Legendary DJ, remixer, and edit exponent Greg Wilson has today released the third instalment of his hugely popular Credit To The Edit series. Almost a decade on from Volume 2, Credit To The Edit—Vol. 3, available now via Tirk Recordings, draws on music from the disco and rave eras, adding a seminal hip-hop cut, a Balearic favourite, as well a few contemporary tracks from the last 10 years.

A groundbreaking DJ, Greg played a key role in introducing black electronic dance music to the UK via his early ‘80s residencies at Wigan Pier, Manchester’s Legend and The Haçienda, as well as over the airwaves on the city’s Piccadilly Radio. Working with Technics turntables, a Revox reel to reel tape machine, and a razor blade, Greg carved out his reputation as a UK pioneer and champion of electro-funk. More recently, following his 2003 comeback after a two-decade hiatus, he’s gained international recognition at the vanguard of a now global re-edits movement. In support of this latest release, Wilson compiled his favorite post-disco cult classics and listed them below.

Northend “Tee’s Happy” [Emergency Records]

A mainly instrumental flip side of “Happy Days,” Tee being legendary NYC DJ Tee Scott, who mixed the release. It provided the breakthrough for Arthur Baker, one of the great producers of the period, who’d launch his Streetwise label the following year, as well as producing the era-defining “Planet Rock” for Afrika Bambaataa & The Soul Sonic Force on Tommy Boy.

D-Train “You’re The One For Me” [Instrumental Mix] [Epic]

Inspired by the UK release Love Money by TW Funk Masters, Prelude A&R man François Kevorkian came up with this masterpiece of a dance track, employing a dub sensibility that would inform his future approach. Kevorkian would gain acclaim as one of the leading remixers of the era working on tracks by artists including Sharon Redd, Yazoo, Dinosaur L, and Kraftwerk.

Peech Boys “Don’t Make Me Wait” [Dub Mix] [West End Records] 

Larry Levan took up the dub baton, helping pave the way for a new electronic direction in dance music via this seminal cut. We’d never heard the likes of its opening fierce claps, which would then be copied on subsequent releases like Sinnamon’s “Thanks To You” and “Walking On Sunshine” by Rockers Revenge. The 7” also included an acappella version intended for DJ use.

Q “Voice Of Q” (Instrumental) [Philly World Records] 

Sometimes mistakenly claimed as Italo Disco, “Voice Of Q” was recorded in Philadelphia as a one-off inspired by the blockbuster movie “E.T. The Extra-Terrestrial.” It initially took off on the UK electro-funk underground, becoming very much a cult cut. It was recently given an official re-issue for the first time in over 35 years by Adelaide label Isle Of Jura.

Montana Sextet “Heavy Vibes” (Club Mix) [Philly Sound Works]

The last great hurrah from arranger/conductor vibraphonist/percussionist Vincent Montana Jr., one of Disco’s key figures and founding member of Philadelphia International Records house band MFSB, who backed numerous artists on the classic label, before turning up in New York with other MFSB members to form the Salsoul Orchestra and seamlessly continue to rack up the club hits.