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A never before released version of a truly, legendary house record from the late great Frankie Knuckles…working in collaboration with The Frankie Knuckles Foundation who will receive 50% of the profits from this project, SoSure Music is proud to present the Director’s Cut re-production of ‘Baby Wants To Ride’. Alongside this, a vinyl exclusive edit by Jimmy Edgar, which was originally a tribute release after Frankie’s passing in 2014, finally gets an official release.2011 saw the launch of Frankie and long-time production partner Eric Kupper’s ‘Director’s Cut’ project, with the aim to release new music, whilst re-producing classic cuts to fit with the modern dancefloor. SoSure Music is now working alongside Eric Kupper and Hector Romero, with the blessing of both Def Mix and The Frankie Knuckles Foundation, to bring a renewed focus to some of this material.First up, the illustrious, evocative 1987 anthem, ‘Baby Wants To Ride’. Rightly regarded as a masterpiece of early Chicago house and a pioneering classic through and through. Knuckles and Kupper extend the intro and outro to allow for those sweeping blends, whilst adding deft touches and reprogrammed lines to give a crisper, more detailed feel to this sumptuous slice of definitive house music. Couple that with newly spiritualised vocals and fresh erotic ad libs from Jamie Principle and prepare to rekindle that infectious energy 32 years down the line.On the B side, Jimmy Edgar showcases his trademark touch to provide a fresh spin on the original whilst staying true to its essence. Reworking the arps, adding atmospheric drops and crunchy percussive elements, whilst holding off on the iconic vocal till the last section, all combine to give this version a unique, big room character that nods to the past, yet reinterprets for the present. A fitting tribute from an artist whose own productions are clearly laced with influence from Frankie Knuckles.

Our first release of 2019 is a sublime EP from Australian talent Loure. Utilizing live session musicians to create four tracks of Jazz influenced Deep House.‘Hope Circuitry’ is a twin movement opening track that starts the EP off with a dreamy introduction of gospel vocals and a soulful piano. Loure then flips the switch on the track and roots it firmly on the dancefloor with a big funk bassline and re-chopped samples of itself.Up next is ‘Streets’ a smokey Jazz number effortlessly layered with sultry vocals, brushed drums and sweet sweet brass instrumentation.‘The Beauty Was Us’ starts off the B sides with it’s thumping kick that melts away once the gorgeous strings, muted trumpet & pianos come in. Spoken word phrases are complimented by frenetic drum programming and a walking live bassline.Finishing the EP is ‘Ruminate In Blue’. A smoothed out breakbeat rhythm underpins the deepest of deep chord movements. Blues inspired guitar licks and dubbed out soulful vocals shine alongside Shaun Rammers’ amazing Sax skills. 7 minutes in Heaven.

Serving up their inaugural 12’’, Little Foot Records leave a big imprint with ‘Step By Step’ by Kousto. London based Frenchman, Kousto follows up his recent Low Tide release on Beats Of No Nation. Featured on Resident Advisor and supported by the likes of Jeremy Underground, Project Pablo, Folamour and many others.Kousto former DJ and producer at Hoxton FM delivers lush deep and dreamy house music with a sound evoking the sea and golden sands of the Côte d'Azur. His first EP encapsulates this style with musical waves and analog sounds mingling to create playful, summertime vibes. The legendary Simbad aka SMBD has collaborated on “The Old Days” and “Seagull Chant”. Peter Pearson, chillout jazz musician from south of France has collaborated on “La Med”.Kousto writes “Little Foot Records” aims to work with producers who are expecting something new, we want to learn and share our projects with our friends and people who share the same passion. The joy of listening to a great song is the only criteria. Producers have to feel free to create and dream to share their music with the world. Walking on sandy beaches of south of France has inspired my music and it will hopefully leave the print of a little foot that every artists wants to leave to our music world. Step by step is my first Ep and it is part of this movement!”

Three 1982 disco classics from boogie trio Plush formed under the guidance of Angela Winbush, René Moore and Bobby Watson, get the official, remastered reissue treatment from the original tapes.Opening up the EP, an Angela & Rene original ‘Free & Easy’ is taken on by the Plush troupe, with the legendary Tee Scott providing a trademark extended mix. It kicks off with cosmic synths that dissipate into heavy funk, electric bass riffs, whilst scorching top lines and choice guitar licks trade off over the top. Scott’s magic is clear to see in the composition of this extended mix. A man who clearly knew how to work a dancefloor, his use of breakdowns especially, extending the anticipation and power the track commands on its dancers. From the bass breaks that weave in modulated synths, to those that utilise the glorious sustained piano chords, cutting to just vocals and percussion before everything is added back in for ultimate dancefloor elation.First up on the B side, ‘We Got The Love’, a more soulful, slowed down tip where staccato guitar plucks and chunky slap bass marries with warm Rhodes chords, and lush vocal harmonies blend with the power of Siedah Garrett commanding the lead vocals. A passion ingrained in their voices that cannot be taught, hanging in the air, as they hang onto their phrases.Lastly, ‘Livin For Your Love’ a boogie-based serenade written by Herman Chainey and Tony L. Phillips, intertwines Phillips’ deep dulcet tones with Plush’s backing. Add in a dose of pure ‘80s bass synth, twanging funk flashes and juicy bass guitar ripples and you’ve got a recipe sure to woo any wandering hearts out there.

Official, remastered reissue of this disco tinged, afro funk treasure and the first time the ‘Karam Bani’ single has been cut to 12” – maximising every ounce of highlife soul from Sidiku Buari’s productions.That undeniable US funk flavour coupled with Buari’s Ghanaian rhythms bring a zest to these grooves even the tangiest of forbidden fruits couldn’t draw out. Those fuzzed keys and dusty highlife guitar licks sprinkle the West African flavour, whilst drumming demi-god Bernard Purdie provides the wizardry behind the infectious, yet precision like beats that make the track so unique. Purdie’s killer breaks combined with Buari’s jubilant vocals give a spirituality to this cut that’ll liven up any dancefloor - alongside being a gold mine for samples.Flip it over and you’re hit with the joy filled jam, ‘Ye Koaba’. Tribal drums lead the way for a chorus of jubilant chants supplemented by glistening synth sounds and funk fuelled guitar riffs. It’s a feel-good slice of Ghanaian sunshine, capturing that community spirit and good-hearted nature Ghana’s famous for.Two afro funk sensations sure to put a smile on your face, even when the skies are grey and you’re 5000 miles away from the glorious West African coastline.

Sinnamon’s ’83 NYC boogie scorcher ‘I Need You Now’ gets the official remastered, reissue treatment - complete with the ‘Fierce Reprise’ dub mix alongside the accapella, providing essential sampling material.Marrying the old with the new, ‘I Need You Now’ is drenched in funk bass slickness and colourful chords, yet embraces a wealth of synthesized sounds from electro sequencers to synth-based strings, giving it that early ‘80s post disco, boogie feel. Bernard Fowler of Peech Boys fame steps up on guest vocals bringing a deep, R&B tone to proceedings, complimented by the all-female vocal prowess of Sinnamon adding their trademark feminine touch to the track.First up on the flip side, the six minute ‘Fierce Reprise’ mix. Reversed rides that suck back into the skull, tape delayed vocals and spacey synth echoes blend together, as elements are overlaid and dubbed out for maximum, heavyweight, proto house vibrations.Last up, a favourite and much used vocal accapella that’s been sampled by a whole host of early house, hardcore and garage producers from 808 State and Criminal House to Ray Keith and Paul Johnson.An essential bit of kit for anyone with a penchant for that early ‘80s boogie flavour.

No deep dive into the Local Records back catalogue would be complete without a reissue of the prized jewel that is Jaye Williams ‘Let Me Be The One’.Electro tinged street soul from the N17 ends, with ever reliable label boss and in-house (literally, in his front room) producer John Collins working his magic once again. That sultry voice? Local singer, Jaye Williams blessing the mic with some of the most dynamite lyrics Local Records had to offer…“I can see that you’ve been looking, for a love that’s new. Well let me tell you I’ve got something cooking… I know you’re feeling hungry and I’ve got enough for two”.The flip houses the instrumental, bringing Tim Sanders on tenor sax and John Kpai on guitar to the DIY living room booth and adding another layer of sensuality to compliment that punchy synth bass oh so well. Think smokey, low lit bars, Cabernet Sauvignon flowing as easy as the conversation - this is one for the lovers and those that got away.Pushing £100 on Discogs ‘Let Me Be The One’ is A grade, rarefied street soul gear, long buried deep within the wantlists of many a collector, who never thought they’d see this glorious day.

An instantly recognisable intro that Daft Punk turned into one of their most well-known anthems, ‘Harder Better Faster Stronger’ - Edwin Birdsong’s ‘Cola Bottle Baby’ is straight up insatiable, late ‘70s funk fire.To think this was made nearly 40 years ago – it sounds as delicious as the day it was released and one of those classics that was way ahead of the game. It’d be hard to find anyone that doesn’t feel some level of nostalgia in those opening 15 seconds, but not many would be able to name the original behind the sample.A futuristic leaning jazz funk sound, in part created by the quacked-out bass synth and ringing ride cymbal but grounded in the grooving funk bass, twanging guitar and electrifying keys. An amalgamation of sounds from pop, disco and funk to jazz and electro, there’s no denying Birdsong’s talents - a flair that would lead him to collaborate with the mighty Roy Ayers.On the B side, ‘Freaky Deaky Sities’ ramps up the tempo but carries on that mix of the futuristic and the funk – an ode to all the disco dancers out there. Talkbox business married with Birdsong and his backing’s call and response, bongos and cowbells side by side with rock styled guitars, it’s a pure power play for the dancefloor.An underrated talent given a new lease of the life - officially, remastered and reissued for the first time on 12-inch vinyl for a fuller, louder pressing.