisco's War Memorial Opera House, this first-ever complete release of the concert showcases Sylvester's commanding stage presence and profound musicality. Backed by a 26-piece orchestra, the performance unfolds over 13 unedited tracks, including the mid-show ceremony where he received the key to San Francisco, a poignant tribute during a tumultuous time for the city's LGBTQ+ community. From the electrifying opener to his iconic hits like 'You Make Me Feel (Mighty Real)' and 'Dance (Disco Heat),' Sylvester delivers a transcendent blend of disco, soul, and pop, amplified by the impassioned vocals of Martha Wash and Izora Rhodes Armstead, known as Two Tons o' Fun. The setlist spans from soulful ballads to exhilarating dance anthems, each moment infused with Sylvester's signature blend of glamour and vulnerability. Joshua Gamson's liner notes enrich the experience, offering historical context and personal insights into Sylvester's legacy. Whether revisiting classics or discovering unreleased gems, Live At The Opera House is glimpse into Sylvester's enduring artistry and cultural significance, marking a definitive chapter in the history of disco and LGBTQ+ music.