Following and , the third Dance Masters anthology spotlights , unwitting mentor to series presenter and a lower-profile dance music legend on several fronts. A DJ first, the Bostonian taught himself to mix using a risky method of essentially bolting records together -- extending some with two copies -- and drew predominantly Black crowds from the whole of New England at the previously white Rhinoceros club. He organized one of the first DJ record pools, published a magazine (Nightfall) that launched the National Disco Awards, and in 1978 became known as a remixer. As recounted in the generous liners of this four-disc set, started in his apartment with a tape machine, kitchen utensils, and handclaps before manifesting his creativity in studios with engineers and session musicians. He lays claim to being the first remixer to add original instrumentation to existing tracks, pointing to 's voluptuous remake of ' "You Stepped into My Life," the Side One, Track One of and a number five Billboard disco hit. Extra musical layers and other sonic whims -- a shaken whirly tube picked up on the way to the studio, the remixer's own background vocals, etc. -- are on each one of his commissions. Another constant was experimentation with song structure. 's placement of an extended instrumental break at the front of 's cool yet impassioned "This Time Baby" resulted in his first trip to the top of the disco chart, followed shortly thereafter by his elasticized progressive remix of 's towering "Vertigo/Relight My Fire." Everything was done with concern for what wouldn't fly in a club and what artists wouldn't want done to their songs. recalls that he "saw the iceberg" from aboard the disco ship and branched out in the '80s. 's "I'm the One" (the seven-minute version previously unavailable on compact disc) is the dancefloor funk sound of him and 's adapting and sliding through a new era. Just ahead of that, had added space and friction to 's "Fade to Grey," and he continued to work with an assortment of other U.K. acts -- , -- without regard for an aesthetic throughline. At the same time, he was behind otherwise unlikely number one dance hits for unhip American rockers , adding heft and a slight sense of otherness to "Jeopardy" and "I Want a New Drug." In a sense, this package is a major expansion of , a two-disc 2017 set focusing on / work. The overlap isn't substantial, and this boasts an additional chart-topper released on subsidiary, 's boogie gem "You're Too Late" (with the unmistakable voice of ). It also goes later into the '80s with the output, including ' popping "Save the Overtime (For Me)," instead of duplicating, say, ' "Shake Your Body (Down to the Ground)." ~ Andy Kellman