Back catalogue: Disco/Nu-Disco

Review: Italian artist Ricardo Baez brings his EBM influences to a new and dazzling post-disco EP on Bordello A Parigi that mixes up elector, new wave, synth pop and Italo. First up is dark disco dons Curses to remix 'On & On' and do so with rugged synth lines and jacked-up angular drums. The original is only subtly different and a touch smoother then 'Sfida Notturna' takes off on big stomping drums with bright synths and retro-future 80s feels ringing out proudly. 'Dietro L'Orizzonte' closes down with a more Balearic sound for the afters.

Review: Mystery surrounds the story behind this edit-style two-tracker - and, indeed, the identity of Baggy Leggins and Duke Hobo themselves - but there's much to admire about it. Check first A-side 'Keep Marching', where a lightly beefed up and housed-up semi-acoustic groove offers a platform for sweet, bilingual female lead vocals, jaunty guitars and simmering strings. It's a genuine dancefloor revision, but one that will suit Balearic DJs and confirmed party starters as much as dusty-fingered crate diggers and selector sorts. 'Shuffleupagus', meanwhile, sees the mystery artist cut up and tool up a vaguely familiar Latin workout with predictably energetic and party-starting results.

Review: Kris Baha had a big year in 2019 with the release of his debut album on CockTail d'Amore and an EP on Pinkman, and now the Australian body music man in Berlin is back with a high-pressure heater for [Emotional] Especial. "Barely Alive" is the kind of sinewy proto-industrial cut that will appeal to fans of Ministry's earlier work, when the synths reigned supreme and there was pop to match the noir. Especial then call on a cast of remixers to interpret the track in different ways, from Timothy J Fairplay amping up the dystopian disco tropes to Das Ding creating a sleek electro-funk twist with the original's gothic undertones intact.

Review: Some high-grade re-edit action here, as dusty-fingered Chicagoan crate diggers Sadar Bahar and Marc Davis join forces with pal (and credited mixer) Rahaan on two fine tweaks of suitably obscure tracks. A-side 'Disco' is a groovy, funky, horn-heavy affair; a sumptuously string-laden, orchestrated blend of righteous gospel-soul, Philadelphia International style proto-disco and grooves reminiscent of those frequently employed on Steely Dan's most up-beat moments. 'Beat Down' meanwhile is a jaunty, percussive and sun-soaked slab of dancefloor-ready Latin jazz that speeds up as it goes along. The jazz dancers will love it!

Review: If you go to the sort of quality dances where you might hear old sound disco then there is a good chance you will have lost your shit to this one at some point the past. It is a disco gospel 12" curated and edited by Chicago pair Sadar Bahar and Marc Davis. First, they up the energy levels on the joyous Fountain Of Life Joy Choir Under The Direction Of Kevin Yancy tune 'I'm So Happy' which is high speed, high spirit and life-affirming goodness. Then they tweak Rev Charles H Nicks Presents The Baptist Assembly Of Free Spirit Mass Choir's 'Optical Illusion' with swirling big band energy and magnificent organ chords.

Review: Kalita Records are proud and honoured to announce the first ever official reissue of the four choice tracks from Randolph Baker's privately pressed sought-after 1982 disco album 'Reaching For The Stars', plus an unreleased instrumental take of 'Party Life' sourced from the original 24-track analogue master tapes.

Originally recorded at Jim Morris and Rick Miller's Tampa-based Morrisound Studios, 'Getting Next To You' features both a mixture of both local Florida talent plus jazz superstar Nat Adderley and bassist John Lamb at their finest. Originally pressed in a limited run of just one-thousand copies, with no distribution and most copies being sold in the local city and on Randolph's own merchandise table at the back of live gigs, original copies have long been sought-after by both collectors and DJs alike, acknowledged as a true grail and masterpiece in the disco scene and deservedly demanding extortionate figures to those lucky enough to find their own.

Here, in collaboration with Randolph, Kalita Records have chosen to re-release the four choice tracks from the album: 'Getting Next To You', 'Jazzman', 'Callin' Me' and 'Party Life'. The former is an in-demand horn and chant-filled disco masterpiece, which, as Randolph explains, concerns unity and "everyone on the same level in other words, everyone just loving life". It is arguably the song that Randolph is most well-known for in the disco and funk scene and perfect for the modern discerning dance floor. 'Jazzman' is an instrumental track with prominent trumpet and saxophone solos working with funky basslines to produce a truly great jazz-funk groove. It was "a tribute to Nat Adderley and Duke Ellington's bass player, John Lamb, for being so generous and saying yes to the project". 'Callin' Me' is a soulful disco number featuring the lead vocals of Laurie Erickson and is "about being on the road and ensuring loved ones that you will always come back home no matter what. It was like a promise to ensure loved ones they didn't have to worry". Lastly, 'Party Life' is a joyous disco track with a strong funk bassline and horns. As Randolph recalls, it "was the joy like after an actor finishes a movie. There was nothing but joy. It's finished; let's celebrate big time. Where everyone in the studio yelled at the top of their lungs - The End!" Here, with access to the 24-track master tapes we have been able to include the original version plus an unreleased instrumental take, allowing us to focus on the infectious bassline and make it even more ready for the modern dance floor.

Accompanied by extensive interview-based liner notes and never-before-seen photos.

Review: Tropical Disco Records rolls out more of their sun kissed goodness on an impressive 21st volume of their self-titled series. As always there is a devious selection of disco dons taking charge of the course cuts, with Dominic Balchin getting the party started with big trumpet stabs and soul train grooves. Da Lukas slows things down and goes for a more deep, swinging cut with his 'Get Disco Vibes' and then scene veteran Moodena's 'Who Got The Keys?' gets more jazzy, with some fantastic keys and funky bass. Toby O'Connor closes out with a steamy and romantic slow jam, and in doing so rounds out an EP packed with the sort of positive vibes we all need right now.

Review: Coolly stepping out like a white-suited player on a Miami club strip, the high expectations set by any mention of Italian disco pioneer Daniele Baldelli are easily matched by the opener and title number. And things really only get better from there.
'Massive Birth' is an intelligent, freeform outing on a half-time, DJ Rocca's ever-tight drum programming clearly having some influence on the complex percussive patterns. On the flip, Mind Fair have their way with that original, turning it into a more grounded four-four workout if you listen beyond the top layer of rolls and snare crashes. For many, though, this one will be all about the Warehouse Preservation Society remix of 'Taylorpo', which puts Italo right back at the top of the disco agenda, sounding at once space age yet nostalgic, and unquestionably, unstoppably danceable.

Review: Cultures Of Soul have absolutely hit the nail on the head by getting Benjamin Ball on their side, and it's shed a light on one of South Africa's best boogie artists from the 80s. This is the sort of gear that'll make just about any decent collector jump with excitement, not only because of the quality of the music, but also because of its sheer rarity. The wonderfully loose "I Just Keep Dancing" is form Ball's debut LP Paulina, and it really is the sort of tune that'll please just about any sensible crowd. Ball's own vocal flex has enough funk in it to outdo the James Browns out there, and coupled with those snappy drums and raw electro bass makes means that this is the rarest of gems. Soul Clap's remix makes for a nice addition, but it's clear that no man can test the vibes of Benjamin Ball. What a killer!

Review: Banda Male was a collective that formed in a home studio in Salerno, one of the historic districts in the South Italy. It was the initiative of composer and keys man Peppe Maiellano and rapper, DJ and producer Tonico Settanta. The rest of the cast is ever rotating and the music they make is a lively mix of disco, funk and soul with signature Italo melodies. This new single is taken from their June 2021 album UFO Bar and is a low slung number with a steamy vocal and a somewhat sleazy bassline. 'Living Disco Club' (Tonico 70 Reloved) then slows it down further with even more twirling melodies.

Review: The amount of ultra-rare, hard to find, essential Northern Soul classics seems to be infinite. Here comes another reissue that aims to right that wrong with an officially licensed pair of tunes from the Phase One Network that has artwork based on the original promo version. 'Don't You Worry Baby The Best Is Yet To Come' is brimming with soul and immediately swells your heart with its elegant strings, graceful piano chords and swirling sense of groove all lifting you off your feet. 'Try To Leave Me If You Can' is a heartbroken slow song to conjure up memories of all the loves you've lost, or maybe never had.

Review: Defected's colourful and diverse Glitterbox party has been a real success story in recent years and the label embodies that with a great representation of the sorts of sounds you will hear at the party. It's all about full throttle, emotionally intense house, soul and disco and that is exactly the case on Melvo Baptiste's opener 'Gonna Be Alright' (feat Jamie 3:26 & Annette Bowen) with its big diva vocals, piano stabs and hand claps. Mousse T keeps it silky and funky on the feel good 'Take It Back' and Riva Starr brings the swing to 'How It Feels'. Shakedown & Bootsy Collins's 'Funky & You Know It' (Shakedown Work That Mother mix) is a nice sleazy ass-shaker to close.

Review: John Barera has always brought an extra special musicality to his deep house tunes over the years. This time out he joins forces with Brian Abelson for a six-track excursion that works well beyond the confines of a dancefloor. 'The Prelude' is a gorgeous downbeat cut that sounds like it's been played live with lo-fi drums and funk bass riffs. 'The Arc' is surging and soulful deep techno and 'I Am Free' is a driving cut with jumbled percussion and loose claps under a passionate vocal cry. The magic continues through the electro-tinged breaks of 'Another Night', twisted Balearic bass of 'I Was There' and funky drumming of 'The Return'. Brilliantly varied and tasteful.

Review: Italian label Spittle have launched their new Dependance sub label to champion all things Italo, and they're following up on reissues of Zed's 'Plastic Love' and Trophy's 'Slow Flight' with this gem from fabled Italian DJ and producer Massimo Barsotti. Originally released in 1983 on Alexander Robotnick's Fuzz Dance label, we're absolutely treated to a peak Italo version of Led Zeppelin's 'Whole Lotta Love', which takes the original and runs with it in the best possible way. As well as the original we get the killer 'W.L.L.' version excursion on the flip, which rocks out just as hard.

Review: Big sleazy keys, bare-hipped guitars, sultry drums and twisted faraway vocal textures comprise this debut EP for Cali trio Basil & Rogers. Coming on strong like some long-lost offspring of Chromeo and Fly-Lo, each cut is a fuzzy fusion of 80s funk, modern day studio techniques and 23rd century arrangements. Highlights include the 360 dizziness of hooks and eventual saxophone release of "Saturday Morning", the heavy breath disco stomps of "Flavie & The Wolf" and the dubbier ripples of "Mirror Mirror". Sweaty stuff... Towels not included.

Review: Serious disco business here from Felix Bastedos. He may not have been born in wedlock but he sure knows his way around an edit. Two pretty obscure cuts here get Bastedized: on the A we have 'Anywhere You Want To Go', a big old heavy disco funk groove with plenty of switches and surprises along the way. Meanwhile on the B things step up a notch or two tempo wise as the almost country-styled vocal takes the lead as we pray for the night to never end. Keep on dancing.

Review: This 2024 edition marks the return of Joe Bataan, via the same track that made his name in 2004. Vampi Soul first welcomed the Latin Soul king to the label two decades back, facilitating the release of his 2005 album Call My Name. The pre-release singles for the album were 'Chick-A-Boom' and 'Cycles Of You', packed onto a single 7"; these quickly became DJs' favourites and have thus since remained long out of print. As it was twenty years ago, 'Chick-A-Boom' is a simultaneously upbeat but ghostly track, with Bataan's vocals quadrupling up in a wall of sound while providing the vibe equivalent of a Jackie Chan flick. 'Call My Name', meanwhile, goes heavy on the clavichord and synth whistle, as Bataan revels in a funereal theme, dancing, thundersticking into the great beyond.

Review: Vampisoul mainstay Joe Bataan comes through once again this year for a two-track G-funk-whistling pair of soul bits, reissuing the song 'Call My Name', which cemented the crooner's name way back in 2004. A funereal theme overarches the otherwise laid-back and casually-mooded song: "we are gathered here today to remember the departed and have a final say". It's this tension between joyous and lamentatory that nails the Latin Soul artist's overall vision and here you have the potential to whack it on the 'tables once more.

Review: On the second volume in the GATT edits series, Swedish scalpel fiend Beatconductor once again pairs a previously unheard rework with something sought-after from his catalogue. In the latter category you'll find flipside 'Crazy in Kingston', an early noughties mash-up that adds Beyonce's superb lead vocals (and Jay-Z's on-point rap verse) from the peerless 'Crazy in Love' with a dusty old reggae riddim. It's a simple idea, beautifully executed. The brand-new (or at least previously unheard) cut this time around is 'Finger on the Trigger', a lolloping, life-affirming tweak of a 1970s dancefloor soul number that sits somewhere between the stomping heaviness of Detroit Soul and the proto-disco deliciousness of Philly Soul.

Review: Some hand-stamped 7" white-gold here with Beactconducter serving up a couple of brilliant disco dazzlers for late night sessions. 'The Drag Stop' pairs some aching soft-rock vocals with tumbling congas and chunky disco drums that march on wards and upwards as the synths bring some cosmic drama. On the flip is a more retro sousing disco gem with 'Something Better' (edit). It has funky drums and piano chords dancing next to hip swinging finger clicks and some big vocals. All in all a vital pick up that offers two some dance-y disco delights.

Review: Long-serving scalpel fiend Beatconductor is in old-school mash-up mode on this tidy seven-inch single, which serves as the third release on his freshly minted GATT imprint. On 'Human Emotions' he cannily combines two classic cuts: the instrumental of Human League synth-pop classic 'Don't You Want Me' and the full female acapella from a loved-up, glassy-eyed soul/R&B gem that should be familiar to most. He does something for more revolutionary on the surprisingly brilliant 'I Can FIXX A Hole', where the acapella from a Pepper-time era Fab Four favourite rises above a tweaked, slightly dubbed-out version of a vintage, Rhodes-sporting Hall & Oates groove. It shouldn't work, but it genuinely does!

Review: This is the fourth in a new series of stamped 7" releases from Gatt artist Beatconductor. There is nothing smart about the work on 'sink About It' which simply brings a classic vocal to a big beat. It's an easy way to get any party going. On the flip is 'Let It Happen' (unreleased 7" mix) which his more nuanced and interesting, with funky bass lines, loose limbed percussion and gorgeously twinkling keys all raining down from above.

Review: Sweden's mash-up maestro Beatconductor returns with six tracks of masterfully cross-pollinated bangers on this hand-stamped white label. On tap we have edits of the likes of Curtis Mayfield, Stevie Wonder, Elvis et al., indicating a worthy breadth of knowledge of both classics and non-classics - but all classily recontextualized in ways only the Beatconductor himself can manage. Set to heavyweight 12" wax on two sides, we're certain this one'll serve you well for drunken Saturday dancefloors and upmarket, warmly-lit Sundays alike.

Review: Expansion Records' continues to delve into the bulging archives of Roy Ayers' influential Uno Melodic Records imprint, which issued some superb jazz-funk, soul and boogie throughout the 1980s. Here they offer a new pressing of Ethel Beatty's sought-after, Roy Ayers' produced 1981 double A-side. For some reason they've reversed the running order, with side A offering original flipside 'It's Your Love', a Dee Dee Bridgwater co-authored slow jam that's soulful, seductive and sumptuous. Over on the reverse you'll find the more celebrated ''I Know You Care', a deep disco number full of glistening guitar riffs, smooth chords and warming grooves. In a word: luscious

Review: Italian disco don and funk flexer Belabouche has landed on the likes of DiscoDat, Spare Change Disco and Gimme! Gimme. His edits and remixes are always in hot demand but here he offers up four original jams that show off his studio skills on the JDP Disco label. Flautist George alla Dispari features on 'Brooklyn', the full flavour funk fuelled opener that bustles with joy and good time vibes. 'I Gonna Miss You' is a more spaced out disco cut from the deep and 'Ikeja' then pumps the floor with squelchy bass and astral chords. 'Country Headquarters' lows to a seductive crawl to close things out.

Review: During the latter stages of the "Philly Soul" era, New York remixer Tom Moulton delivered a string of inspired, DJ friendly reworks for the Philadelphia International label. For proof, check this fine selection of classic Moulton mixes for the storied imprint. Check first his version of Archie Bell and the Drells' "Where Will You Go When The Party's Over", which he brilliantly teases out and increases in intensity over nine spellbinding minutes. The funkier flex of People's Choice's "Jam, Jam, Jam (All Night Long)" is a sweaty, low-down treat, while the Teddy Pendergrass rework is a soaring disco classic in the Philly Soul style. Best of all, though, is the string-drenched disco celebration that is his mix of Lou Rawls' "See You When I Git There".

Review: In 1972, French producer turned ZE Records founder Michel Esteban released a one-off single as Bella Vista, "Mister Wong". Like many of the records the New York-based entrepreneur worked on, the track gleefully joins the dots between spacey synth-pop, NYC style mutant disco and what these days we'd call sun-kissed Balearic disco. The slow motion, glassy-eyed original version comes accompanied by the original flipside "Disco Dub" - a much sparser affair focused on the killer slap bass, reverb-laden percussion and slivers of guitar and synth - and a brand new "Extended Disco Dub Edit" by Isle of Jura chief Kevin Griffiths as Jura Soundsystem. This extends the oh-too-short Disco Dub for greater dancefloor pleasure while adding some fantastic new percussion.

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


The latest missive from the Very Polish Cut Outs imprint, whose back catalogue is mostly made up of inspired re-edits and reworks of obscure old musical gems from Poland, is a little bit different. It sees a wealth of the label's artists rework tracks from Polish rapper Belmodawg's cult 2021 mini-album 'Hustle As Usual'. As far as we can tell, they're mostly quite radical rebuilds, but that's no criticism since there's tons to get the pulse racing throughout. For proof, check the gorgeous Italian dream house-meets-hip-house revivalism of Schmoltz's version of 'Pappadelle Alla Arrabbiata', the bleep and breaks revivalism of Speek's mix of 'Wte I Wewte', Polotronic's bouncy, late-80s garage-house re-fix of 'Poppyn Universe', and the dreamy d&b flex of Pejzaz's version of 'Te Tereny'.

Review: The Belpaese crew are back with another round of edits celebrating strictly Italian grooves. Let's face it - there's a rich enough culture of disco and funk hailing from the Romans to keep diggers busy for a long time yet. "Ed Invece Vai" is a mid-tempo cruiser with a sweet falsetto vocal and a whimsical tone, while "Disco Astrale" ups the pace and weaves in some cosmic swishes for a particularly funky trip amongst the stars. "Prigioniero Dei Sogni" is a cool 70s workout with dramatic strings and some killer synth flex where it counts. "Fuori Un Brutto Vento" completes the set with a powerful blast of bombastic songwriting strapped to another sure shot built for the dancefloor.

Review: The sneaky scalpel fiends behind the Belpaese Edits imprint are back with more inspired reworks of obscure, little known and overlooked European - and mostly Italian - gems from the 1970s and '80s. First up is "Vieni Con Mi", a wonderfully overblown chunk of loose-limbed jazz-rock/disco-soul fusion blessed with breathy female vocals, mazy flutes, wah-wah guitars, heavy bass and drumming so wild it may well be capable of raising cadavers from their graves. Flipside "20 Secoli Di Favole" is similarly minded, if a little closer to Baldelli "cosmic rock" territory - all ragged rock riffs, manic female vocals, groovy bass and intergalactic analogue synthesizer lines.

Review: Climb on board the Belpaese express for another scalpel-wielding excursion into the eccentric world of cosmic disco and long-forgotten Italian club cuts. It's a journey every bit as riveting as their previous 12-inch trips. On the A-side you can settle in and let the extended Latin piano solos, Balearic boogie grooves, sweaty percussion breaks and early '80s jazz-funk synths of "Vai Di Samba" carry you towards your destination. A trip to the B-side buffet car is encouraged, too, where both "Fonde E Confonde" and the jammed-out, off-kilter Brazilian style electrofunk madness of "Electrosamba" are far more appetizing than your average on-board snack. The latter track, which also contains some insanely heavy passages of layered samba beats, is probably the EP's most potent cut.

Review: B2 Recordings is a label run by Greek talent Bengoa as a platform to offer up his own diverse sounds. Here he serves up a new single featuring Pan that is sublime, seductive and deep. The vocals you will recognise from a classic pop hit but here they get all resung in an even more libidinous fashion. The drums roll, and the percussion is loose, and bright but soft chord stabs heighten the mood. Flip it over for an instrumental version of 'Thelxis' that is all about the late-night grooves. Two stylish sounds for romantic moments.

Review: In the sales notes accompanying this latest slice of 7" gold from Athens of the North, boss man Euan Fryer admits that he spent a good "four or five years" trying to locate an original copy of "Time For Change" before finally tracking down original singer Benita. She was more than happy for him to reissue the record, which is one of the most inspired and well-made disco-soul records you're ever likely to hear (how it remained a lost classic, we'll never know). Benita's lyrics and vocals are superb, the horns are punchy, and the B-side "Hot Mix" contains one of the best slap-bass solos you'll ever hear. In a word: essential.

Review: Some new Italian space disco here from two right veterans of the scene. Beppe Loda of Typhoon Club fame with the lesser known (but equally revered) Francesco Bomardo (Hypnotik/M.C. Claude). 'Black Hole' is their new release, said to be comprised of some tracks from late '80s promos. Here they honor the 'Space' genre of the '70s on the cosmo-psychedelic journey that is the original mix, followed by a more groovy and upbeat club version on the flip. This is not the first time these two legends of the Brescian scene have collaborated, those of you who are interested should check out their previous work as Egotroya.

Review: With both Roberto Rodriguez and Kimmo Oksanen established producers in their own right under a multiplicity of aliases, it is no surprise it's taken the duo some four years to revisit their Bermuda project. Listening to the three variations that make up Ihasama, such a wait has clearly been worth it! Whilst the vinyl release doesn't contain the retro stylings of the original, Bermuda are on hand to deliver an extended club edit which imbues "Ihasama" with a more discofied burn. Complementing this is a Nacho Marco remix that brilliantly introduces a proto house vibe to proceedings as it unfurls across the A Side. Finally rising UK House hero Jay Shepheard adds to his rep with a remix suitably infused with atmosphere and emotion. Big tip!

Review: The Moiss Music label seems to like to drop their EPs two at a time. They did it in February and they're doing it again in May. This eighth outing collects four more lively disco cuts, each with their own subtle influences. Berobreo's 'White Rabbit' for instance has funky undertones with loopy guitar riffs and nice breaks. The Magic Track's 'Jamming With Mom' meanwhile is more sensuous and deep, with late-night synth work and seductive vocals. Oldchap's 'I Want To Show You' has an expressive soul vocal with more low-slung grooves and Alexny's 'Not Bad' then gets quick, clipped and loopy for its lip-pouting disco thrills.

Review: Loredana Berte's career started in the mid seventies and went on to make her into one of the most iconic Italian singers of her generation. Her 1980's album proved her most acclaimed and now Groovin Records serve up two of its most standout cuts. The fuse big hearted vocals, cosmic disco keys and funky reggae beat that will warm any early evening party right up. 'In Alto Mare' is the more upbeat of the two thanks to its funky riffs and big piano stabs, but both still sound mighty fine after 40 years.

Review: Betty & The Code Red is a life and creative partnership between Benin-born Tunde Obazee and his girlfriend Betty. The pair grew up in Nigeria and would play all manner of instruments to entertain people at the local school before staying together as they went on to live in Italy and the US. Obazee performed at colleges and universities despite no formal training and eventually recorded a selection of tunes together including a small album on relatively new bits of gear like the Yamaha RX7. Especial has collated some of their best work across two new EPs, this being one of them.