Belting space-techno steppers.

Majestic and immense Cure, on The Heptones’ Give Me The Right rhythm.

A bass-bin trembler from the surefire doyen of nu disco-house.

‘Anutha ho (bites the dust)...’ Classic rap diss, elbowing in on the Roxanne Shante - Sparky D blow-up.

A traditional Jola rhythm, with tuned, talking and kit drums swarming across scraps of guitar and the Mboups singing; then a more deeply dug-in, spaced-out funk, spun from a Serer rhythm. With full instrumentals.

‘When Salsoul boss Ken Cayre handed over the multi-track tapes of Hit and Run to Walter Gibbons in 1976, the burgeoning art-form of the disco edit was liberated from its previous cut & paste routine. Following on from the likes of Grasso, Burgess, Levan, Scott, and Siano, Gibbons had become a lethal beat mixer, with an ‘uncanny sense of mixing that was so accurate it was unbelievable’, according to Francois Kevorkian. After early edit work with Salsoul releases Nice ’N’ Naasty and Salsoul 2001, Gibbons had established himself as a meticulous artist, able to completely rework existing tracks into new extended amalgams of rhythm and sound. Cayre’s multi-tracks conferred the ability to thoroughly deconstruct each of the songs elements, and Gibbons transformed the cut into an eleven minute opus which fellow tape pioneer Tom Moulton would distinguish as being ‘so different from the original that it must be classified as a new record.’ The resulting 12” would go on to sell 300,000 copies; DJs and the dance-floor would now dictate runnings as never before. 

‘Whilst Gibbons transformed the original by banishing the strings and brass, Joe Claussell sets out for a different horizon entirely. The lead guitar is exchanged for a clean, chopped chucking; the vocals are promoted to a new spaciousness. The horns presage a rethinking of the rhythm, and by the time the familiar fuzz guitars are welcomed back, the coalescing orchestra has been sustained and revitalized in a complete surrender to time and pulse. As Holloway’s vocals are pulled into non-semantic expression, the track’s foundation is given a final rinse and farewell, before evaporating in delay. This is an iteration every bit inspired and fresh as Gibbons’ landmark mix.’

Rock-steady, slow-burning, hard funk, a kind of fatback Mbalax, in no mood to be messed with, with full vocal and instrumental versions; plus two vivid sketches, talking drums to the fore.

Heartically dubwise, rugged and raw essays in classic grime, UK garage and dubstep from a new London-Berlin collaboration, with stuff like Horsepower’s In Fine Style galloping through its nervous system.

With a Regis remix.

Four DJ Spider remixes for his own imprint, including a Joey Anderson and an Innerspace Halflife.

Madteo mixes.

Monumental soul-reggae in its full 12-inch glory, with a terrific old school rap from Welton Irie, and two dubs.
Arguably the definitive version of the Randy Newman song, though it’s probably a Nina Simone cover.

Ka-boom! The legendary digger re-ignites the Lagos Disco Inferno and kicks off his very own mouth-watering imprint with two sides of boogie-down bliss.

Remixes by Beatrice Dillon and Peder Mannerfelt.