Minoru Muraoka's 'The Positive and the Negative' is a frm favourite at Mr Bongo. It sees a master of the shakuhachi, a traditional bamboo Japanese fute, fex his prodigious skill resulting in a unique mix of breakbeat jazz and Japanese folkloric music. 'The Positive and the Negative' featured on the 1970 'Bamboo' album, which Mr Bongo reissued in 2019. Heralded by DJ Shadow, Cut Chemist, Egon, and many others. The record's cult status had us thinking how could we pay further homage to a sublime track such as this. The opportunity came to us in an email from Melbourne's Surprise Chef with a link to the fabulous reinterpretation of the track which they had just recorded.Forged in their signature sound, "The Chef" have made 'The Positive and the Negative' their own whilst simultaneously treating the original with utmost respect.

The shakuhachi and koto have been replaced by synths and guitars, but the breakbeat psychedelic vein fows richly through both instruments. The 7" vinyl format was the right ft for this release, so the original Minoru Muraoka recording which clocks in over nine minutes has been edited into a 7" version to accompany Surprise Chef's new take. "Minoru Muraoka's 'Bamboo' LP has long been a fxture in our record bags, mostly for the killer shakuhachi funk cut The Positive and The Negative. The record is possibly our favourite from Mr Bongo's extensive catalogue of reissues, and certainly the most infuential to Surprise Chef; The Positive and the Negative's cinematic atmosphere paired with the wonky drum feels and dramatic performance makes it a near-perfect amalgamation of what we try to capture on Surprise Chef records.

We've borrowed an element or two from the tune over the last few albums (such as the percussion on 'The Limp'), so it felt right to go head frst into reinterpreting the entire track for ourselves. We recorded the tune in Karate Boogaloo's attic studio with our man Henry Jenkins at the controls and Hudson Whitlock on percussion. We spent an entire day trying to get the take; we felt such a deep responsibility to capture the intensity of the original, we must have done 20 or 30 takes before we were fnally happy. We stuck a fork in it late into the night, satisfed that we'd had our best crack at paying homage to a masterpiece by the great Minoru Muraoka." - Surprise Chef

TRACK LISTING

Surprise Chef - The Positive And The Negative /
Minoru Muraoka - The Positive And The Negative (Mr Bongo 7” Edit)

This sublime funky Samba joint has always ignited the dancefloor for us. It featured on the band’s 1978 album, ‘O Conjunto Que Faz Voce Vibrar’, which originally saw release on EMI. No crazy hype needed for this one, just a fantastic straight-up, no messing Samba Funk made for dancing. We only know of four albums by Os Devaneios and for the A-side of this 45, we have selected one of our more recent discoveries with a track entitled ‘A Beleza e Voce Menina’.

Taken from their 1979 album ‘Ra a Suor E Suingue’ (also originally released on EMI), it was recorded only a couple of years after ‘Embalo Diferente’. Whilst it remains in that Samba mold, it has also taken on some of the vibe and characteristics of Soul, Brazilian Boogie and AOR from that late 70s and early 80s period.

A feel-good and uplifting record, yet one which simultaneously has a hint of melancholy and is all the more beautiful for it. It’s always good to discover a new song by an old favourite, and we hope you grow to love it too.

TRACK LISTING

A Beleza E Voce Menina
Embalo Diferente

When discussing the landmark artists of that era - Public Enemy, Boogie Down Productions, Eric B & Rakim - the duo of Erick Sermon and Parrish Smith are certainly in the conversation. And when it comes to all-time duos, they might be at the head of the table.The original release of 'I'm Housin' came in 1989, and the only previous 7" release was confined to the UK - it now fetches sky-high prices. Hence this reissue couldn't be more timely, showcasing just how fresh E Double E and PMD sound over even the most rudimentary but feverishly catchy of beats.

That was their genius - trading 'slow flow' punchlines over deceptively simple backings - and that's exactly what you get here. The loop of Aretha Franklin's indelible 1971 gem 'Rock Steady' does all the heavy lifting musically, the only adornment a brief vocal snippet taken from their own 'It's My thing' - EPMD is a world premiere.

At a time when sampling was still in its infancy, and before producers started to pride themselves on obscurity, and on chopping up samples creatively, this was the approach of many a hip-hop song, and rap was none the poorer for it. When you have voices as distinctive and strong as EPMD, less is more.

TRACK LISTING

I’m Housin’ (LP Vocal)
I’m Housin’ (Instrumental)

EPMD's initial success in 1987 seemed to take a lot of people by surprise. Without build-up or fanfare, they launched this stunning debut record and, so illprepared were people for it, that the label was still misspelling their name! The early 12" copies of 'It's My Thing' - and the hard to find UK 7" that followed shortly after - have them billed as EPEE MD. Before they were signed, they were going by EEPMD, but they decided to drop an E due to the success of the west coast's Eazy E. The one person not surprised by their success, however, was hip-hop pioneer and producer Kurtis Mantronik, who actually signed them to Fresh Records. It's fitting that he's the man that saw their promise, as he himself was one to go against the grain. His electro-influenced productions for Mantronix and Just Ice were ahead of their time, and perhaps in EPMD he saw kindred spirits. Because, at the time this dropped, hip-hop was going up tempo, taking its cue from James Brown samples and picking up the pace.

On both 'It's My Thing' - underpinned by the languorous 'Seven Minutes of Funk' by The Whole Darn Family - and 'You're a Customer', with its combination of ZZ Top and Steve Miller Band - Erick Sermon and Parrish Smith slow things right down. It gives their vocals time to breathe and allows us to enjoy the interplay of their metaphor and simile-heavy lyrics. As calling cards go, they don't come any better than this.

Stunning debut that has become a bona fide classic. The  originakl 7" release very hard to find so props to Mr. Bongo for dishing us out a legit reissue. 

TRACK LISTING

It's My Thing
You're A Customer

"The Architecture of Oppression Part 1" represents Ferguson's debut as a bandleader and orchestrator, and manifests as a committed and soulful response to ongoing and systemic anti-black racism, social oppression and state violence both at home in London and across the globe. Combining poetry, testimony and song with rich and cinematic backdrops, Ferguson has produced a sui generis sound that conjures flavours of Arthur Verocai, Ennio Morricone, classic library productions, Madlib-style deep-jazz beat science, and psychedelic soul.

With bandmate Malcolm Catto on drums, Ferguson draws on their long years of collaborative experience in the Heliocentrics to build an album of striking texture and depth. But the album does not only reflect Ferguson's full-spectrum musical prowess, experience and vision. It is equally a manifestation of his longstanding and high-profile work as a frontline activist for racial justice and social equity in London and beyond.

Alongside Malcom Catto, contributors to the album are drawn from the intersecting worlds of community activism, cultural education, politics and music, and include singer and political activist Jermain Jackman, Zara MacFarlane; Chicagoan activist, poet and singer Ugochi Nwaogwugwu; Lee Jasper, longstanding worker for racial justice and former advisor on equalities to the Mayor of London; acclaimed performance poet Dylema; Hackney community leader Janette Collins MBE and Leroy Logan MBE, founder and former chair of the Black Police Association, and the subject of Steve McQueen's Small Axe episode 'Red, White and Blue'.

The Architecture of Oppression Part 1 is a singular and urgent chronicle of the black British experience, an upful expression of Pan-African creative unity and community solidarity, and a militant and unbending missive from the frontline in the great tradition of The Impressions' This Is My Country, Irreversible Entanglements Who Sent You?, Max Roach's We Insist - Freedom Now Suite, or Linton Kwesi Johnson's Bass Culture. A broken record repeats itself, and never plays through – the music is interrupted or trapped in a cycle by damage to the grooves. But The Brkn Record is a work of healing and protection, and a chance to let the full story be heard – all the way to the end, no skips.

STAFF COMMENTS

Matt says: Political and personal, this LP narrates the Black experience with a sound palette somewhere between Axelrod, Madlib, MPB and soul.

TRACK LISTING

1. Assimilation (Ft. Dylema)
2. His Mother’s Eyes (Ft. Jermain Jackman)
3. Brother Andrew – The Investigator (Ft. Brother Andrew Muhammad)
4. Break The Chains
5. A Police Service, Not A Police Force (Ft. Lee Jasper)
6. Hackney Ain’t Innocent (Ft. Yolanda Lear)
7. On The Daily (Ft Ugochi Nwaogwugwu)
8. Say Black (Ft. Dylema)
9. The Babylon Encounter (Ft. Janette Collins & Leroy Logan)
10. Witness The Whiteness (Ft. Adam Elliot Cooper)
11. Lifeline (Ft. Zara McFarlane)

Lofi heavyweights Mr. Käfer and Phlocalyst are restructuring the metaphysics of a jazz thing - to quote Gang Starr's genre-defining classic "Jazz Thing" from 1990. The fusion of hip-hop and jazz has come a long way but there are still new routes to explore and new stories to tell. Mr. Käfer and Phlocalyst are adding their own chapter to the saga with their collaborative album Now / Again to be released via Melting Pot Music. The vibe of the 12 tracks is chill. The kicks, snares and basslines are crisp but relaxed. Wrapped up in warm melodic layers and led by the distinctive sound of Phlocalyst's trumpet.

The Flemish producer grew up in Ghent and relocated to Munich where he plays in a classic orchestra - a rather uncommon day-job for a lofi producer with more than 2 million monthly listeners on Spotify. Mr. Käfer was born in Salzburg – the hometown of Wolfgang Amadeus Mozart and Crack Ignaz – to an Austrian mother and an Algerian father. Today he lives in Cologne. In his music he fuses influences from boom-bap to jazz to traditional North-African music. The album artwork was created by Cologne-based artist Giza One.

TRACK LISTING

1. Facettes
2. Cloudscapes (feat. Sátyr)
3. Stellar
4. Room
5. Lanterns
6. Silence
7. Fractions
8. Memories
9. Evenings
10. Space Travels
11. Respirations
12. Drizzle

Volume 86 in the Brazil45 series featuring a pair of stellar 1970s Brazilian-Funk / Black Rio nuggets by two of the greats of the genre, Toni Tornado & Zeca Do Trombone.

‘Sou Negro’ (I’m Black) is taken from Toni Tornado’s (aka Ant nio Viana Gomes) sought after 1970 four-track compacto EP on Odeon Records. Already having had some experience in show business as a dancer in the 1960s, Toni started his musical career in 1970 and adopted the stage name Toni Tornado.

The influence of James Brown flowed through his music, with Toni becoming one of the first Brazilian artists (alongside Tim Maia) to introduce the soul and funk sound into Brazilian music. Together with other contemporary musicians and bands such as Banda Black Rio, Gerson King Combo and Cassiano, this new sound led to DJ’s throwing soul parties. This unique Brazilian take on soul and funk (and later on disco) became coined as ‘Black Rio’. A movement that celebrated pride in its Black identity and consciousness.

Zeca Do Trombone has an impressive repertoire which has seen him releasing a handful of solo albums and working with some of the greats of Brazilian music, such as Tim Maia, Ivan Lins, Joyce, and Luis Vagner. The track ‘Coluna Do Meio’ is taken from his 1976 collaboration project ‘Z Do Trombone E Roberto Sax’ with saxophonist Roberto Sax, which additionally features the heavyweight Wilson das Neves on percussion.

This catchy wah-wah guitar-led dancer has become a favourite with DJ’s over the years and will continue to be championed for years to come.

TRACK LISTING

Toni Tornado - Sou Negro
Zeca Do Trombone & Roberto Sax - Coluna Do Meio

Second album from Kit Sebastian, the captivating duo of Kit Martin and Merve Erdem. Those familiar with the band's cult classic 2019 debut,”Mantra Moderne” will instantly recognize their unique sound that blurs the boundaries of world music, jazz and psychedelia. However, “Melodi” sees the band evolve with even more diversity, effortlessly strolling between moods and influences.

“Melodi” is imbued with Kit Sebastian's love of vintage records and world cinema, but it is not a retro homage. It celebrates its influences but is very much a modern record, being simultaneously brand new and retro. This is a credit to the duo's craft as musicians and songwriters, presenting their influences as a circular interaction between the present and the past rather than a linear one.

The album’s range of instrumentation has expanded from the previous record to include zithers, harpsichords, congas, bongos, bulbul tarang, and a mock-up choir on top of the synthesizers, balalaikas, organs, and saxophones. Session musicians and friends were also booked to introduce trumpet and string sections giving the album an added depth and orchestral texture. Despite the added complexity, the album was recorded using the same techniques employed for the previous album with various tape machines, bouncing back between cassette and ¼” tape for practicality and sonic abstraction. To pierce through this abstraction, the vocals are intentionally more expressive. Merve took cues from the Turkish singers of her youth, adding a slightly more melancholic, darker and more reflective style than “Mantra Moderne”. Rooted in observations from everyday life, they speak often about the worlds and thoughts that arise from the end of the night.

Like with many of the best albums, the record seems over all too soon and has you instantly wanting to play it again. On each listen you decide on a track that you think is your favourite from the album only for it to be replaced with a different one on the next listen. The songs and production have hidden depths that seem to evolve and morph the more you devour them. Moments of pure pop, moments to fall in love, moments to contemplate. This journey is rich in musical vitamins and nourishment, but like all the best things still leaves you wanting more.

STAFF COMMENTS

Barry says: Melodi is a wonderfully evocative mash-up of European pop, classic psychedelia and shimmering easy-listening, brought together with beautifully sung vocal lines, rich production values and hazy, lounge-jazz saturation. A warm and intoxicating listen, bringing to mind any number of cinematic accompaniments.

TRACK LISTING

Side 1
1. Yalvarma (Don't Beg) (5:11)
2. Agitate (4:37)
3. Yeter (Enough) (3:42)
4. Melodi (Melody) (part 1) (4:11)
5. Melodi (Melody) (part 2) (1:26)
Side 2
1. Elegy For Love (3:40)
2. Affet Beni (Forgive Me) (3:38)
3. Inertia (3:40)
4. Ahenk (Harmony) (3:30)
5. Please, Don't Take This Badly (4:13)

Created during Summer 2020, this album is the product of a fruitful collaboration between Brighton-based musicians Glenn Fallows (The Impellers/Andres y Xavi) and Mark Treffel (Blue States/The Soul Steppers). These seasoned performing and recording artists have put their abundance of experience and skilful musicianship into effect with aplomb on this album. This is as accomplished a debut release as you will ever hear, and dare we say, a future classic in the making. The Globeflower Masters project was borne from an idea Glenn had to create an album that leant on the influence of soundtrack and library composers - particularly of the late 60s and early 70s. This rich sonic palette had previously been innate in his writing and composition but, for this album, the direct inspiration was placed front and centre. After penning several sketches, Glenn contacted Mark to fulfil the vision he had for a complete sound. Mark had an arsenal of vintage synths, pianos and other fun toys which could supplement the drums, guitars and bass that Glenn had been working on.

As the album progressed, the pair worked increasingly collaboratively, with each of them starting and sharing ideas to curate the final eight finished tracks. The results are an album of lush, warm, timeless productions that are drenched in strings and classical instrumentation. Awash with atmospheric excursions, it is a listening experience that moves you through moods whilst transporting you to a world of deeply evocative settings and imagined scenarios. The Globeflower Masters Vol. 1 resonates equally as well on a dark melancholic Winter's day as it does sound-tracking a halcyon Summer day. Though influenced by 60s and 70s productions the record is not a simple pastiche, feeling both simultaneously brand new as well as authentically retro.

STAFF COMMENTS

Barry says: The Globeflower Masters mix the perfect ratio of slo-mo funk and lounge jazz with wonderful organic percussion and library synth business. It's woozy and hazy, while being both immediate and intoxicatingly atmospheric.

TRACK LISTING

1. Faith In Time
2. Scene In Roma
3. Who Knows When
4. Hidden In The Pampas
5. Fear Me Now
6. How It Shimmers
7. El Ejido
8. Arise

Within Melbourne's burgeoning cinematic-soul scene, which includes breakout acts Surprise Chef and Karate Boogaloo, mysteriously sit The Pro-Teens.

Helmed by prolific drummer and percussionist Hudson Whitlock, who also plays in both aforementioned bands, this breakaway studio project involves an interchangeable collective of incognito, Melbourne-based, esteemed instrumentalists playing under outlandish pseudonyms such as "'Dead Honest' Dean Amazing" and "Libby Clique-Baite". Symbolically led by keyboardist "Snooch Dodd", new album 'I Flip My Life Every Time I Fly' is the latest musical concoction from Whitlock's eccentric brain, marrying the soul/funk roots of sample culture with the principles of boom-bap hip hop.

Incorporating the colourful comic book stylings of MF DOOM and Kool Keith, or the dark and exotic flavours of Gravediggaz and The Wu-Tang Clan, The Pro-Teens also take cues from their composing heroes Galt MacDermot, Richard Evans and Marc Moulin. The Pro-Teens bop, zip, whip and fling on this phantasmagorical journey - an unorthodox patchwork of cinematic soul, hip hop-guided funk breaks, vivid instrumental textures and film score-esque moods.

The Pro-Teens work on the same analogue recording model adopted by the tight-knit College Of Knowledge label, self-recorded and produced with the rag-tag crew of musicians putting tracks down live to tape in crammed attic studios and sharehouse recording spaces.

The first limited pressing of 'I Flip My Life Every Time I Fly' was released on the 'College Of Knowledge' imprint in late 2020. It was one of the highlights of the year at Mr Bongo HQ who loved the concept and felt this tripped out masterpiece from Melbourne needed to be heard well beyond those lucky enough to have bagged those limited first copies.

TRACK LISTING

1. I Flip My Life Every Time I Fly
2. No One Understands Me (I'm Og)
3. Spray It, Don't Say It
4. Convo
5. Peppery Weapons
6. Snooch Is Too Busy For This Shit
7. The Pro-Teens Ruined My Life
8. Ya Gotta Love This City
9. I Hate Turbulence
10. Greta Thunburg
11. Elephant On The Wall
12. Slow Fast

For number 93 in the Brazil45 series, Mr Bongo present two favourites from the Harmony Cats. A female vocal quintet (who later became a trio) from Sao Paulo. They formed in 1976 and were most prolific in the disco period. ‘Harmony Cats’ Theme’ from 1976 is probably the group best known track outside of Brazil. Owing a lot to Rhythm Heritage’s version of ‘Barretta’s Theme (Keep Your Eye On The Sparrow)’ it’s wonderfully spacey breakbeat and percussive production with lush, floaty vocals makes it a real crossover classic record. ‘Seja Como Nos (De Pe No Chao)’ is instantly recognisable. Tucked away on the b-side of their 1979 single ‘Tem Dinheiro Nisso’ on Young Records, it is a beast of a cover version of The Jacksons’ classic ‘ Shake Your Body (Down To The Ground)’. Nothing subtle or sophisticated here. Just a song of pure disco joy, enhanced with awesome Brazilian production and the Cats’ trademark vocal arrangements. A get-of-jail-free card for any DJ that finds themselves stuck with an empty dancefloor, but also one that will put smiles on the faces of the more discerning leftfield club crowds.

STAFF COMMENTS

Matt says: Nice, late 70s Tropicalia-styled moments which are much more appropriate to play than their original incarnations. I've heard The Jacksons-penned, "Seja Como N S" out and about in town, so some upfront DJs out there know what's right.

TRACK LISTING

1. Harmony Cats’ Theme
2. Seja Como N S (De P No Ch O)

The Locket is the coming together of two masters of their craft to create something hopeful in a time of unrest. Its title track refers to memories of happier times: “we fill a locket with memories we protect, and don’t forget to keep it round your neck.” It’s a reminder to focus on positivity in the face of adversity. A collaborative project designed to be enjoyed together. A celebration of music, unity and looking ahead. It couldn’t have come at a better time.

During a period of prolonged inactivity for Bombay Bicycle Club, frontman Jack Steadman scratched an itch to do something by himself. He went by the moniker of Mr Jukes and released an album, God First, in 2017. We say ‘by himself’ but it was very much an open-door policy, resulting in a collaborative record that brought contributions by legends such as Charles Bradley, De La Soul, Horace Andy, Lianne La Havas, BJ The Chicago Kid and Lalah Hathaway. The project also features a contribution from Barney Artist, who Jack had quite simply stumbled upon on a Spotify playlist and never forgotten.

Barney’s music takes the vibrance of jazz infused hip hop but with a London feel. Growing up in Forest Gate, East London, Barney balances conscious themes with old school grooves to create something instantly likeable, like the artist. He’s a larger than life presence, fun to be around and a searing, peerless talent too. A collaborator by nature, Barney grew up around Tiana Major9 and Jay Prince and has made music with Tom Misch, Loyle Carner, Alfa Mist and Jordan Rakei.

Barney’s contribution to God First, “From Golden Stars Comes Silver Dew” (also featuring Lalah Hathaway) proved to be a standout and planted the seed for The Locket. Bonded by old-school American hip-hop of a certain vintage and the back catalogue of A Tribe Called Quest, the two artists instantly fell into step with one another. There was no clear plan or brief to fulfil for a full-length Jukes X Barney project, but both artists instinctively knew that it would be a waste not to explore the potential they’d uncovered. They were right, clearly.

The Locket features ten tracks cut from sessions that span over eighteen months. It’s sunshine-dappled, psych-tinged, hip-hop flavoured, leftfield pop. Samples and beats, bars and this unique sort of retro futurism that zips from sepia-tinged to full technicolour almost as fast as Barney’s flow. So many reference points that burst at the seams trying to pick a genre. Perhaps most importantly, it’s an utterly joyful listen from start to finish; invaluable in a time when everyone is hard-pressed to find ways to brighten their days. 

STAFF COMMENTS

Barry says: A wonderfully smooth suite of downbeat hip-hop and rhythmic neo-soul, beautifully produced and eminently listenable, full of saturated MPC percussion and warm vintage synths.

TRACK LISTING

1. The Locket
2. Blowin Steam (Open Up Your Mind)
3. Poems
4. Déjà Vu
5. Vibrate
6. Autumn Leaves (feat. Lex Amor)
7. All For You
8. Check The Pulse (feat. Kofi Stone)
9. Leaving Us In Light
10. Gratitude

Hailing from south-east London, Joel Culpepper is an artist who’s been on Mr Bongo's radar for some time now. With a unique soulful voice and explosive showmanship, Joel’s star is rising. His sonic palette blends an array of genres and influences, that looks back to the greats whilst simultaneously absorbing London’s contemporary musical landscape.

Joel's debut album, 'Sgt Culpepper’, is an incredible modern soul album and the product of a two-year undertaking which saw him attract an array of respected producers and musicians from the UK and beyond, a testament to the reputation he had already built as a dynamic songwriter and performer among his contemporaries. With executive production from Swindle (Ezra Collective, Mahalia), mastering from Joker (Stormzy, Kojey Radical) and with co-productions that include the likes of legendary pop producer Guy Chambers, Raf Rundell (The 2 Bears), Shawn Lee (Saint Etienne, Kelis), and Tom Misch, Sgt Culpepper is a demonstration of the power of community, mingling self-reflection with wider social commentary. The record is split into four chapters: The Battle, which includes previous singles ‘W.A.R’ and ‘Return’, The Surrender, embodied by recent single ‘Poetic Justice’; The Love and The Lesson.

Joel’s desire to forge a sense of collectivism was the lifeblood for 'Sgt Culpepper', resulting in the diverse roster of talent attached to the project. As well as the aforementioned names, the record includes production from the likes of British multi-instrumentalist Redinho, South London rapper and Roc Nation signee Kay Young, Linden Jay (Poppy Ajudha, Rejjie Snow), and Grammy-award winning songwriter Jimmy Hogarth. "I've been inspired by how the UK jazz and grime scene supports each other, it’s similar to what happens in the states. Collectives like Odd Future, Aftermath and the earliest being Motown. It’s soul’s turn to band together here, likeminded independent musicians working to support the scene and each other as a whole.”

Through charismatic storytelling, personal epiphanies, and the formation of a new creative collective that underpins his craft, 'Sgt Culpepper' ushers in a new era for Joel as an artist.

STAFF COMMENTS

Barry says: Though it's clear where Culpepper's myriad influences lie (the athletic vocals could be favourably compared to Prince pretty easily for example), 'Sgt Culpper' never comes across as anything but a brilliantly unique and wonderfully written whole. From psychedelic funk, hip-hop and the groove of the burgeoning UK jazz scene, this has it all, and brought together with style.

TRACK LISTING

1. Tears Of A Crown
2. Return
3. W.A.R
4. Bodies
5. Poetic Justice
6. Thought About U
7. Kisses
8. In Your Sex
9. Remember
10. Break
11. Black Boy

Rio-born pianist and organist Lafayette’s career started in the mid-60s and saw him become a prominent member of the Brazilian musical movement entitled ‘Jovem Guarda’. For his inclusion on this selection in the Brazil45 series the Bongoteam move things along a few years to 1982 and the Brazilian boogie gem ‘Sol De Ver o’.

Taken from his album ‘Edi o Especial’ and originally released on Copacabana Records, ‘Sol De Verao’ was written by Jorginho Gomes from one of Brazil’s greatest bands Os Novos Baianos. It’s a superb slice of 80s boogie/funk brilliance with a super catchy ear-worm of a vocal - definitely one for the dancers!

For the flip, there's an absolute monster from the fantastic Marisa Rossi, who we featured previously on number 38 in the Brazil45 series. ‘Quem Vem L ‘ is a heavy driving Samba Rock / MPB groove track with female and male call and response vocals. Originally released on a very rare and exclusive 7” also on Copacabana Records, but this time in 1971. Marisa would go on to work with the legendary Arthur Verocai in the 1980s. Two very different slices and styles of Brazilian music, but both absolute gems.

TRACK LISTING

Lafayette - Sol De Verao
Marissa Rossi - Quem Vem La

Ok, an 18th anniversay edition is a bit weird, but being as this was the first (and arguably the best) 12" on Ed Banger, the globe conquering Parisian label of the noughties, and featured a blinder from the dearly departed Philippe Zdar under his A Bass Day alias, I'm totally on board. 

So, what will you hear on this limited white vinyl repress? Well, on the A-side we get a break heavy bit of downbeat psychedelia from Mr Flash, who assembles flanged hats and heavy drums with a blorping Scruff-styled bassline, then chops a few tasty samples from Floyd's "Echoes" for good measure. Meanwhile on the flipside, Zdar drops a frisky little e-funk wriggler complete with filter funk melodies and a hip-twisting bassline.

TRACK LISTING

Mr Flash “Radar Rider“
A Bass Day (aka Zdar) “F.I.S.T”

A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos’ brother Paulo S rgio Valle. It showcases a real who’s who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalh es to name but a few.

This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including ‘Estrelar’.

To complete the album there are tracks such as ‘Fogo Do Sol’, which is pure AOR / Balearic vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

To celebrate the release we have pressed up several vinyl versions; both standard master, and half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess! 

TRACK LISTING

1. Estrelar
2. Fogo Do Sol
3. Samba De Verao
4. Para Os Filhos Abraao
5. Naturalmente
6. Tapa No Real
7. Tapetes, Guardanapos, Cetins
8. Dia D
9. Mais
10. Que Amor
11. Viola Enluarada

It is drenched in the essence of the Brazilian 80s boogie and funk sound. A driving force behind this is the writing, arrangement, and musicianship of Lincoln Olivetti, who was instrumental in forging this unique sound within Brazilian production at the time. It is heightened even further by the astonishing team that feature on the record. Brazilian icon and heavyweight Tim Maia, Robson Jorge, Serginho Trombone, Oberdan Magalh es, Claudio Stevenson and Jamil Joanes (of Banda Black Rio fame), Junior Mendes, the list goes on. This crew of musicians synergised perfectly with Sandra’s vocal style, all complementing each other to create a classic. One of our favourites from the album is the opening track ‘Trem Da Central’, an infectious groove that when paired with Sandra’s cool and relaxed swaggering vocal resulted in an essential dancefloor jam! Equally delightful and dancefloor summoners are the catchy boogie funk of ‘Candura’, and the Earth, Wind & Fire sounding ‘Pela Cidade’. Tim Maia features on the fast-paced duet ‘Vale Tudo’, which was written especially for Sandra to sing with Tim, who at the time was one of the biggest stars in Brazilian music. These boogie and funk compositions are balanced by fine slow jams giving the album a satisfyingly well-rounded feel. Sandra had been working in music since the 70s and continues to do so to this day, but this period of the early 80s was a rich and prolific time for her. If you are a fan of Robson Jorge & Lincoln Olivetti’s self-titled album from 1982 or Marcos Valle’s 1983 album featuring the song ‘Estrelar’, then this one is definitely for you. ‘Vale Tudo’ is a must-have record from a talent

STAFF COMMENTS

Patrick says: Not that I want to play favourites between my Brazilian boogie crew, but in my most humble opinion, this total groove-a-thon from Sandra Sa wipes the floor with that Marcos Valle reissue. Sunkissed, light and totally joyful, 'Vale Tudo' deserves a place in every good collection.

TRACK LISTING

1. Trem Da Central
2. Candura
3. Pela Cidade
4. Onda Negra
5. Gama O
6. Vale Tudo
7. Guarde Minha Voz
8. Terra Azul / Musa
9. S As Estrelas

Official half-speed mastered re-issue of British trumpeter and bandleader Ian Carr's iconic jazz-fusion-rock hybrid ‘Belladonna’ from 1972.

Originally released on the Vertigo label, complete with collectable ‘swirl' record centre design, this sought-after jazz-rock-fusion rarity features some of the cream of the UK jazz musicians of the 70’s. Comprised from groups such as Nucleus, Brian Auger's band, Soft Machine, Stan Tracy group, the players included Brian Smith (tenor and soprano saxophones, alto and bamboo flutes), legendary guitarist Allan Holdsworth, Dave MacRae (Fender electric piano), and bassist Roy Babbington, to name but a few.

Seen as a benchmark point in Ian Carr's career, 'Belladonna’ is awash with atmospheric excursions and ethereal qualities, as well as a darker fusion aesthetic and prog-rock sensibility from Holdsworth's exceptional guitar playing. The moody, yet funky, vibe of the album has echoes of Miles Davis' electronic era à la 'In A Silent Way'.

The album is best enjoyed played in its entirety. There are ebbs and flows with certain tracks shining along the way. Standouts include the beautiful down-tempo track 'Summer Rain’, which has a soundtrack / library style brilliance and emotional electric piano soloing. Though recorded in the 70’s, the track has a timeless sound, a melancholic funk so often used in hip-hop and beat tape productions to this day. ‘Mayday's Shaft-like long extended intro builds the drama until the percussive release when the drums drop at over three minutes in.

To give a record of such quality the treatment it deserves, we have once again been lucky to enlist the service of mastering and lacquer cutting engineering don Miles Showell at Abbey Road Studios, to cut a brand-new half-speed master and let the music speak for itself.

TRACK LISTING

A1. Belladonna
A2. Summer Rain
B1. Remadione
B2. Mayday
B3. Suspension
B4. Hector’s House

As long-time fans of this sublime four-track compacto 7” by the illustrious Brazilian duo Luli Lucinha e O Bando, we have floated the idea of re-issuing this beauty for several years now. So finally, the time feels right to release this beloved gem back into the world.

Originally issued on Som Livre Records in Brazil in 1972, this rarity has long been lost to only but the most hardened Brazilian record collectors and those lucky few who own an original copy.

The four genre-defying compositions blend elements of psychedelic rock, MPB and folk, and are glued together by the synergy of Luli and Lucinha’s vocals and the outstanding arrangements by Z Rodrix. Whether it be the lost Brazilianpsych anthem of ‘Flor Lil s’, or the tripped out folk-funk of ‘Dourado Da Manh ‘, the EP oozes magic and brilliance. The record also features the Brazilian percussionist, Alyrio Lima, who later became a member of the iconic Weather Report.

Luli (Heloisa Orosco Borges da Fonseca) and Lucinha’s (Lucia Helena Carvalho e Silva) records have become extremely sought-after in recent years. Their inclusion on John G mez’s superb 2017 ‘Outro Tempo’ compilation helped spread the gospel about their beautiful folky, MPB, private press albums from the late ‘70s and ‘80s.

Prior to their musical partnership back in 1965, Luli released a heavenly Bossa Nova 7” nugget entailed ‘Baleiro’ and a self-titled solo album on Philips Records, which are now also highly-prized by collectors. Here at Mr Bongo we feel Luli and Lucinha’s names should be more widely recognised and break out of their cult artist status.

They should be rated up there amongst some of the progressive, left-field greats of Brazilian music of their era. Sadly Luli passed away in 2018, but left behind an inspiring musical legacy for us all to savour.

TRACK LISTING

Flor Lil S
O Rato Roeu
Floresta Encantada
Dourado Da Manh

Re-issue of a soul masterpiece from 1974. 'I Love You More and More' by Tom Brock was Tom's only solo album release, but what a beautiful classic it is.

For some, it is up there in the pantheon alongside their all-time treasured soul favourites such as Marvin Gaye's 'What's Going On'. Produced by the legend Barry White and released on 20th Century Records in 1974, it features the lush hallmark orchestration, heartfelt songs, and funky yet slick playing you'd expect from a White production. Like a dusting of sugar onto the top of the cake, the record also features the stunning arrangements of the great pianist, arranger, composer, and producer Gene Page, whose musical career left an impressive and prolific legacy.

'I Love You More and More' received another lease of life when it was resurrected for a new audience after having been sampled by Jay-Z, Mos Def, C.L. Smooth, and others. The record is solid throughout, but the song 'There's Nothing in This World That Can Stop Me From Loving You' proved to be an extra-bright star in the sky and it formed the base to Jay-Z's 2001 hit 'Girls, Girls, Girls'. The sampling of Tom's work triggered the collectors, diggers and DJs to explore his record and to transfer their passion for it onto their followers too. Tom Brock passed away in 2002, but left behind his sensational soulful voice on a handful of amazing dusty 7" singles, several assorted productions recorded by other artists, and this absolute winner of an album, which will be cherished for years to come.

TRACK LISTING

1. Have A Nice Weekend Baby
2. The Love We Share Is The Greatest Of Them All
3. There’s Nothing In This World That Can Stop Me From Loving You
4. I Love You More And More
5. Naked As The Day I Was Born
6. That’s The Reason Why (I'll Love You Until The Day I Die)
7. Shame Me, Wake Me
8. If We Don’t Make It Nobody Can

When the film ‘White Men Can’t Jump’ was released in 1992, an EP of music from the film was dropped almost simultaneously.

That EP, cheekily titled ‘White Men Can’t Rap’, featured a couple of exclusive gems, notably Gang Starr’s ‘Now You’re Mine’ and a cut from Main Source called ‘Fakin’ the Funk’. The only single borne of that six-track EP was the Main Source track, released in remixed form on Wild Pitch records the same year.

No surprise, it was head and shoulders above the rest. Opening with those unmistakable harmonies from Main Ingredient’s ‘Magic Shoes’, the intro segues into a crisp beat borrowed from Grady Tate’s frequently sampled ‘Be Black Baby’ from 1969.

Throw in a sprinkle of Kool & The Gang and you’ve got a track that would fit seamlessly onto Main Source’s masterpiece of an album, ‘Breaking Atoms’. Instead, it’s the group’s last hurrah, the final collaboration between K-Cut, Sir Scratch and Large Professor before the latter departed the trio.

It’s fitting that he saves one of his best vocal performances for last, railing at sell-outs with the assistance of his long-term collaborator Neek the Exotic.

Never released before on an official 7”, it’s a track that has lost none of its appeal, and the remix is the definitive version of this classic.

TRACK LISTING

Fakin’ The Funk (Remix)
Fakin’ The Funk (Instrumental)

Official replica re-issue of a South African jazz-funk rarity from Teaspoon & The Waves.

Released in 1977 on Soul Jazz Pop, a subsidiary label of Mavuthela Music Company / Gallo, Teaspoon & The Waves’ self-titled album is an absolute masterpiece.

Best known for the song ‘Oh Yeh Soweto’, which is an astonishing adaptation of Lamont Dozier’s anthem ‘Going Back to My Roots’, this track has become a contemporary underground club classic in recent times and has been featured in sets from a cross-section of DJs.

With such a massive calling card song, it could be easy to write off the album as a typical one-tracker (like so many records often are), but that is a long way from the truth. Each of the remaining four tracks are super strong and, for us here at Mr Bongo, this has to be our favourite South African record of this era. ‘Saturday Express’ is a jazz-funk/disco stomper which will soon be lighting up dancefloors again.

‘Wind and Fire’ is true afro-jazz-funk excellence, with great spacey synths and reggae-inspired guitar grooves riding throughout. The opener, ‘Friday Night’, also has a slightly reggae-tinged tropical groove, whilst ‘Got Me Tight’ finishes off the session with a feel-good jazz-funk workout that features cool, quirky, Patrick Adams-esque synths.

Saxophonist Teaspoon Ndlela has had an amazing and rich musical career. Releasing albums on records labels Soul Jazz Pop, Hit Special, Gallo GRC, alongside working with and writing for South African artists such as Mpharanyana, Stimela, Sipho Gumede and Sgu. He also features on the Paul Simon track ‘Gumboots’ taken from the iconic ‘Graceland’ project.

Though best known for ‘Oh Yeh Soweto’ we hope this re-issue helps demonstrate that there is much more magic in this wonderful musician’s repertoire to discover.

TRACK LISTING

Friday Night
Wind And Fire
Saturday Express
Oh Yeh Soweto
Got Me Tight

"We can’t think of many artists that have had as diverse a career and who have been involved in as many different genres of music as Asha Puthli. A musical pioneer who forged a path through 60’s psych, free-jazz, pop, rock, disco, and more.

Asha’s 1976 album ‘The Devil Is Loose’ is maybe her most well-known record. Featuring the beautiful disco-funk-classic ‘Space Talk’, Asha’s ethereal soaring vocals take us on a journey that almost mirrors Asha’s eclectic career. The track was championed by a wide-range of musical scenes and movements, and over space and time it has been commandeered as their own.

Y ou would hear it played by David Mancuso at the now ‘mythical’ underground New York party ‘The Loft’, in the most discerning disco nightclubs across the globe, in the Rare Groove scene, and also being sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde. The appeal and lifespan of ‘Space Talk’ keeps on extending and morphing as new audiences gleefully discover it for the first time - it still sounds as relevant and fresh on the dancefloor today - a sign of a true classic.

Here at Mr Bongo we are thrilled to be releasing records by such an iconic musical maverick as Asha, from her roots in India to becoming a globe-trotting artist with a celebrated career in music and acting, whilst always staying true to her art. She has blazed a trail so that others could follow. Whether you are buying this album as a replacement for your worn-out original copy or it’s the first time you’ve heard of Asha Puthli and you’re just intrigued and drawn in by the cover, we hope you enjoy this quintessential slice of Asha’s world."

TRACK LISTING

Flying Fish
The Devil Is Loose
Hello Everyone
Wonder Why
My Buddy And Me
Say Yes
Space Talk
Our Love Is Making Me Sing
Good Night

The dreamy, swoony sounds of Vanessa Kendrick’s timeless ‘90% of Me is You’ is ever-present during this stone-cold classic, while Sister Nancy’s unmistakeable ‘Bam Bam’ lends several elements to the mix. Throw in some Skull Snaps and Sweet Charles and you’ve got the perfect soundtrack for a roll call of Large Professor’s nearest and dearest.

There are plenty of reasons why so many regard ‘Breaking Atoms’ as an alltime classic album, and the sheer variety of singles lifted from it is chief among them. Large Professor was happy to roam over varied topics at a time when many rappers had a manic focus on one thing. And where better to hang out with friends than at a barbecue? ‘Live at the Barbecue’ is rightly regarded as one of the best posse cuts of all time, and famous for showcasing the debut of one Nasty Nas.

While he delivers a dope verse full of quotables over drums from Bob James’ oft-plundered ‘Nautilus’, credit is also due to the other guests. Fatal and Akinyele aren’t disgraced in this company, and Large Professor tops it off with a rare verse of pure brag-rap. An undisputed entry in the pantheon of head-nod hip-hop, this is its first official UK release, and another debut on 7”.

STAFF COMMENTS

Patrick says: A pair of prime time bumpers from Main Source's mega 'Breakin Atoms', essential in part for 'Live At The BBQ', a sick cypher featuring the first recorded appearance of Nas. Hype.

TRACK LISTING

Just Hanging’out (Vocal)
Live At The Barbecue (Vocal)

Large Professor being a prodigy on the SP-1200 is well established, but the way he flips parts of MFSB’s ‘TLC’ and Milly and Silly’s obscure ‘Gettin’ Down for Xmas’ with a sprinkling of Lyn Collins here establishes his credentials in the top tier.

Lyrically, it’s a tour de force, with Main Source taking exception with the misuse of the word ‘peace’ by the hip-hop fraternity. With even the most homicidal of gangster rappers dropping it at the end of tracks at the time, time was overdue for some regulation.

The album version makes its point pithily in a single verse, while the remix, included on the flip of this first ever 7” release, expands on the topic with new verses and some new samples too. It’s a welcome reminder of the time when remixes were remixes - not just the identical track with the latest hot rappers joining in.

Most of all, Main Source once again walk the fine line between lyrical lecture and head-nodding banger - the rare example of a track with a point to make that can still fill a dancefloor and get necks snapping.

STAFF COMMENTS

Patrick says: Glorious golden age hip hop from Large Pro, Sir Scratch and K-Cut. Though the lyrical message is pointed and on point, it's the sampler sophistry which makes this a classic.

TRACK LISTING

Peace Is Not The Word To Play (Remix)
Peace Is Not The Word To Play (Album Version)

For number 84 in the Brazil 45 Series, we head to the North of Brazil with this dancefloor monster, double-sider by Magalhaes & Os Panteras. ‘Xang ‘ by Magalhaes is taken from his ‘E Sua Guitarra’ album, from 1986, and originally released on Gravasom Records.

A stunning, driving Lambada track with haunting vocals and a compelling gusto energy. It has been gaining popularity over recent years with DJs and is a surefire get-out-of-jail dancefloor saver.

On the flip, we find another biggy from Os Panteras, ‘Lambada Pauleira’. Also released on Gravasom Records, but a year later in 1987. It is best known for Joutro Mundo’s fine re-edit of the track, but here we have it in its original form, in all its quirky brilliance.

It is easy to see why, over the years, it has been a staple of some of Brazil’s finest DJs’ sets, such as Augusto Olivani (aka Trepanado). We are super happy to present these two red-hot tracks back-to-back. Now let the dancefloors return so we can heat things up!

STAFF COMMENTS

Patrick says: Heavy double header of Lambada bangers on Mr Bongo's Brazil 45 series here. On the A-side 'Xang' is dance floor dynamite in the same vein as Massara's Margarita, while the B-side brings the infectious groove, frazzled synths and staccato guitar of Lambada Pauleri, which you may have heard via the Joutro Mundo edit.

TRACK LISTING

Magalh Es E Sua Guitarra - Xang
Os Panteras - Lambada Pauleira

You know it’s going to be a heavy record when DJ / collector Mr Thing asks you to keep a look out for a copy on your next digging trip to Brazil. Add on top of that, being sampled by Madlib on the track ‘Curls’ on his Madvillain album!

Taken from Waldir Calmon’s ‘Waldir Calmon E Seus Multisons’ album on Copacabana (1970), from looking at this unassuming record cover featuring a middle-aged man sporting an impressive pair of glasses you wouldn’t expect it to become the fabric to one of the songs from the iconic ‘Madvillain’ album.

But... like many things in life, you shouldn’t judge a book by its cover. ‘Airport Love Theme’, like its name suggests, falls into full-on lounge territory. It’s feelgood music made to be the soundtrack for a utopian world that never really was. Yet behind the silky-smooth groove is an addictive earworm waiting to be heard. ‘Afro Son’ taken from the same album, pushes things in a different direction towards a sound that is more firmly rooted in the Brazilian tradition.

This quirky 60’s-breakbeat-funk groove is reminiscent of French artist Jean Jacques Perrey’s ‘E.V.A.’, also from 1970, in its melody and backbeat, where the Moog synthesizer of Perrey is replaced with a more orchestrated sound by Calmon. This track is magical, cinematic and breakbeat-laden with a hidden unknown exoticism. Waldir Calmon had an active career in music working from the ‘50s right up until his passing in 1982.

His career started early, forming his first ensemble at the age of fourteen, originally working in bands in nightclubs and writing jingles. He progressed in the early ‘50s to a long-running career working in television. In addition to his television work, he had success with his recording vocation, mixing in the same musical circles as greats such as Tom Jobi, Jo o Gilberto and Doris Monteiro.

STAFF COMMENTS

Patrick says: Breakbeat exotica and lounge grooves abound on the Madlib sampled 'Airport Love Theme', while it's all about psychedelic soul on the far out flip "Afro Som".

TRACK LISTING

Airport Love Theme
Afro Som

The genre, electro (or electro-funk), is sometimes perceived to have a separate identity to hip-hop; however, this electronic cousin was integral to the early development of the hip-hop sound. Drawing on drum machines, such as the Roland TR-808, and influenced by funk, these two genres were intertwined and rode a parallel axis for a while, with rap, breakdance, and graffiti as pillars of the culture and community. The mechanical sound of electro would later go on to inspire a different set of producers and played its part in influencing contemporary electronic dance music. For this 7” release we are taking things back to 1984 and 1985 with a split single from The Egyptian Lover and Jamie Jupitor.

First up is a track from The Egyptian Lover, AKA Greg J. Broussard, the cult Los Angeles-based producer, vocalist and DJ, who is a true hip-hop / electrofusion pioneer. ‘Computer Love (Sweet Dreams)’ is a seminal electro-fusion / machine-funk classic that saw a release on the iconic label Freak Beat Records (owned by Greg himself). The original 7” release is now very sought-after by collectors. On the flip we have another electro jam from The Egyptian Lover disciple, Jamie Jupitor. ‘Computer Power’ was additionally produced and arranged by The Egyptian Lover, and was released on Egyptian Empire Records (the label that evolved from Freak Beat Records). For this release we have opted for a special 7” unreleased radio edit, that has Greg kindly provided us with, which differs slightly in composition from the previously released versions. One for fans of D m Funk, electro and 80s funk

STAFF COMMENTS

Matt says: No it's not a cover of Kraftwerk! But LA's veteran electro-funk / freestyle legend Egyptian Lover reissuing some highly treasured HEAT from his early catalogue.

TRACK LISTING

Computer Love (Sweet Dreams) - The Egyptian Lover
Computer Power - Jamie Jupitor

The Choice is Yours is one of the most celebrated 12” releases of the early 1990s. The story of why is told on this 7” - the first official release on this format (and, technically, the first UK release in any format except as a B-side). The original version, here on the flip, is a fine track in its own right, and is the version you’ll find on the seminal ‘A Wolf in Sheep’s Clothing’ album. Built around elements from Johnny Hammond’s oft-sampled ‘Big Sur Suite’ from 1974 and incorporating snatches from Iron Butterfly and the Bar-Kays, it’s a truly original, witty track that showcases Dres’ deft wordplay and the group’s way with a hummable hook.

However, what made the song legendary was the reworked version called ‘The Choice is Yours (Revisited)’, here on the A-side. It more or less rebuilds the track from the foundations and, accompanied by an iconic and acclaimed video, is for many the definitive version. It’s the soundtrack to many a hyped club night, a track that could ignite the audience in the same way that Onyx’s ‘Slam’ would a couple of years later. It weaves together vocal stabs from Sweet Linda Divine with a propulsive bassline from McCoy Tyner that seems like a significant step forward in the jazz-sampling era of hip-hop. Widely quoted, referenced and even covered in music ever since, this is a classic that punches well above its weight.

TRACK LISTING

The Choice Is Yours (Revisited)
The Choice Is Yours

One thing hip-hop has never been great at - and certainly something for which it has zero reputation - is nuanced emotion. Enter Large Professor and ‘Looking at the Front Door’, the group’s first single on Wild Pitch Records and the lead out for their stunning ‘Breaking Atoms’ album. Wrapped around a loop from Donald Byrd’s Blue Note classic ‘Think Twice’, bolstered by the infectious chorus of ‘Chick A Boom’ by The Pazant Brothers and Beaufort Express, it’s a melancholy tale of love gone wrong. It was a brave choice of lead single in the 1990 hip-hop landscape, plucked from an album full of genuine head-nodders and standout tracks. It was also the right choice - a piece of production perfection laced with romantic honesty.

The B-side also strikes a different tack, a tale of a brother who “doesn’t fight, his brain is his left and right.” Using a solid foundation of drums from Funkadelic’s ‘You’ll Like It Too’ (most famously used on Eric B & Rakim’s ‘I Know You Got Soul’), Large Pro weaves his tale of an ambitious, studious man over an original organ line (by JD Drumsticks) that wouldn’t sound out of place at a hockey rink. The theme is sledgehammer subtle - don’t sell drugs, stay in school - but delivered with the lightness of touch that would be Main Source’s signature. This is the first official UK release, and the first time both sides have been together on a 7”.

TRACK LISTING

Looking At The Front Door (Vocal)
Watching Roger Do His Thing (Vocal)

January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of BADBADNOTGOOD fame) are reunited at Burdock for a live improvised Jazz session. The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city’s brewery and music hall. Two days later an email from Matthew hits Mr Bongo’s inbox... “I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I’d share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out”.

The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a onetake improvised assembly. The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared. The same quartet feature on Matthew Tavares & Leland Whitty’s 2020 album ‘Visions’. The plan to promote ‘Visions’ was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn’t happen, but for now ‘January 12th’ is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game.

STAFF COMMENTS

Barry says: Unbelievably smooth-flowing, intricate jazz improvisations from the master duo of Tavares & Whitty. Expect moments of BADBADNOTGOOD-like smooth jazz and more esoteric, freeform freakouts. A superb recording of superb musicians at full flow. Amazing.

TRACK LISTING

10,000 Roses
Chandelier
Cloud Dance
Forever

THIS IS A BLACK FRIDAY RELEASE AVAILABLE ONLINE ONLY ON FRIDAY NOVEMBER 27TH FROM 6PM.
LIMITED TO ONE PER PERSON.

January 12th, 2020, a Sunday night in Toronto - Matthew Tavares and Leland Whitty (of BADBADNOTGOOD fame) are reunited at Burdock for a live improvised Jazz session.

The pair are joined on stage by bassist Julian Anderson-Bowes and drummer Matt Chalmers as part of Burdock’s Piano Fest, an annual event at the city’s brewery and music hall. Two days later an email from Matthew hits Mr Bongo’s inbox... “I think it turned out amazing, brought some really nice recording gear and it sounds almost like a studio record, thought I’d share. Moments definitely get to the jazzier side but there is some spiritual moments that are so far out”. The Bongo office were all blown away by this free-flowing session, one which sounded like a well-rehearsed set at the end of a long tour, rather than a onetake improvised assembly.

The chemistry between the musicians is magical. The tight friendship and musical connection between Tavares and Whitty are self-evident, however, Chalmers and Anderson-Bowes have a great contribution to make too. They act as the solid foundation that leaves Tavares and Whitty free to roam and explore moments of darkness and light, intensity and beauty. From the first time of hearing this intimate session, we knew this had to be shared.

The same quartet feature on Matthew Tavares & Leland Whitty’s 2020 album ‘Visions’. The plan to promote ‘Visions’ was to tour, with each night comprising a uniquely improvised set. Sadly due to world events, this couldn’t happen, but for now ‘January 12th’ is a snapshot of the wizardry that would have been from four amazing musicians at the top of their game.

TRACK LISTING

10,000 Roses
Chandelier
Cloud Dance
Forever

A year before Wild Pitch Records properly introduced us to the trio of Queens native Large Professor and Toronto’s Sir Scratch and K-Cut, the soon-to-be-legendary group self-released their own debut single. Dropping on Actual Records, the 12” of ‘Think’ and ‘Atom’ was soon a sought after rarity, with scarce originals still fetching upwards of three figures. On it, they only hint at the greatness to come, while simultaneously showing that they’d already mastered the three-minute rap single - this is concise brilliance with no flab whatsoever. Engineered by the late, esteemed Paul C, ‘Think’ is a study in how to turn wellworn samples into something new. The combination of several James Brown snatches, along with bits lifted from Lyn Collins and Jimmy Castor Bunch, could have been tired and almost parodic by 1989, but instead the group weave something interesting from old fabric.

‘Atom’ is arguably even better, built around a brace of elements from Marvin Gaye and Tammi Terrell’s 1967 duet ‘Little Ole Boy, Little Ole Girl’. On it, Large Pro gives the first real hints that he’ll not just be a super-producer, but a committed MC to watch. Mixing threats with humour, positivity with braggadocio, it’s a calling card performance on a track that could have still sat comfortably on 1991’s ‘Breaking Atoms’ album. Heavily bootlegged, this is the first official double-sided 7” release bringing together both these foundational cuts

TRACK LISTING

Think
Atom

Kit Sebastian are back with a special stand-alone alone 7” release that presents an appetising taster of what is to follow from their much-anticipated second album. After losing themselves in the magic of the French countryside to record, the band have delivered two gems that we initially thought were a soup on of the said new album. In fact, though recorded during the same sessions, they felt these tracks were best served up as an aperitif to the album.

Francis Lai, Vladimir Cosma, Fikret K z lok, Jane Birkin, and Selda Bacan all served as inspirations during the recording sessions. Though their idols can be heard in ‘Ennui’ & ‘Abandoned’, the fusion of Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and psych-folk vibes results in a sound that is drenched in their unique signature style and can only come from Kit Sebastian. The beautiful, heartfelt, longing vocals on both ‘Ennui’ & ‘Abandoned’’, makes it hard for the listener to resist falling in love with the world of Kit Sebastian, and they leave the heart longing even more for their next long player to drop.

TRACK LISTING

Ennui
Abandoned

Much about “Beat Bop” is shrouded in mystery. Who really produced it? Why was Jean-Michel Basquiat relegated from rapper on the track to drawing the cover and labels? What are they actually rapping about for most of the ten-minute length? These questions, however, are all part of the enigma and rich legend surrounding a song that is an undisputed piece of true hip-hop genius. The combination of graffiti artist Rammellzee and rapper K-Rob is a potent one, with each MC adopting a persona - hustler and B-Boy respectively - that they maintain against an unusual swirling backdrop that must be one of the best instrumentals ever committed to wax.

The original Tartown Record pressing was limited to 500 copies, a mere test pressing in the eyes of the assembled artists, with scarcity further driven by Basquiat’s rising rep in the art world. Those few hundred copies - and a subsequent re-release on Profile Records (the same label where K-Rob played out the rest of his brief career) - punched well above their weight in terms of lasting influence.

Consider the early vocal tones of the Beastie Boys (who also sampled the track), or the huge part it played in the sound of Cypress Hill and B-Real. His voice is almost homage to Rammellzee’s on “Beat Bop”, while they also lifted the chorus of “Shoot ‘Em Up” and even a sample of ‘Cypress Hill’ from the track too. It’s unsurprising - this is a multi-layered, complex song that reveals a little more of itself each time you play it but remains damn funky. This reissue boasts the vocal and instrumental versions in full, as well as both the full cover and label artwork from the original Tartown Release.

TRACK LISTING

Beat Bop (Vocal)
Beat Bop (Instrumental)

Being the humble guys that they are, Surprise Chef aren't going to admit they have something very special going down. However, there must be some magic in their studio, or maybe in the fact they all share a house and have formed close bonds, or perhaps from absorbing the DIY ethos of running their own record label that has culminated in such a unique and enchanting sound.

'Daylight Savings' is the follow-up to the group's debut album 'All News Is Good News’. That album earned the band a much-deserved following across the world and triumphantly marked their arrival onto the international stage. Their new album was recorded in Spring 2019, almost exactly a year after they recorded ‘All News Is Good News’. It was the weekend that daylight savings time started in Australia, and the studio was filled with the smell of the towering Jasmine bush on the exterior back wall of the house. The record is subsequently filled with the optimism that comes with the impending warmer months and longer days in Australia.

Recorded in their own home studio in Melbourne, the production approach for 'Daylight Savings' is a big step up from their debut. Engineer, Henry Jenkins, created enormous-sounding space within this record, using a great deal of creative analogue recording techniques and working in an expansive recording environment. The results are a sound that emulates the massiveness of the late-60s Capitol Records.

‘Daylight Savings' was written collaboratively by the whole band and features the core Surprise Chef rhythm section. It expands upon where their debut left off with a leaning more towards 70's jazzfunk than soul and a stronger focus on the rhythm section. There’s the epic drama, ebbs and flows of a vintage David Axelrod or Alain Goraguer cinematic production, plus the influence of El Michels Affair and Melbourne bands Karate Boogaloo and The Putbacks, yet it still sounds uniquely Surprise Chef. You get a sense of that rare attribute of being both a contemporary band and a band you expect it won't be too long before other producers start sampling them.

STAFF COMMENTS

Barry says: Sunny Melbourne soulsters Surprise Chef return for another LP of sunshine groove and jazzed out instrumentals. Toeing the line expertly between frenetic, percussive mayhem and Khruangbin-esque downbeat business, they have crafted a uniquely innovative and sun-dappled sound. Another perfect pick-me-up.

TRACK LISTING

1. College Welcome
2. Deadlines 
3. New Ferrari
4. Washing Day
5. College Welcomes Carl
6. Sick Day
7. Daylight Savings
8. Dinner Time
9. Leave It, Don Take It
10. The Limp

As with many of the most fertile creative minds, continual reinvention leads to exploration of new sounds and styles. ‘ D j vu’ sees a departure from the jazz of BADBADNOTGOOD and a move into a more song-based storybook, with Matthew stepping up to the plate as lead-vocalist. As Matthew explains “I’ve always worked on my own stuff outside of BADBAD, and I’ve made music that sounds like this since I was 16. But when BADBAD started taking off, it was like “Ok, I can’t really make rock-y songwriter music anymore”.

The inspiration for the album came after revisiting old favourites and classics such as The Zombies, The Beatles, shoegaze, and Krautrock records. It was also made in a difficult and reflective period in Matthew’s life, with each song being a vignette to an individual. “I wrote each song about someone specifically, but then I realised very quickly afterwards that every song is about myself”.

Even though on the surface the record could be loosely categorized in the rock / indie camp, its dreamy psych-pop vibe evokes much richer musical inspirations. Elements of jazz, AOR, and the compositions of ‘golden-era’ Brazilian arrangers such as Arthur Verocai enrich the songs. For the Mr Bongo release of ‘Dejavu’ we have included the beautiful bonus track ‘Verocai Pt. II’ which was a product of the same recording sessions and rounds off the record.

Though a ‘solo’ release, with its songwriting, content, and themes being very personal to Matthew, the record is backed by a cast of friends, family, including BADBADNOTGOOD members. Mr Bongo are proud to present yet another sublime record from a unique, gifted, and necessary voice in contemporary music.

TRACK LISTING

Embarrassed
Verocai
How Can He Be
I’ll Gladly Place Myself Below
You
Clear
Polished
Nothing Yet
Butter
Dejavu
Verocai Part II (Extra Track)

Legend’ is lofty praise that is often used lightly, however, Mike D from the Beastie Boys certainly is one in the truest of spirits. We are delighted after over 30 years of being involved in music to finally release a project involving such a hip-hop pioneer and icon as Mike.

In keeping with the maverick attitude of the Beastie Boys, you don’t always get what you expect. For this release there isn’t a hip-hop beat, instrumental-funk or hardcore-punk joint in sight, rather an electronic-African club banger. Mike took it upon himself to rework Malian artists Idrissa Soumaoro and L’Eclipse De L’I.J.A. and their track ‘Nissodia’, which is taken from the ‘Le Tioko-Tioko’ album originally released in 1978 on the German Democratic Republic (GDR) label ETERNA. The song was also featured on ‘The Original Sound Of Mali’ compilation released on Mr Bongo back in 2017.

It was November 2019 and the day before a Mr Bongo 30 years celebration event in Paris at the Pedro party in the ‘New Morning’ club, when out of the blue the remix landed in Dave Mr Bongo’s inbox. We loved it straight away and decided to road test it the next night in the club. Whether it be a remix/re-edit/ rework, it doesn’t matter, what does matter is that it works spectacularly in the club and had people jumping on the stage to dance at the party. A sensational track and one which leaves a beautiful memory of good-times from a night out in Paris (and one which is in retrospect is even more poignant as the late-great maestro Tony Allen was in the club that night), and we are sure it will light up many more dancefloors to come.

STAFF COMMENTS

Patrick says: Check-ch-check-check - check-ch-check it out! Beastie Boy Mike D takes his scalpel to this Malian jam-a-thon from Idrissa Soumaora and twists it into a stomping Afro-electronic banger which has me begging for the clubs to re-open. Chuck in the OG on the flip and you got some must have wax on yo hands.

TRACK LISTING

Nissodia (Mike D Edit)
Nissodia (Original)

Pre-orders essential on this super limited NDATL release featuring two remixes from the legendary Larry Heard!

Mega!

TRACK LISTING

A.Take A Chance (Mr. Fingers Full Ambient Acid Instrumental)
B1.Take A Chance (Kai Alce Original Dub Mix)
B2. Take A Chance (Larry Heard Dub Remix)

So much legendary hip-hop begins with a misunderstanding. You might not realise it on first or even hundredth listen, but 'Insane in the Brain' is a diss track. What has become one of the hip-hop's most iconic party anthems, and one of Cypress Hill's biggest hits, started out with them taking offence at Chubb Rock.

He'd flipped some of their lyrics on his own 'Yabba Dabba Doo' song in 1992 and the group didn't like it. While B-Real's lyrical attack on Chubb is subtle and almost subliminal, Sen Dog spends most of his verse making fat jokes at Chubb's expense.

It's a little known beef, hidden beneath the vast success of this single in 1993, with it reaching number one in the US rap charts and proving a pop hit worldwide too. At this stage, the group's producer DJ Muggs had perfected an idiosyncratic sound all of his own, lending it to tracks for the likes of House of Pain and Funkdoobiest.

Here he melds samples from Sly and the Family Stone and The Youngbloods with a beat lifted from George Semper's instrumental cover of 'Get out my life, woman'. Those subtle songs are alchemised into a boot-stomping head-nodder that transcended hip-hop to become a festival favourite, a rise that ended in Ned Flanders delivering the line, "this may sound just a teensy bit insane in the old membrane, Homer," in The Simpsons.

The only official 7" of this was released in the Philippines, and fetches prices in the hundreds of pounds – this reissue puts a hip-hop classic in crate-friendly form.

TRACK LISTING

Insane In The Brain
Insane In The Brain (Instrumental)

THIS IS A RECORD STORE DAY 2020 RELEASE AVAILABLE ONLINE ONLY AS PART OF THE AUGUST 29TH DROP DAY AT 6PM.
LIMITED TO ONE PER PERSON.

Official Mr Bongo coloured vinyl re-issue for Record Store Day 2020.Asha's debut self-titled album is a wonderful fusion of jazz, soul, blues, and disco.It includes an outstanding cover version of J.J.Cale's 'Right Down Here'; a track which Asha has made very much her own by flipping it into a deep-funk groove with sultry ethereal vocals and a drumbeat almost ready-made for samplers of the future.The record was produced in the UK by Del Newman, who had worked with Carly Simon, Cat Stevens, and Elton John to name a few.It was released on London CBS records in 1973.Shortly after the release of the record, Asha (who was born in Mumbai), was banned by the Home Office from working in the UK for a period of time due to visa issues.These obstacles along with problems with her recording contract did not hold her back.Asha moved on and continued her musical journey elsewhere.This resulted in further astounding creative works that Mr Bongo will also be presenting soon.For this special RSD special edition we have pressed on sky blue vinyl to bring out the colours of Asha's stunning dress that she wears for the cover portrait.

Let's be honest – the first time many of us heard the otherworldly talents of the Ultramagnetic MC's was on a compilation. A smattering of singles in 1986 had barely registered beyond a small circle in New York, but the inclusion of the 1987 single 'Travelling at the Speed of Thought' on Street Sounds' 'Hip Hop Electro 16' set, sandwiched between classics from MC Shy D and Just-Ice, was a watershed moment.

In a way, it's their most atypical release. The deceptively simple combination of drums 'borrowed' from The Rolling Stones and a scratched hook from The Kingsmen's definitive version of Richard Berry's 'Louie Louie' is one thing. The simple by their standards vocals, however, render it into a loveable pastiche of rock-rap, a more esoteric equivalent of Run DMC's 'Walk This Way'.

The flip is more in keeping with their style both on their earlier 'Ego Tripping' single and the soon-to-arrive landmark classic album 'Critical Beatdown'.

Over some heavily chopped drums from erstwhile breakbeat classic 'Apache' by the Incredible Bongo Band, Ced Gee and Kool Keith showcase flows that were different from anything out there at the time.

'M.C.'s Ultra (Part II Edit)' is part brag-rap, part baffling science lecture. Leaning heavily on the thesaurus, it's a slang heavy manifesto that elevated the boast rap to the next level. While Kool Keith would go on to be the group's breakout star, this is a showcase for the whole collective, right down to DJ Moe Love's slithery scratching sliding from one channel to the next.

Only previously released in the UK as a 7" that's now very hard to source, this is a chance to re-embrace this breakthrough from a legendary group.

TRACK LISTING

Travelling At The Speed Of Thought
M.C.’s Ultra (Part II Edit)

Black Sheep – and their 1991 'A Wolf in Sheep's Clothing' album - were definitely an outlier in the Native Tongues fold. They were raunchier and more playful than their peers which, given that those peers were A Tribe Called Quest, De La Soul and Jungle Brothers, is really saying something.

'Strobelite Honey' catches that difference perfectly, leaning heavily on a pair of 1980 disco samples rather than the jazz of their brethren, and taking a somewhat less chivalrous approach to women. 'Strobelite's slender but fun narrative sees rapper Dres up in the club and fooled by the lights – approaching a girl he likes the look off but backing off when they reveal she's not what he expected. Charmed, we're sure.

Dres and his partner Mr. Lawnge were always willing to push boundaries, and that extends to the often confusing labelling of the various remixes of this choice single. 12"s dropped with the 'No We Didn't Mix', 'Yes We Did Mix' and 'Maybe We Did Mix' (not to mention a separate 12" of House mixes).

The last and best of these accompanied the original version on the now-rare 1991 7", as it does here. The 'Maybe We Did Mix' adds urgent horns - almost like the buzzing of a bee - and a new beat to completely reconfigure the sound into something much more of its era. It's a reminder of when remixes were about much more than the same beat with different rappers.

TRACK LISTING

Strobelite Honey (Maybe We Did Mix)
Strobelite Honey (The Original)

They say you can’t judge a book by its cover, and going by ‘Jazz Rock’, nor a record by its title.

Though entering into jazz territory and featuring some distorted guitar, ‘Jazz Rock’ is more a beautiful marriage of funky breakbeat drumming and spiritual jazz instrumentation, combined with traditional Min’y 333; music performed on the koto and shakuhachi.

Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min’y 333; players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and hear the bamboo rustling in the distance on a long hot summer’s day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session.

Takeshi’s exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC’s. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument).

Though certainly not an ambient record, ‘Jazz-Rock’ has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the ‘Jazz Rock’ album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future classic as much as we do.

TRACK LISTING

Kuroda Bushi
Hanagasa Odori
Soran Bushi
Sansa Shigure
Hietsuki Bushi
Sado Okesa
Itsuki No Komoriuta
Hokkaibonuta
Kiso Bushi
Kaigara Bushi
Iso Bushi
Nanbu Ushioi Uta

After the celestial adventures of Mr Ben and the Bens’ previous issue, band-leader Ben Hall finds all the magic he needs on earth with his new album, Life Drawing. On 2019’s Who Knows Jenny Jones?, Hall plotted the story of a young, shy Pitsmoor woman who returned from an alien encounter newly armed with serious disco-dancing know-how. Life Drawing, meanwhile, looks closer to home for its inspiration – Sheffield and thereabouts – for twelve brightly plaintive, character-driven vignettes, set to warm, acoustic, indie-folk-pop backdrops after its predecessor’s close encounters of the synth-driven kind.

A “cloudy thread of narrative” is present, Hall explains, but this time it’s left open for listeners to map routes through it. “The idea with the title is that the songs are character sketches, and their stories coalesce in a place that has a bit of all the towns in the North of England I’ve lived in. Bits of myself in the stories came out unintentionally, so I’d like it if the listener could find those semi-truths from the songs and place them into their own experiences.”

STAFF COMMENTS

Barry says: Mr Ben moves himself and all of his Bens to Bella Union! It's a fitting home really, as they are well heeled with this sort of jangling, melodic optimism and off-kilter classic psychedelia. It's lovely stuff, and a superb whimsical counterfoil to the drags of day-to-day life.

TRACK LISTING

1 On The Beach
2 How Do You Do?
3 Danny
4 Faithful Hound
5 Astral Plane
6 Minor Keys
7 Beast In The House
8 Walking To An Open Sky
9 The Wind On Spittlehill
10 Irish Rain
11 Closing Time
12 Watering Can

There is something simultaneously both brand-new and retro about ‘All News Is Good News’ - the debut album from Melbourne’s instrumental soul group Surprise Chef.

It sounds like something dreamt up by lo-fi cousins of David Axelrod and Janko Nilovic, with dramatic Library-music-eqsue cinematic arrangements echoing both light and dark, delving into moments of dissonance and positivity. There is a meticulous education of 1970’s soul on display that touches on the legacies of the great composer / producers, yet at the same time this is a truly contemporary record that could have only been made now. The first limited pressing of ‘All News Is Good News’ was released on the band’s own College Of Knowledge imprint in November 2019.

It slipped rapidly into the collective consciousness of underground music lovers around the world, with all copies selling out within a week and becoming a firm favourite at Mr Bongo HQ in the process. We felt Surprise Chef had made something very special, a future-classic, and that needed to be heard well beyond those lucky enough to have bagged those limited first copies. Formed at the end of 2017, Surprise Chef have grown within the fertile, creative, and supportive Melbourne music scene. Whilst the band is comprised of four core members, the album features friends and family as guest instrumentalists on flute, saxophone, vibraphone, congas, and assorted percussion; all adeptly recorded by engineer Henry Jenkins from the band Karate Boogaloo.

The warm-raw-authenticity of the album was captured in the recordings live to tape over a handful of sessions in the band’s home studio in Melbourne’s inner-northern suburb of Coburg. As band member Lachlan Stuckey explains “All of the music we record is tracked live to tape, simply because so many of the records we love most were made that way”.

The results are a captivating journey of instrumental cinematic-soul that will connect with the hardened Axelrod, Truth & Soul, El Michels Affair, and Daptone’s fans, as well as the open-minded first-time listener. We are very excited to share this first slice of Surprise Chef’s world, with plenty more magic from these guys coming around the corner very soon.

STAFF COMMENTS

Barry says: Wow! Surprise chef have all the groove you'd expect from good old 1960's soul, mixed with the sort of plunderphonic hiss of modern soundtracks and sleazy lounge. An intoxicating mix indeed.

TRACK LISTING

All News Is Good News
Herbie Hemphill
Blyth Street Nocturne
Have You Fed Baby Huey Today
Yung Boi Suite
Crayfish Caper
Flip Shelton
Drinking From The Cup Of Bob Knob
Mario’s Lament

If you collect vintage 70’s soul-jazz vinyl, there is a good chance that you already own a record that features the amazing vocal talents of Dee Dee Bridgewater. Whether it be Roy Ayers, Norman Connors, Billy Parker or Carlos Garnett - Dee Dee is the glue that fuses these artists together.

Although best known for her jazz work, Dee Dee has had a wonderfully rich and varied career encompassing soul, musicals, gospel, and underground disco from the 70’s to the present day. She is still active as a vocalist, composer, and producer and remains one of our favourite vocalists at Mr Bongo HQ. We take things back to the early years of Dee Dee’s career with her debut album ‘Afro Blue’. Recorded in Tokyo in 1974, the album was released exclusively in Japan via two different Japanese labels (Trio Records in 1974 and All Art in 1985 respectively). Each release had unique cover art and we have opted to present the album in its original 1974 form.

‘Afro Blue’ features an exquisite collaboration of American and Japanese musicians, such as Cecil & Ron Bridgewater, Motohiko Hino and producer Takao Ishizuka. The result is a sublime deep soul-jazz masterpiece with timeless versions of ‘People Make The World Go Round’, ‘Love From The Sun’, and ‘Afro Blue’. It is arguably one of the finest albums in its genre. This record has long been a sought-after item for DJs and collectors alike, so we are delighted to finally make this wonderful music from an understated great available to all.

TRACK LISTING

Afro Blue
Love Vibrations
Blues Medley (Everyday I Have The Blues / Stormy Monday Blues)
Little B’s Poem 
Raindrops Keep Fallin’ On My Head
Love From The Sun
People Make The World Go Round

Straight out the gate, Nas dropped a classic. Since the release of the seminal ‘Illmatic’ album in 1994, critics and fans have been wondering if Nas peaked too early and if anything in his subsequent catalogue could be held up against this masterpiece.

To be fair, it’s hard to follow up something this flawless, a project that allied his most insightful, pitch-perfect heartfelt rhymes with the work of the best hiphop producers on the east coast.DJ Premier, Q-Tip from A Tribe Called Quest and Large Professor all take their turns on the album, along with the unsung L.E.S.,but it’s Pete Rock in his prime who provides the stunning backdrop for the cinematic ‘The World is Yours’.

It’s a perfect nugget of a single, weaving in the brashness of Scarface, the repetition of a snatch of T La Rock’s early Def Jam gem ‘It’s Yours’ and piano courtesy of Ahmad Jamal’s ‘I Love Music’ from his own timeless ‘The Awakening’ album (1970).Presented for the first time on 7”, the vocals of the album version and the instrumental on the flip provide the perfect opportunity to enjoy and compare the work of two masters at the top of their game.

Pete Rock’s seamless weaving of disparate samples into a compelling whole, the then little-known Nas’ statement of intent. With a maturity beyond his tender years, Nas put himself straight at the top of the pile, this Queensbridge chronicle hinting at the ambition and greatness he harboured within himself.

TRACK LISTING

The World Is Yours (Album Version)
The World Is Yours (Instrumental)

We were first introduced to Marumo’s ‘Modiehi’ album via DJ Okapi’s amazing resource the ‘Afrosynth’ blog, which archives South African bubblegum/ disco from the 80s & early 90s. Aside from this blog, this music would otherwise remained unknown outside of South Africa, apart from the most hardcore of digger and record collector.

‘Modiehi’ was originally released on Spades Record in 1982 and was recorded by producer West Nkosi, who was a member of supergroup ‘Mahlathini & The Mahotella Queens’. He worked with the big hitters in South African music such as Ladysmith Black Mambazo, Teaspoon & The Waves, Patience Africa and many more. Marumo were made up of a group of musicians from the Athlone School for the blind in Bellville, close to Cape Town. The band members, John Mothopeng, Munich Sibiya, Simon Falatsi and Marks Mbuthuma, had previously played in the groups Batsumi, All Rounders and The Orations and came together to record this versatile album. It covers a wide number of genres from Sotho soul, Mbaqanga, disco-funk, gospel & spacey-synth slow jams.

Flash forward 30 or so years later and lost dead-stock copies of the album start to appear and Marumo’s music begins to be heard across the world in the DJ sets of Motor City Drum Ensemble, Invisible City Editions, Floating Points, DJ Okapi and others.

We included the afro-disco-funk beauty of ‘Khomo Tsaka Deile Kae?’ on our Mr Bongo Record Club Volume Three compilation, but felt ‘Modiehi’ needed to be available and heard in it’s entirety. We hope you enjoy!

TRACK LISTING

Modiehi
Khomo Tsaka Deile Kae?
Molato Ke Eng
Re A Hlopheha
Toitoi
A Mohau
Bosiu Bona
Lenyalo
Ke Eo Terene
Ha Se Nna Fela
Siyahlupheka
Ungioambela Amanga

With the original UK 7” of this release now as rare as hen’s teeth, and with the group having recently ‘reformed’ for one last album together, the Mr Bongo replica re-release of this 1990 masterpiece by Gang Starr couldn’t be more timely

The now-legendary duo of DJ Premier and Guru dropped this at the height of hip-hop’s sampling of jazz, which had led to a creative leap forward for the genre. Yet while others plundered in the dark, this instant classic wore its influences on its sleeve and paid verbal homage to the musicians they were sampling. The “melodious funk” of “Thelonious Monk” gets namechecked, while the track samples two of his records, including 1958’s Bop gem ‘Light Blue’.

While both versions presented here have common elements, the ‘Movie Mix’ - so-named for the song’s appearance on the soundtrack to Spike Lee’s mythic jazz biopic ‘Mo’ Better Blues’ - goes in a few different directions to the ‘Video Mix’. Rather than just drop in an instrumental for the B-side, DJ Premier instead shows his versatility by switching up the base track (Kool & The Gang’s 1971 ‘Dujii’) and layering in other samples. In more ways than one, his virtuosity here echoes the improvisation of a jazz musician, akin to Denzel Washington’s Bleak in the movie.

Of course, he’s not the only show in town. The late Guru’s voice is as mellifluous as an instrument itself here, his potted history of the genre and the artists of jazz delivered with his own unmistakable cadence. Without this record, would he have gone on to make his ‘Jazzmatazz’ projects.

TRACK LISTING

Jazz Thing (Video Mix) 
Jazz Thing (Movie Mix)

‘Visions’ is a new collaborative album from BADBADNOTGOOD co-founders, Matthew Tavares and Leland Whitty. The Grammy Award winning, multi-platinum producers have been performing and writing music together for 10 years. They have achieved international acclaim with BADBADNOTGOOD and Tavares’ recent solo single ’Self-Portrait’ has been championed by tastemakers such as Gilles Peterson and Benji B. ‘Visions’ is the latest upshot of their incredibly fruitful partnership.

Recorded in Toronto, it was produced by Tavares and Whitty - with Tavares also mixing the album and arranging strings. After a three-week writing period it was played in its entirety in one continuous studio session; almost all the tracks on the album are the first take. Tavares is on piano and guitar, Whitty on saxophone and flute. The rhythm section of Julian Anderson-Bowes on bass and Matthew Chalmers on drums completes the players. They make an impressive collective and are performing at the peak of their powers.

Conceptually the album is a canvas for a combination of composition and group free-form improvisation. Tavares and Whitty are the sole composers, but with some tracks collectively improvised, there is also a group dynamic running through the album. The outcome is a sublime melting pot of modern jazz, impressionist classical music and Arthur Verocai-esque arrangements. It is a sound that is hard to date; it is certainly of the now but is also reminiscent of a lost classic. Similar to the process of its creation, the optimal listening experience for ‘Visions’ is in its entirety. As a coherent body of work it draws the listener in with waves of intensity and crescendos that release back into tranquility - there is both darkness and light in the album’s narrative arc. There is also rawness and honesty to the music, which makes it feel like an intensely personal and intimate offering.

TRACK LISTING

Through The Looking Glass
Woah
Blue
Symbols Of Transformation
Visions Of You
Eyes
Awakenings
Heat Of The Moon
Black Magic
Symbols Of Transformation II
Living Water Assembly 

Play Disco Specials’ was produced by Ray Nkwe who also worked with Mankunku Quartet and The Soul Jazzmen, with all writing credits on the album going to Ray, the recording credited to engineer Robin Ritchie and the artwork to Carol Knowles.

The Star Beams album is a bit of an enigma. When we first came across their epic dance-floor monster ‘Disco Stomp’ it was on a Disco Calypso compilation, so we assumed it originated from the Caribbean. Years later we worked out how wrong we were and that this nugget was actually from South Africa and taken off an ultra scarce album on JAS Pride records from 1976. The next problem was tracking down an original copy and we don’t think we’ve ever seen our Bongo team member Gary Johnson as happy as the day he turned up clutching a copy under his arm.

Aside from the disco-jazz-funk of ‘Disco Stomp’, which has found it’s way into the DJ sets of Theo Parrish, ‘Play Disco Specials’ will appeal to fans of The Star Beams South African contemporaries The Drive, Batsumi and Pacific Express.

TRACK LISTING

We Did It
Disco Stomp
Barney’s Moaning
G.G. Is Talking

The third appearance in the Brazil 45 series for the mighty Sonia Santos, here with a relatively under-the-radar gem. ‘Marraio’ is a quirky sambafunk bomb with tripped out synths, wah-wah guitar, horn stabs and is one aimed straight for the dance-floor. Written by Hélio Matheus, it was released on a 7” and four track EP on Som Livre records in 1974 and 1975 respectively. Brazilian record digger and DJ hero DJ Nuts included ‘Marraio’ in his epic mixtape ‘Cultura Cópia’ back in 2004.

On the flip we keep the funk-vibes going but drop the tempo. The late-great Marcia Maria’s AOR/Rio-funk slow-jam ‘Oh! Man’ was only released on a 7” single on Odeon Records in 1979. It features the distinctive sounds of Robson Jorge & Lincoln Olivetti in the production team.

TRACK LISTING

Sonia Santos - Marraio
Marcia Maria - Oh! Man

Jorge Ben can do it all - vocalist, songwriter, musician, producer and to many their ‘all-round’ favourite Brazilian artist. Jorge has had an amazing career, involved in music from the early 60s through to the current day, writing countless classic songs for him and other artists. This awesome samba-disco-funk joint ‘Waimea 55.000’’ is a lesser-known production, taken off a 7” B-side released on Som Livre in 1978. This is a gem which needed to be dusted off and given the wider audience it deserves.

Baby Consuelo with her distinctive voice is one of Mr Bongo’s favourite Brazilian singers. The only female founding member of the mythical group Os Novos Baianos, Baby is a real innovator and pioneer, changing her persona and musical styles over the years, but still staying unique. Here we have Baby at the start in raw psychedelic hippy mode, giving a powerful vocal delivery where she manages to sound simultaneously badass and lovable. This early song was released in 1970 on RGE records on a compacto 7” credited to Baby Consuelo and additionally featured on Os Novos Bahianos’s debut album ‘ Ferro Na Boneca!’ in the same year (re-issued on Mr Bongo in 2019).

TRACK LISTING

Jorge Ben - Waimea 55.000
Baby Consuelo - Curto De Veu E Grinalda

It is hard to think of many 7” singles where both sides are as heavy as this one! Change The World / Try, Try was released in 1977 by Solat, a Dutchbased funk group made up of Surinamese and Dutch-Antillian musicians. Formed after ex-band members of Reality / Tony And Reality; Eddy Veldman, Franky Douglas, Ivor Mitchell and Glenn Gaddum teamed up with singer Billy Jones, Solat went on to release two singles for Poker records.

With its crossover nature, it pleases disco, funk and modern-soul collectors and DJs alike, plus due to only been released in the Netherlands, the record has now become an extremely sought-after item with a high price tag to match. Both amazing cuts are aimed straight for the dance-floor, but retain conscious and positive messages that are as relevant now as they were back then. ‘Change The World’ is an anthemic feel-good disco funk gem, whilst ‘Try, Try ‘ is reminiscent of a Mizell Brothers golden-era production. Mr Bongo present a replica edition with dinked centre and original cover and label artwork, for all to enjoy.

STAFF COMMENTS

Millie says: Reissue of these 1977 gem ‘Change The World’ and ‘Try, Try’ are funk and soul essentials to have on vinyl, it’s been highly sought after for years and the time is here to play these classics loud.

TRACK LISTING

Change The World
Try, Try

Neno Exporta Som’s super-rare compacto 8206; ‘Deixa A Tristeza’ from 1971, has been high on the want-lists of Brazilian record collectors and DJs for years. This was intensified, along with a wider cult-following, following Floating Points dropping the gem on his amazing ‘BBC Radio 1 Essential Mix’ back in 2015. Mr Bongo included ‘Deixa A Tristeza’ on our Record Club Vol 1 compilation. Following that came many requests to release it back on its original ‘compacto’ 7” format. So finally, here it is for all to enjoy. By sheer coincidence, also released in 1971 on Copacabana Records is Agnaldo Rayo’s ‘Suma ma’. A fairly un-known record which has the potential to become an underground classic. This epic track has a psyche break-beat drum and bass groove intro - just asking to be sampled! Along with lush string and horn arrangements and a soaring female/male vocal duet.

TRACK LISTING

Neno Exporta Som - Deixa A Tristeza
Agnaldo Rayol - Sumauma

Marcia Maria’s slow to mid tempo disco gem ‘Amigo Branco’ has become a club favourite in recent times. Released in 1978 on Capitol Records, despite being better known these days, is actually from the hard-to-find and expensive album/7” EP & promo-only 12” single which features the greats Lincoln Olivetti & Robson Jorge in the production team. Not many tracks sitting around 96 BPM work so well on the dancefloor! It could be argued that the talents of Simone have been somewhat over-looked of late. A key performer of Musica Popular Brasileira (MPB), who has had a remarkable career recording over 30 albums. Simone’s adaptation of ‘Tudo Que Voce Podia’ is a real treat and takes things back to the start of her career. Taken off the self-titled album from 1973 on Odeon Records, this brilliant anthemic song was penned by L Borges & Marcio Borges and has also been recorded by the brilliant Milton Nascimento, Quarteto Em Cy (see BRZ45.09) & Azymuth. This stripped-down version has a beautiful build, with amazing strings riding the percussion & jazz-funk bass line, ending in melodic whistling.

TRACK LISTING

Marcia Maria - Amigo Branco
Simone - Tudo Que Voce Odia Ser

This remix 12" features three unique reworks of Kit Sebastian tracks. Each of the producers featured in this package created their own interpretation of the ‘lo-fi-hi-fi’ originals and have taken the duo’s sound into bold new directions. When it came to choosing who should remix Kit Sebastian, Natureboy Flako (Flako / Dario Rojo Guerra) was a producer at the top of the list. Keeping true to the original, whilst leaving his own stamp on the track, his mix adds breakbeat drums and middle-Eastern guitar riffs that transform the track into a more cinematic piece. It sounds like the music from an exotica dive-bar scene in a David Lynch film - which of course, is a very good thing. Producer and DJ Baris K, who was behind the awesome ‘Istanbul 70’ series (re-edits of classic Turkish gems), takes ‘Durma’ in a very different direction. Totally reconstructing the track, his remix has flipped the original and totally run wild. The results are an epic left-field electronic workout. By bringing the spoken-word vocals to the forefront and giving the track a darker industrial vibe, it wouldn’t sound out of place bouncing around the walls of a Berlin basement club at 5am on a Sunday morning. The pairing of Kit Sebastian and Halal Cool J grew after DJing together at the alternative Great Escape party at the Mr Bongo HQ in May 2019. They share a love for dusty old psychedelic Turkish records. Halal Cool J (aka Aly Jamal / Don Leisure) has released records on First World and is a co-member of Darkhouse Family with Earl Jeffers. For his interpretation he has delivered a mix-tape-collage with a hip-hop aesthetic, and rather than focusing on remixing a specific song, he has cut and paste his favourite elements of tracks taken off the band’s ‘Mantra Moderne’ album.

STAFF COMMENTS

Mine says: Featuring a dreamy stomper courtesy of Natureboy Flako, a 10-minute dub beast by the one and only Baris K and, my personal fave, an uber groovy medley by Halal Cool J. More of that please!

TRACK LISTING

Durma (Baris K Dub)
Senden Baska (Natureboy Flako Remix)
Kit Sebastian Vs Halal Cool J

“The drum clock is docking and the night tide washes up synthesized environments, woozy and recorded perfectly. In my humble opinion, Mr. Elevator has risen and ascended and risen again, top floor, time and space, he hath bended, and brain cells have been rent and spent, on the wing aloft and buoyant, a perfect rapid eye movement enhancer and neuromancer.“A capsule garden soundtrack, a killer live band, Leslie spinning a yarn through the melodious afternoon. Now its twilight, all is well: the most overweight bass soundsabound, the crystalline organs blanket breaks and backs, the whip crack of the snare is your guide here, its pretty fried and boundless in its approach.

“For fans of Tangerine Dream, Air, Donovan (think the Hurdy Gurdy Man LP), The Troggs, Irmin Schmidt, Egg, Stereolab, and even early Mute records.” -John Dwyer.

TRACK LISTING

1. Waiting
2. Love Again
3. Alone Together
4. Bamboo Forest
5. Anywhere
6. Brobdingag
7. Down
8. Kompressor
9. Sylvia
10. Patterns

These amazing Brazilian soul-funk nuggets from Renata Lu, originally appeared on a 7” compacto and on her self-titled debut album for Copacabana Records in 1971. The up tempo break-beat funk of ‘Faz Tanto Tempo’ has a real dance-floor cross-over appeal and should please Brazilian, funk, hip-hop breaks heads and mod-soul DJ’s & collectors alike. Renata Lu had a long career releasing records on labels such as Compacaban / CID & Continental through out the 70’s and 80’s and worked as backing vocalist on recordings by Tim Maia and Nonato Buzar.

STAFF COMMENTS

Sil says: Two rare Brazilian dancefloor diamonds in one small 7" via Mr Bongo. Nothing can go wrong here. Essential!

TRACK LISTING

Faz Tanto Tempo
Sambaloo

Super-funky business from Nigerian-born multi-instrumentalist, Peter King; fuses funk, jazz and highlife vibrations. ‘Omo Lewa’ follows his ‘Miliki Sound’ album, also available on Mr Bongo. Recorded in London, originally released in 1976 by Orbitone, this is one of his finest records.

TRACK LISTING

Omo Lewa
Yere Africa
Afro-Funk
Eda
Ajo
Congo
Ko Dara

Seminal Japanese jazz album from 1971. Journeys through jazz fusion, soul and big band moods. Impossible to obtain in its original format these days, it rests on a spiritual and serene plane, conjuring up expansive and exotic landscapes from far flung places. Obviously, some of the instrumentation and playing is nothing short of breath-taking, but with sleeve notes mainly in Japanese you're gonna have to do some serious research to find out who's responsible!

Official Mr Bongo reissue with original artwork and super fresh, clean vinyl pressing. Recommended!

TRACK LISTING

Kokiriko Bushi
Sado Okesa
Tairyo Utaikomi
Soma Bon-Uta
Komoro Mago-Uta
Nanbu Ushioi-Uta
Itsuki No Komori-Uta
Hietsuki-Bushi
Yasuki-Bushi
Yosakoi-Bushi
Kuroda-Bushi

Nearly a decade since their last record, Jay Malinowski and Eon Sinclair better known as duo Bedouin Soundclash, return with their fifth studio album "Mass". While pulling from their old catalogue of eclectic post-punk world-beat tendencies, the band journeys further into New Orleans jazz, afro-pop, electronic and gospel on their latest offering, reflecting a creative rebirth influenced by the cities and musicians that surrounded them. Co-produced by Bedouin Soundclash and legendary Philadelphia House DJ King Britt, along with musical direction from Ben Jaffe of Preservation Hall, "Mass" spans two communities, recorded at Marigny Studio’s in New Orleans with the Preservation Hall Jazz Band, and in Vancouver at St. James Church with the children of the St. James Music Academy. Mirroring the magnetic energy of New Orleans, "MASS" is a dense sonic journey that incorporates an impressive array of musical influences including Big Band swing to New Orleans jazz, pop, electronica, and more. From the post-punksoca of album opener "Salt Water", the jangling Big Band swing-pop of recent single "Clockwork", to the Talking Heads-channeling "When We’re Gone", and the dubbing afro-pop gospel of "Holy" that features Mike Dillon distorting his marimbas into another sonic dimension, "Mass" is jam-packed with infectious melodies and summery feel-good vibes.

STAFF COMMENTS

Matt says: Pulling your heartstrings in all manner of directions, this bouquet of soulful flavours and varied styles has one coherant theme running throughout - a total grasp of what modern, tastefull pop music should entail and incite. Flawless.

TRACK LISTING

Salt Water
Born Into Bad Times
Clock Work
When We’re Gone
Holy
They Gutted This City
Drive
St Jude Of The Floors
All Tomorrows
Inversion Weather
Full Bloom
Better Days
Edges Of The Night
Just Like You

Extremely hard-to-find Ghanaian LP from legendary musician Gyedu-Blay Ambolley, originally released in 1980. Tough Highlife, funk and boogie moods with added synthesizer! Ambolley is still actively touring today, keeping these vibes alive - he will be touring Europe throughout 2019. This is the third Gyedu Blay Ambolley LP that we have reissued on Mr Bongo, following on from his seminal ‘Ambolley’ and ‘Simigwa’ recordings. Official Mr Bongo reissue licensed from Gyedu-Blay Ambolley.

TRACK LISTING

Control
Woye De Adolfo
Don’t Go
Mercy Kae Dabi
Take Am So
The Message (God Is Love)

The second full-length LP from Jungle Brown, ‘Full Circle’, drops on Mr Bongo and features collaborations with Sampa The Great, Fliptrix (High Focus) and Terri Walker amongst other super-talents. The trio - Ric Flo, MAEAR & Tony Bones - have spent the last two years redefining soulful hip-hop - the sound is bigger, more thought-provoking, and it has matured with a rich soulful underpinning. They have also entered territories fans are yet to hear as they glide effortlessly over Tony Bones’ productions that introduce trap and house into their repertoire. The project is an eclectic array of their influences, twisted and blended together to create a ground-breaking release for UK music.

TRACK LISTING

Keep It Movin
Wicked Ft Fliptrix
Ikoja Ft Elde
Huami Ft Terri Walker
Sometimes Ft Ruby
Wayside
Time Ticks
U&I
We On Ft Sampa The Great
Situationships Ft K. Waltz
Custom Made Ft Ayo The Yung African Pioneer

Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor. Originally released in 1978, this sunkissed set with Wuta Wazutu is now extremely difficult and expensive to find in its original form. Soulful and skanking with the classic Accra sound, the nine track set is infectious from head to toe, though never better than the mighty back-beat attack of the killer “Mondo Soul Funky”.

STAFF COMMENTS

Patrick says: Autumn might have hit hard this year, but this groove heavy LP from Ebo Taylor Jnr and Wuta Wazutu is simply sunshine in vinyl from. Funky, soulful and skanking, this has had everyone smiling in the shop this afternoon.

TRACK LISTING

Lord We’ve Missed You
System To Love
Begging On Knees
You’ve Got Yours Greedy Man
Gotta Take It Cool
Mondo Soul Funky
Swinging Soul For Love
Every Woman Needs A Helper
Love Is What I Need

Tuff Kong Records will be releasing the brand new collaboration between Jamaican legend Lee Scratch Perry and New Jersey producer Mr. Green: the upcoming "Super Ape vs Open Door". The two artists have created a unique chemistry, delivering 18 tracks of music that Mr. Green has put together using original stems from Lee Scratch Perry. Mixed with his own unique style, Green managed to merge literally 20 different genres of music together on one record, bringing some memorable guests to the project such as HR of Bad Brains, Sheek Louch (The Lox), Daniel Son and an intro from Eric "Scratch" Andre. 

TRACK LISTING

1. Love In My Heart (feat. Eric “Scratch” Andre)
2. Come Back Alone (feat. Sheek Louch)
3. Working For God
4. Streak Of Luck (feat. HR Of Bad Brains & Daniel Son)
5. Ranting
6. Electric Energy
7. Calalou
8. Sleepy Time
9. Hot Fire
10-18. Instrumentals

Formed in Detroit in 1968, Power of Zeus became the first rock band to be signed by Motown subsidiary label, Rare Earth. The group drew inspiration from British hard rock and heavy metal giants like Cream, Black Sabbath, and Led Zeppelin when they created this well-produced, seminal post-hard rock album. After ‘The Gospel According to Zeus’, the group never made another album and the band slipped into obscurity, until it was discovered by the hip hop diggers. The drum beat from “Sorcerer of Isis” has been one of the most sampled in hiphop music, including KRS-One, Kanye West, Jay-Z, Cyprus Hill, Tribe Called Quest and Eminem to name a few.

TRACK LISTING

It Couldn’t Be Me
In The Night
Green Grass & Clover
I Lost My Love
The Death Trip
No Time
Uncertain Destination
Realization
Hard Working Man
The Sorceror Of Isis (The Ritual Of The Mole)

‘Mantra Moderne’ is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Ze, Os Mutantes, Cortex and co. The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is their debut album.

The album explores universal themes such as love, loss, decay, language and ideology, mixing three different languages: English, Turkish and French. Written and recorded by the duo - Kit composed all the songs and Merve wrote the lyrics - in rural France during 2018, each song was completed within a 12- hour window, pawning contemplation for spontaneity.

Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb;meaning mixing could not be revisited!

STAFF COMMENTS

Barry says: Kit Sebastian's 'Mantra Moderne' is a brilliantly oddball juxtaposition of exotica, international psychedelia and tropical beach vibes, brought together into a swinging haze of lysergic guitar strums and staggering percussion.

TRACK LISTING

Senden Baska
Mantra Moderne
Tyranny 20
Pangea 
Kuytu
Yanimda Kal
Y R D M B Y D M R D M
With A Sense Of Grace
Durma

Planet Mu Recording artist, Gobstopper label boss, and Boxed club night founder Mr.Mitch provides the third release of 2019 for Pressure. This strictly limited, blue and yellow splattered vinyl platter is futurist dancehall at its most exhilaratingly demented. Random synth patterns, chaotic bleep emissions and all round oscillating madness ensures this furiously fresh track, flows freakily, like a bogle frenzied droid transmitting from Kingston, Jamaica, year 2049. Kevin Martin aka The Bug, nagged Mitch into submission, to release this acid-ragga (new genre alert..?! - ed) killer, after the label CEO, heard "Not Modular" standing out clearly from Mitch’s gobsmacking one hour "Techno Dancehall Mix" at the end of 2018.

And as a tribute to South East London don dada Mitch, The Bug himself decided to slice, splice and dice "Not Modular" into two additional atomised remixes. The Bug’s ‘Straight’ remix, is sub aquatic bashment, pulsating deeply from the bottom of the ocean, buried in a blizzard of white noise and disembodied, hypnotic chimes, with panic sirens set to stun. Whilst the ‘Raw remix’ is no less disorientating and funky, sounding like Lenky’s classic ‘Diwali’ riddim rewritten by an 808 clap addict, with hips set to full rotation. Conclusively alien and ridiculously infectious. 

TRACK LISTING

A1 Not Moduar 
B1 Not Modular (The Bug 'Straight' Remix)
B2 Not Modulare (The Bug ‘Raw’ Remix) 

This is a previously Japan-only 7” featuring two tracks originally released on Shepp’s 1972 classic soul-jazz LP, ‘Attica Blues’. A powerful mix of psychedelic soul & jazz that retains Shepp’s political sentiment of his earlier works. ‘Attic Blues’ is a huge funk-soul composition, referring to a mass shooting of inmates at Attica Prison. Henry Hull’s vocal sits on top of bass, layered percussion, wah-wah guitars, plus large horn and string sections to create a massive sound. The big band, almost soundtrack-esque, ‘Quiet Dawn’, is sung by the composer’s 7-year old daughter. She floats on top of piano, strings, drums and rich layers of percussion

TRACK LISTING

Attica Blues
Quiet Dawn

Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary Azymuth. Lush Rhodes, soaring synths and fusion guitars from Malheiros and Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound. The album moves from mellow soulful moods, into screaming disco-jazz-fusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.

TRACK LISTING

Voo Sobre O Horizonte
Aguia Nao Come Mosca
Despertar
Tarde
Circo Marimbondo
Tamborim, Cuica, Ganza, Berimbau
A Presa
A Caca
Falcon Love Call (Armazem No 2)
Aguia Negra X Dragao Negro

Extremely hard-to-obtain album from the Ghanaian master composer, producer and musician. Originally released in 1982 by the WEA International label and then again in Germany in 1985 by Ambolley himself; this is one of his finest albums in our opinion.
Ambolley fuses Highlife, disco and boogie sonics perfectly and features the anthemic club cut, Highlife, that we have spinning for a while - always does the job!  Official Mr Bongo reissue. Licensed from Gyedu-Blay Ambolley.

TRACK LISTING

A1. It's High Life
A2. Walking Don The Street
A3. 'Cos I Love You
B1. Cut Your Coat
B2. Adwoa
B3. Simigwa
B4. Franfranta

‘Mantra Moderne’ is a stunning, contemporary masterpiece that fuses Anatolian Psychedelia, Brazilian Tropicalia, 60’s European pop and American jazz. A must for fans of Khruangbin, Portishead, Arthur Verocai, Goat, Caetano Veloso, Tom Ze, Os Mutantes, Cortex and co. The duo is formed of Kit Martin, who lives between London and France and plays all instruments on the album, and Merve Erdem, vocalist and multi-disciplinary artist from Istanbul, now based in London. This is the debut single from their debut album.

Dubbed by Kit and Merve as ‘lo-fi-hi-fi’ in reference to the high-end tube equipment that helped it find its way to 8-track cassette tape. The style owes its sound to narrow tape width, valve distortion, spring reverb, the mixture of high end gear with lo-fi equipment as well as a disregard to the norms of hi-fi studio techniques. All instruments were analogue and no samples were used. The instruments that are used range from tablas to darbukas, balalaikas to ouds, MS20 synths to Farfisa organs and a lot of cuica. The mixing techniques were done on-the-fly, tracking immediately to tape: compression, EQ, delay and reverb; meaning mixing could not be revisited!

Mantra Moderne was hugely influenced by Italian library soundtracks. The first backwards sound that occurs at 0.26 was an earlier recording of the track that was meant to have been recorded completely over, an example of the amount of mistakes that were present in the recording process that became desirable!

Kuytu is strongly influenced by Turkish Anatolian Rock and Azeri Mugham folk but also the works of someone very important to Kit and Merv, Vagif Mustafazadeh. The lyrics, written in Turkish are about a mysterious figure whose presence brings a heavenly love and joy into the poet’s life. However, his unexpected disappearance leaves a black sorrow in her heart.

STAFF COMMENTS

Mine says: A very unique and somewhat irresistible blend of sounds, combining slow grooving bass lines, charming vocals and a good portion of jazz into a psychedelic haze. Delightful!

TRACK LISTING

Mantra Moderne
Kyutu

Mr Bongo do all the diggers a favour here and give us a welcome reissue of the Japanese jazz/breakbeat, folkloric mega-rarity as hallowed the likes of DJ Shadow, Cut Chemist, Egon and co. Rumour has it the last time someone saw an original copy in the wild City were in the second division and Lenny Henry was funny. "Bamboo" uniquely combines traditional Japanese instrumentation with Western jazz influences for a seriously esoteric sound.
Minoru Muraoka plays ‘shakuhachi’ - a traditional bamboo Japanese flute - joined by his band members accompanying him on the ‘koto’ (strings) and ‘tsu-tsumi’ (drum) amongst others, to create their ‘Shakuhachi Jazz’ sound.
Alongside covers of well known jazz and pop classics we also get two ace original songs and SO many killer breaks!

TRACK LISTING

Take Five
Nogamigawa Funauta
The Positive And The Negative 
And I Love Her
The House Of The Rising Sun
Do You Know The Way To San Jose
Soul Bamboo
Call Me
Scarborough Fair

Volume three in the Mr Bongo Record club series is another showcase of recent vinyl finds and favourites from their DJ sets and radio shows. This is an extra special one however, as it lands in 2019, 30 years since it all began way back in 1989. Compiled by David Buttle and Gareth Stephens, assisted by Graham Luckhurst and Gary Johnson. As ever expect the hottest jazz, funk, African, Latin, soul, disco and MPB delights from this crack team of digging experts. 

TRACK LISTING

J.B. De Carvalho E Seu Terreiro - Fui A Umbanda
Trio Ternura - A Gira
Alcione - Figa De Guine
Impacto 5 - Longe Daqui Aqui Mesmo
Abaete - Pisa No Taboado
Tobias - Coisa Sentimental
Os Flippers - Estrelar
SpaceArk - Don’t Stop (Unreleased Long Version)
Pure Release - I’ll Know It’s Love For Sure
Luther Davis Group - You Can Be A Star
Marumo - Khomo
Tsaka Deile Kae? Splash - Peacock
Gyedu Blay Ambolley - Highlife
Harari - Senyamo
Kaleidoscope - Let Me Try
Elias Rahbani - I Want To Be
Tokyo Academy Philharmonic Chorus Group - Taharazaka
Cesar Roldão Vieira – Zé Do Trem
Elias Rahbani - Dance Of Maria
Galt MacDermot - Coffee Cold

Candy & The Kisses burst onto the Northern Soul scene with "The 81". This storming dancer was unreleased until released on a CD compilation, making this a first time 7" vinyl release. The B side is by Val Simpson, one half of Valerie & Simpson

TRACK LISTING

Side 1: Are You Trying To Get Rid Of Me Baby - Candy & The Kisses
Side 2: Mr. Creator - Val Simpson

Seminal funk-rock album originally released on Rare Earth in 1970. Transferred from 2 x 1/4" analog reels at 192kHz/24-bit and released specially for Record Store 2019. Featuring the monster breakbeat on 'The Sorcerer Of Isis’. The drum beat from "Sorcerer of Isis" has been one of the most sampled in hip-hop music, including KRS-One, Kanye West, Jay-Z, Cyprus Hill, Tribe Called Quest and Eminem to name a few. Half-speed mastered by Miles Showell at Abbey Road Studios, London.

5th of the RSD limited series for Vinalog and Mr. G. Handstamped limited release. Mr. G comes on strong like cough medicine - offering up the slow and gloopy deep house swoon of "Radio In The Kitchen" which utilizes sloppy pad stabs and even sloppier beats to devastating effect. Vinalog joins Eddie Danielle, Bastien Carrara and Tiger & Woods - effortlessly conjuring up a tape-friend, loopy disco edit that'll titillate the dancers and DJs in equal measure. Finally, "Bonus RSD" is a clever and catchy rhythm tool that's ruff around the edges but direct in approach - a lot like some of Anthony Shake's more rambunctious DJ tools. Recommended!

TRACK LISTING

A. Mr.G - Radio In The Kitchen
B1. Vinalog - Mad Disco
B2. Bonus RSD

Ultra-rare jazz-funk/fusion album by Japanese drummer, Akira Ishikawa, featuring percussion-heavy versions of ‘Let’s Start’, ‘Bongo Rock’ and ‘Pick Up The Pieces’. ‘Back To Rhythm’ was the final recording in Ishikawa’s Africaninfluenced period. He cut this record with his band ‘Count Buffalos’, featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga and arranger Hiromasa Suzuki. It includes excellent cover versions of The Beatles, Simon & Garfunkel, BT Express, Stevie Wonder, Average White Band, Incredible Bongo Band and Fela Kuti. Originally released in Japan in 1975 by Columbia, this is now extremely difficult to find in its original format, and very pricey indeed!

TRACK LISTING

I’ve Got To Use My Imagination
Bongo Rock
Do It Til You’re Satisfied
Hey Jude
El Condor Pasa
Pick Up The Pieces
Love Is The Answer
I Shot The Sheriff
Let’s Start
Boogie On Reggae Woman

Beautiful debut album from the incredible Celia, conducted & arranged by Arthur Verocai and Rogerio Duprat and featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others. Celia recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017, aged 70.

Celia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful “Abrace Paul McCartney” and her husband at the time, Nelson Angelo, recorded some of the songs.

TRACK LISTING

Blues
No Clarao Da Lua Cheia
Durango Kid
David
To Be
Abrace Paul McCartney
Pelo Teletipo
Adeus Batucada
Lennon - McCartney
Zozoio - Como E Que E Fotograma

This classic Brazilian album from master drummer Ronald Mesquita was originally released in 1972 and features songs by Jorge Ben, Antonio Carlos-Jobim, Gilberto Gil, Edu Lobo and others. Mesquita is probably most well-known for playing with Luis Carlos Vinhas and his ‘Bossa Tres’ outfit, along with his own group, ‘Ronie E A Central Do Brasil’, that he formed after his return from the US in the early 1970s. He also played on several songs on Tenorio Jr.’s ‘Embalo’ album that Mr Bongo recently reissued. The killer track ‘Balanca Pema’ was very big in the Jazz Dance scene in the 90s and also featured on the Mojo compilation ‘Dancefloor Jazz Volume Four’. Madlib sampled ‘Balanca Pema’ on his Medicine Show Number 2 ‘Flight to Brazil’.

TRACK LISTING

Balanca Pema
Dabadeia
Aguas De Marco
Cancao Do Sal-Tema De
Tostao
Fechado Pra Balanco
O Gato
Tarde Em Itapoa
Casa De Campo
Quatro De Dezembro
Papagayo
Zanzibar

'Estudando O Samba' is an incredibly unique concept album from the one and only Tom Ze, originally released by Continental Brazil in 1976 - a tough one to find at a good price in its original form now. ‘Estudando do Samba’ (or ‘Studying The Samba’) is a post-Tropicalia studio experimentation laiden with layers of hypnotic percussion, effects & samples that deconstructs the ‘samba’ form. Recorded during what was arguably his most creative period. David Byrne found the record in Rio in the late 90’s and included several songs on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was not recording or touring much; playing low-key shows in Sao Paulo and contemplating a move back to Irara to work at a service station owned by one of his cousins. Byrne’s project helped to reignite his career and he hasn’t looked back since.

TRACK LISTING

Ma
A Felicidade
Toc
To
Vai (Menina Amenha De Manha)
Ui!
(Voce Inventa)
Doi
Mae (Mae Solteira)
Hein?
So (Solidao)
Se
Indice

Classic jazz/funk/disco cut that became an instant anthem on all discerning dance floors when it was originally released, and for decades to follow. Includes the previously commercially unreleased Sax Mix of ‘Journey’, cut loud at 45rpm. Championed by DJs including Francois Kevorkian, David Mancuso, Larry Levan and more, it’s a record that, alongside tracks like Atmosfear’s ‘Dancing In Outer Space’, become synonymous with the UK influence on US club music at the time. A sound that many forward thinking DJs in New York, Chicago etc. embraced to stand out from the crowd and bring depth to the dance floor. Driving jazz/funk, legato bass, grooving beats, subtle keys, dubbed out percussion and guitar licks that bring you to a simple but infectious piano melody.

STAFF COMMENTS

Patrick says: Quite simply one of the finest dancefloor records of all time. Armed with precise percussion, an irresistible bassline and sublime melodies, this baby slays, and that's without mentioning the wild fx abuse or searing synths.

TRACK LISTING

Journey
Journey To.(Sax Mix)
Double Journey

Another classic from Brit Funk pioneers Atmosfear. This time it’s the turn of the mighty ‘Motivation’ - pure dance floor, feel good vibes, produced by the amazing duo of Andy Sojka and Jerry Pike, cut loud at 45rpm. As per the original release it comes backed with the track ‘Extract’ a percussive lead jazz-funk workout with some tight bass work by Lester J. Batchelor, which was a regularly favourite at DJ Harvey’s legendary Moist club night.

STAFF COMMENTS

Sil says: Mr Bongo come through with a pair of Jazz Funk classics from UK heroes Atmosfear, which play perfectly next to house, disco and soul sides - tried and tested winners for the DJ.

TRACK LISTING

Motivation
Extract

‘SpaceArk Is’ came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut on the same original label, the year before. For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&B, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK. SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

TRACK LISTING

Sweet Hitch Hiker
Take Her Out Dancing
Sexy Lady
Ja More Mon Amore (I Love My Love)
Phantom Lover
Each Song

Classic Brazilian album from 1977, featuring the incredible ‘Nao Adianta’ and a brilliant cover of Jorge Ben’s ‘Que Nega E Essa’. Luiz Carlos Fritz (Fritz Escovao), Joao Parahyba and Nereu Gargalo aka Trio Mocoto are most well-known as Jorge Ben Jr.’s backing band. They played on several seminal Jorge Ben LP’s - his self-titled from 1969, Forca Bruta in 1970 and Negro E Lindo in 1971. Trio Mocot were also key players in the development of the ‘samba rock’ sound - a fusion of samba, soul and rock influenced by music from the USA. Official Mr Bongo reissue. Licensed from Arlequim.

TRACK LISTING

Nao Adianta
O Meu Violao
A Ros
Xuxu Melao
Doca
Toda Tarde
Sossega Malandro 
Dile
Onde Anda Voce
Que Nega Essa

The Accra-born pianist and frontman only released a few albums in small quantities, yet two of them are among the most sought-after records from 70’s Africa. This was the first.

So what do we know? After learning his craft in Benin and playing with the likes of Orchestre Poly-Rythmo de Cotonou, ROB returned to Accra to write his own material and find a sound. Hooked on the driving funk and raw soul of stars such as James Brown and Otis Redding, he would often imitate his heroes on his father’s piano during school holidays.
The title track sets the pace with a JBs-like rhythm, ROB almost shamanic with his sparse yet commanding vocal. The organ and wah-wah guitar spin us out before those imperious horns bring us back in.
And what better way to close this set than with ‘More’, swept up in a call and response between Rob and his backing singers as a ‘Blow Your Head’ synth flares and the brass blasts. Good times guaranteed. As the man himself says, “Funky music is in my blood. What you hear is the coming out of my mind.” No one sounds like Rob, because there is no one like Rob.

STAFF COMMENTS

Patrick says: Mr Bongo come through with an official reissue of one of the finest Afro-funk records ever - Rob's 1977 self titled winner. Arguable the hottest Ghanaian record of all time!

TRACK LISTING

Funky Rob Way
Forgive Us All
Boogie On
Just One More Time 
Your Kiss Stole Me Away
More

Rich, deep, percussive soulful folk album from master Togolese singer, Akofa Akoussah, the record moves through uptempo afro-folk-funk on ‘Tango’ to deep ballads of ‘Ramer Sans Rame’ and ‘I Tcho Tchass’ and lighter moments on ‘G Blem Di’ and ‘Mitso Aseye’. Akofas exceptional songs and soaring vocals are decorated with percussion, guitar lines, subtle backing vocals and horns to create a unique, rich sonic. The album was recorded for release by French label Sonafric in 1976. Produced by Gerard Akueson; founder & owner of African record label, ‘Akue’, based in Paris.

Music was truly in the blood of Julie Akofa Akoussah. She began singing at the age of three, inspired and led by her mother and older sister and became principal soloist in her school choir, St. Peter & Paul Choir of our Immaculate Conception Parish of Nyekonakpo, at the age of 8. From there her career blossomed, and singing often took precedence over her studies. In order to master her art she spent time studying and working closely with local groups including Melo Togo, Rocka Mambo, Rio Romamcero, Ok Fiesta, Eryco Jazz, Afro Cubano, Los Muchacho, Elegance Jazz and Togo Star amongst others.

In her own words: “Luck opened the door in January 1966 where I had the honour of being selected to share the stage with Bella Below - one of the best voices of Africa - at the 1st ‘Negro Arts Festival’ in Dakar. On my return, I was approached by Ambroise Ouyi, the highly respected singer & poet, and we wrote ‘Tu Ne M’Ecris Plus’, my very first opus."

The popularity of her work led to an increased exposure for Togolese music outside of the country, in neighbouring Ghana and Benin most notably. During her career she collaborated and performed with greats including Manou Djibango, Queen Pelagie, Abeti Massikini, Aycha Kone and Myriam Makeba. Akoussah was also dedicated to, and widely recognised for, her work for social causes, championing and nurturing young musical talent, and the fight against AIDS. She was president of the National Union of Artists Musicians of Togo (UNAM) before sadly passing away in April 2007 after a long illness, at the age of 57.

TRACK LISTING

Tango
Ramer Sans Rame
La Rem
Mitso Aseye
Dandou Kodjo
Kimbumbu
G Blem Di
I Tcho Tchass

All-time classic Brazilian album, featuring Jorge Ben on ‘Que Maravilha’, ‘Zana’ and ‘Carolina Carol Bela’ as sampled by DJ Marky on ‘LK’. Brazilian guitarist and singer Toquinho (real name Antonio Pecci Filho) was born in Sao Paulo, Brazil in the 1940’s. His first major hit single was ‘Que Maravilha’, as featured here, that he wrote with Jorge Ben. This album also features ‘Zana’ and the ultra-famous ‘Carolina Carol Bela’, also written with Ben. Toquinho had a prolific career releasing a huge number of albums and writing on even more. He released many records with Vinicius De Moraes during the 70’s. ‘Carolina Carol Bela’ was sampled by DJ Marky on his drum n bass hit ‘LK’ - the track that launched the sound of Brazilian drum n bass outside of Brazil.

TRACK LISTING

Na Agua Negra Da Lagoa
La Barca
Tocando Pra Silvinha
Chuva Na
Praia De Juqui
Que Maravilha
Zana
Bachianinha
De Ontem Pra Hoje
Dobrando A Esquina
Carolina Carol Bela
Evocacao A Jacob

'Sao Paulo Brasil' is one of the finest Brazilian jazz funk fusion albums ever recorded and thoroughly deserving of its cult status. This is its first official reissue outside of Brazil. Cesar Camargo Mariano is a celebrated Brazilian jazz pianist, composer and producer, born in Sao Paulo in the 1940’s. He has played and worked with the likes of Elis Regina (to whom he was married at one point), Som Tres and Sambalanco Trio and still plays very regularly today. ‘Sao Paulo Brasil’ saw Mariano and co. step deep into jazz funk/fusion territory - and nail it. Tight, tough drum grooves, intricate arrangements, layers of synthesisers, percussion and FX transport and tell a story from the first beat.

TRACK LISTING

Metropole
Estacao Do Norte
Fabrica
Poluicao
Imigrantes
Metro
Litoral
Futebol De Bar

Debut single from the mighty Tim Maia, released upon his return from the USA in the late 60’s. Maia sings in English here - influenced by his time spend travelling and working in the USA. Both songs are very soulful, reminiscent of the great soul singers of 1960’s USA, who were clearly a powerful inspiration to him.

TRACK LISTING

What You Want To Bet?
These Are The Songs

Dismayed at the prospect of a harsh British winter, Mr Bongo fly south to Rio for the foreseeable, bringing us a gorgeous double sider of uptempo vintage MPB samba jazz from Carlos Sodre, originally released as a 33rpm ‘compacto’ 7” single on Copacabana in 1965. On the A-side, "Ciumeira" shuffles and sizzles with snake hipped rhythms, heavy guiro and Technicolour orchestral arrangements. On the B-side, "Rasga Teu Verso" drops the intensity for a more sultry swing through the smoke and sweat of the jazz bar. 

TRACK LISTING

Ciumeira
Rasga Teu Verso

Brilliant tracks like 'É Necessário', 'Verão Carioca', 'Venha Dormir Em Casa' or 'Musica para Betinha' make it one of the strongest albums to come out of Brazil in the 1970s. Presented in facsimile artwork and pressed on 180g vinyl.

Tim Maia was born in 1942 in the suburbs of Rio de Janeiro and started his musical career at an early age, along with close friends such as Roberto Carlos or Jorge Ben. Carlos would eventually help him to get a deal for his first single at CBS. During the 70s Maia started to incorporate soul and funk elements into his style. After a two-year period involvement in the Racional cult in Brazil, Maia's funky style was still at its best when he released this album in 1977. It was his first and only recording for Som Livre, the legendary label that became extremely popular due to the many soap operas soundtracks in its extensive catalogue.

This self titled LP deserves to be shortlisted among Maia's top records. It features killer tunes like the anthemic 'É Necessário', undoubtedly one of the best songs in his career, and also boogie gems such as 'Verão Carioca' or 'Venha dormir em casa' that show obvious influences by some of the biggest American soul artists of the time. It also contains intimate vocal delights as in the lovely smooth tune 'Musica para Betinha' or even straight funky instrumentals like 'Flores belas'. The string arrangements, wah wah guitars, horns, deep vocals make this recording a milestone in the so-called "Black Movement" in Rio, where artists like Toni Tornado, Banda Black Rio and Maia himself were bringing in the funky sounds of America and mixing them with local rhythms like samba. 

TRACK LISTING

Pense Menos
Sem Voce
Verao Carioca
Feito Para Dancar
E Necessario
Leva O Meu Blue
Venha Dormir Em Casa
Musica Para Betinha
Nao Esquente A Cabeca
Ride Twist & Roll
Flores Bellas
Let It All Hang Out

Brilliant self-released, private-press jazz/soul LP from 1975, recorded at Sunset Sound studios in LA. This is the super-rare debut album from SpaceArk, a band of brothers on an interstellar voyage to discover “electrifying new sounds”. It’s another one of those private press treasures - a dynamic group of talents seizing the moment and making magic in an astounding 12-hour turnaround.

TRACK LISTING

Welcome To My Door
Our Love Will Last
I’m Walking
Do What You Can Do
This World
Everybody’s Trying
Understand
Fever Pitch
I’m Only Me
Jr. Blaster

Originally released in 1979, ‘Dancing In Outer Space’ is a certified jazz-funk classic from a legendary band! It sits at the pinnacle of the underground UK dance scene that went on to have a global influence. Stateside, the track had big support in clubs such as the mythic ‘Paradise Garage’ and ‘The Loft’ by the likes of Larry Levan and David Mancuso. The A-side swells into being, building from the flanged hi-hats into a full on cosmic freakout complete with wild bass, cool brass and jazzy guitar licks. So far, so far out, but when the bat pitch organ riff comes in, you're transported to a place you never knew existed. Meanwhile on the flip, "Outer Space" twists those same ingredients into a more laid back and loungey variation. It's an instantly recognisable anthem that is just as fresh today as it was when it was first released.

STAFF COMMENTS

Patrick says: Jazz-funk / disco hybrid which became a staple on the sacred floors of the Paradise Garage and the Loft. Deep, groovy and galactic tackle folks.

Widely available for the first time in forty-five years, featuring ‘It’s A New Day’, one of the most sample breaks in history.

Record collectors, producers and crate diggers like a good creation myth, and Skull Snaps’ self-titled ‘debut’ had it all. A mysterious funk trio, who recorded one album under a curious name, housed it in a sleeve that looked more like a proto-metal album, and released it through a label (GSF Records) that folded shortly afterwards? Everything pointed towards the Skull Snaps album as a single totemic object, packaged in a way that predicted its own disinterment almost twenty-five years later.

For those who sampled it, myth maintenance was advantageous, both for their reputations and for their consciences. Likewise, an unsanctioned 1995 reissue on Charley Records removed the credits from the inner sleeve to further sever the record from its context - or perhaps because the label couldn’t quite face using the names of artists they had no intention of paying. Either way, owning the record was a right of passage, as Amir Abdullah once wrote: “If you don’t have Skull Snaps in your collection, your collection is weak.”

Featuring sleeve notes by Anton Spice. Licensed from Sam Culley.

STAFF COMMENTS

Barry says: One of the most legendary funk oddities of all time makes it's way as a fully licensed reissue, full of soulful grooves, heart-warming harmonies and smooth, funk power. An absolutely essential pick-up this one. Get it while you still can.

TRACK LISTING

My Hang Up Is You
Having You Around
Didn’t I Do It To You
All Of A Sudden
It’s A New Day
I’m Your Pimp
I Turn My Back On Love
Trespassing
I’m Falling Out Of Love

‘Whatever’s Fair’ is a storming Northern Soul cut of the highest order, with a very catchy chorus hook, surprisingly not very well known it seems. Taken from Billy Butler & Infinity’s ‘Hung Up On You’ LP from 1973. ‘Simple Things’ is an awesome midtempo soul/rare groove jam, originally released on a 45 in 1972, by Pride. Lush instrumentation and soaring vocals from start to finish, reminiscent of Denise Williams ‘Free’ in places.

TRACK LISTING

Billy Butler & Infinity - Whatever’s Fair
Lady Lee - Simple Things

Love for Atmosfear was born out of the underground UK dance scene of the early 1980s; from nightclubs, pirate radio shows and soul weekenders. A localised scene that went on to have a global influence.

The band’s most notable track ‘Dancing in Outer Space’ - included here on the CD version as a bonus - is a certified classic. It was a chart hit in the UK and was also championed Stateside in clubs such as the mythic ‘Paradise Garage’ and ‘The Loft’ by the likes of Larry Levan and David Mancuso. An instantly recognisable anthem that is just as fresh today as it was when it was first released.

Originally released in 1981 via Elite / MCA records, ‘En Trance’ is a joyous album that arguably represents the pinnacle of the Brit-funk sound. The band consisted of bassist, and keyboardist Lester J. Batchelor, drummer Ray Johnson, guitarist Andy Sojka, saxophonist Stewart Cawthorne, singer and guitarist Tony Antonio and producer Jerry Pike. The album captures the excitement of these exceptional players demonstrating utmost originality in the studio.

TRACK LISTING

CD:
Free Tonight
Duende
Creator’s Dream
Interplay
Funk The Rock
Invasion / Return Of LB
Dancing In Outer Space
Motivation
Extract
Alternative II

LP:
Free Tonight
Duende
Creator’s Dream
Interplay
Funk The Rock
Invasion / Return Of LB

Written and produced with Ebo Taylor and originally released in 1975,  "Simigwa" is Ambolley's debut solo album. It's a legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk.
Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.
‘Simigwa’ was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.

TRACK LISTING

Kwaakwaa
Akoko Ba
This Hustling World
Toffie
Adwoa
Fa No Dem Ara