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MR BONGO

MATTY

Dejavu

    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.

    FORMAT INFORMATION

    Coloured LP Info: Red coloured vinyl.

    Nas

    Made You Look

      Official Mr Bongo Hip Hop Reissue. Nas has had a career of generally consistent excellence, punctuated with a few lulls.

      He’s an incredibly skilled rapper sometimes accused of having a tin ear when it comes to choosing beats - especially on albums (and the entirety of ‘Illmatic’ aside, obviously). ‘Made You Look’ was a shot in the arm for Nas at a time when he’d shed some of his core, street fanbase. After the unfocussed ‘Nastradamus’ and ‘I Am...’ albums he’d had a return to some kind of form with ‘Stillmatic’, but many felt he came off second best in the ensuing battle with Jay-Z.

      This single, a club and street classic almost from the moment it dropped, is exactly what he needed to reconnect with his fans and to show he could still throw down. Lyrically, it’s hardcore bragging 101, delivered with panache and numerous quotables that themselves would go on to be sampled. Key to it all, however, is that beat. Salaam Remi was no stranger to resurrections, having almost single-handedly turned The Fugees from forgettable also-rans to major-players. The beat here is deceptively simple, one of hundreds of records to chop up Incredible Bongo Band’s ‘Apache’ but doing so in a way that felt instantly fresh. Nearly 20 years later it still has the power to get a stationary crowd moving, an empty dancefloor to fill, a still head to nod.

      This original version has never been on 7” before. It’s presented with full artwork

      Idrissa Soumaora Et L'Eclipse

      Nissodia (Mike D Edit)

        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.

        FORMAT INFORMATION

        Ltd 12" Info: Indies exclusive yellow vinyl.

        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.

        Asha Puthli

        Asha Puthli (RSD20 EDITION)

          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.

          Sir Joe Quarterman & Free Soul

          Sir Joe Quarterman & Free Soul (RSD20 EDITION)

            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 re-issue for Record Store Day 2020 with a gatefold cover.The self-tiled Sir Joe Quarterman & Free Soul album from 1973 was the only album recorded by the group.The success of the hit song and album enabled the band to share the stage with big-name acts such as James Brown and Earth Wind & Fire.The album track '(I've Got) So Much Trouble In My Mind' even became a regular feature on the legendary TV show, Soul Train.These triumphs also drew the attention of record company executives who wanted to sign Joe as a solo artist; an offer he refused as he was not willing to abandon the band.The group members for the recording were neighborhood musicians and school friends from the Washington D.C area - George "Jackie" Lee (Guitar), Gregory Hammonds (Bass), Charles Steptoe (Drums), Karrissa Freeman (Keyboards), Johnny Freeman (Trombone), Leon Rogers (Sax/Vocals) and Joe (Trumpet/Vocals).The simple cartoon-like almost pre-Basquiat style record cover artwork has become iconic in its own right, but this was not the original intention.Joe had prepared a quick illustration for a photographer to depict in a collage for the album art, however, the label ended up using his original sketches for the final cover.Whatever was in the water, things all came together and aligned at the right time, and a true soul-funk classic record was born.

            Various Artists

            Brazil 45s Boxset / Curated By DJ Format

              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.


              Limited Edition Clamshell Box which doubles up as a DJ box for your Brazil 45s collection.We've been toying with the idea of collaborating with a guest selector for the Brazil 45 series since its inception in 2014, but up until now the timing has never been quite right.That all changed following a recent digging trip to Brazil, where upon our return DJ Format was first into the office, full of excitement and enthusiasm (portable record player in hand), ready to bust open the boxes and see what treats we had unearthed.Straight away we knew that alongside being one of the UK's premier record collectors, producers and DJs, he had the passion and knowledge that would result in a totally unique take on a Brazil 45 collection.†Brazil has such a rich multi-genre musical heritage that sometimes it can be hard for curators to decide on where to focus.DJ Format has a very distinct stamp to his own productions and mixtapes, and that can be clearly seen in the coherent theme he has applied to his selections for this release.He has chosen 10 funk-psyche-break-beat Brazilian nuggets from the '60s and early '70s, and included wonderful artists such as The Modern Tropical Quintet, Manito, Free-son, and Marisa Rossi, to name a few.It is a body of work that fits together perfectly and shines a light on some perhaps forgotten artists that deserve attention and praise.This collection will appeal to fans of DJ Format, those with a knowledge of Brazilian music, and even the first time buyer just wanting to discover something new.†This special limited Record Store Day 5 x 45s collection comes in a box designed by Owen Tozer.

              Ultra Magnetic MC's

              Ego Tripping

                Melvin Bliss' iconic 'Synthetic Substitution' (1973) has been sampled hundreds of times. Gracing records from Naughty by Nature's 'O.P.P' to Public Enemy's 'Don't Believe the Hype', it's one of the foundations of hip-hop. However, there's a school of thought that says the sample could have been retired forever after Ced Gee used it for 'Ego Tripping'. It was the first song to use those wonderful Bernard Purdie drums, and arguably the best.

                Their first release on Next Plateau Records, this instant 1986 classic slams from the first bar, that hard-as-hell beat underpinned by stabs and the breathy 'ultra-magnetic-magnetic' chant beneath. Meanwhile, Ced and future legend Kool Keith go to town with pseudo-science and a thinly veiled diss of Run DMC – 'Say what, Peter Piper, to hell with childish rhymes'. It's a song shot through with promise they'd more than fulfil on their debut album, 1988's landmark 'Critical Beatdown'.

                The flip, 'Funky Potion', doesn't coalesce with quite the same genius but is still more than a curio, with the MC's doubling down on their futuristic nonsense approach to lyricism. Rufus Thomas' 'Do the Funky Penguin' is the base for yet more stabs, discordant scratches and a kitchen-sink approach that shows just innovative the group were prepared to be.

                Never before released before on 7", this undeniable hip-hop classic comes complete with bespoke hype stickers incorporating one of the great rap logos of all time.

                Ultra Magnetic MC's

                Travelling At The Speed Of Thought

                  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.



                  Ultra Magnetic MC's

                  Give The Drummer Some

                    The late engineer and producer Paul C's fingerprints are all over this single from Ultramagnetic MC's, perhaps the defining release of their career. While earlier records gave notice of their strange and unique talents, they were loveably messy affairs. This, however, is the real deal, as polished as their early sound would ever be.

                    'Give the Drummer Some' grabs a fistful of different elements – from James Brown, Dee Felice Trio and James Brown – but bends them to its own purpose. This is a song with a momentum of its own and endlessly quotable lyrics. One of which, of course, was sampled by The Prodigy – huge hip-hop fans – for 'Smack My Bitch Up' in 1997. The now hugely rare 7" of 'Give the Drummer Some' edits this out to make it more radio-friendly, but this reissue reverses that cut, giving you the original lyrics. If anyone knows why Kool Keith also changes the word 'rappers' to 'monkeys' for that edit, answers on a postcard…

                    The brilliant B-side harks back to the time when every group had a song dedicated to their DJ. 'Moe Luv's Theme' sees Kool Keith at his most straightforward, singing the praises of the turntable skills of Moe Luv. It would be throwaway were it not for the effortless repurposing of Jackie Robinson's oft-sampled 'Pussyfooter'. That – and the presence of one of the world's great MC's at the height of his powers – elevates it far above a footnote.

                    Black Sheep

                    Strobelite Honey

                      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.

                      Tadao Sawai & Kazue Sawai & Hozan Yamamoto & Sadanori Nakamu

                      Jazz Rock

                        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.

                        Surprise Chef

                        All News Is Good News

                          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

                          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.

                          Dee Dee Bridgewater

                          Afro Blue

                            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.

                            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.

                            Marumo

                            Modiehi

                              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!

                              Gang Starr

                              Jazz Thing

                                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.

                                Matthew Tavares & Leland Whitty (BADBADNOTGOOD)

                                Visions

                                  ‘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.

                                  FORMAT INFORMATION

                                  2xColoured LP Info: Red Transparent coloured vinyl.

                                  The Star Beams

                                  Play Disco Specials

                                    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.

                                    Sonia Santos / Marcia Maria

                                    Marraio / Oh! Man

                                    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.

                                    Jorge Ben / Baby Consuelo

                                    Waimea 55.000 / Curto De Veu E Grinalda

                                    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).

                                    Solat

                                    Change The World / Try, Try

                                    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

                                    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.

                                    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.

                                    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

                                    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!

                                    FORMAT INFORMATION

                                    12" Info: Available in 2 limited-edition, hand-numbered sleeve designs.

                                    Peter King

                                    Omo Lewa - Reissue

                                    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.

                                    Shina Williams & His African Percussionists

                                    Shina Williams

                                    Shina Williams ‘Agboju Logun’ was a ground-breaking fusion of afrobeat, electronics, boogie and disco. First released on Phonodisk in 1979 as part of the ‘African Dances’ album, then in 1984 as an alternative version on Rough Trade’s Earthwork off-shoot, it has gone on to attain cult-like status. So it remains a bit of a mystery how so little has been documented about the followup. Shina’s self-titled album was originally released on Help Records in 1980. It differs from the upfront afro-disco-funk of ‘African Dances’ as it diverts into deeper, hypnotic, afro-beat territory. Though listed as a six-track album, each side (composing of 3 tracks) is builtupon one continuous groove with call and response female & male vocals and instrumental solos coming and going as each side progresses. The results are raw, hypnotic, locked-in grooves, which sit perfectly on forward-thinking contemporary dancefloors.

                                    Hozan Yamamoto With Sharps & Flats

                                    Beautiful Bamboo-Flute

                                    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!


                                    Gyedu Blay Ambolley And Zantoda Mark III

                                    Control

                                    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.

                                    Ebo Taylor Jr With Wuta Wazutu

                                    Gotta Take It Cool

                                    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

                                    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.

                                    ‘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

                                    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.

                                    Atmosfear

                                    Xtra Special

                                      In 1982 Atmosfear hit their prime with the release of this underground classic, ‘Xtra Special’. A gear switch from their jazz-funk origins, this boogie track featuring the sublime vocals of Beverley Skeete, is a prime example of an innovative band at their peak.

                                      Archie Shepp

                                      Attica Blues

                                      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

                                      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.

                                      Kit Sebastian

                                      Mantra Moderne / Kyutu

                                      ‘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

                                      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!

                                      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!

                                      Tim Maia

                                      What You Want To Bet ? / These Are The Songs

                                      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.

                                      Carlos Sodre

                                      Ciumeira / Rasga Teu Verso

                                      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. 

                                      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

                                      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.

                                      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.

                                      Protoje

                                      A Matter Of Time

                                        JA poster boy Protoge returns with a fresh new album "A Matter Of Time". As always his positive, politically conscious and wry commentary doesn't fail to raise the spirit and the sufferer in us all. Backed with an incredibly strong rhythm section and produced by Winta James, there's two guest appearances from Chronixx (on vocals) and one King Jammy (!!!) on production. Hit singles “Blood Money”, “Truth & Rights” and “Bout Noon” hit hard with some fantastic lyrics, and the whole album is assembled beautifully, playing through like the modern day reggae masterpiece that it truly is.

                                        Protoje is going from strength to strength, and on "A Matter Of Time" it really feels like he's found a natural stride - effortless songwriting and precise instrumentals making for a wonderfully rewarding listen. Recommended!


                                        Shina Williams & His African Percussionists

                                        African Dances

                                        First official reissue of the extremely rare full-length album by Lagos-based bandleader Shina Williams. Clean copies of the original currently sell for up to £500.

                                        The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde Willimas and several other decorated Nigerian musicians - who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others - together to record. The result is ‘African Dances’, a timeless fusion of afrobeat, electronics, boogie and disco.

                                        Includes his most well-known song, ‘Agboju Logun’ that Williams knew was ground breaking - “I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,”. This album version is a different mix to the two-track 12” that came out under on Earthworks, Rough Trade in 1984.

                                        Luis Perez

                                        Ipan In Xiktli Metztli

                                          Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English.

                                          Luis Perez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of pre-Columbian instrumentation. This research that allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico.

                                          He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old.

                                          He continuously utilises these instruments in performances, concerts, lectures, exhibitions and recordings, in a sense, keeping them alive. Following a decade playing in Mexico City’s psychedelic rock scene, his early solo work was a mixture of sounds derived from his vast array of pre-Hispanic and ethnographic wind and percussions which he managed to blend with electronic devices including tape delay units, electric guitars and synthesisers. During this time, he was given the name ‘Ixoneztli’ (or “one who makes music”) by the legendary ‘curandera’ Pachita and her son Enrique, to whom, like Alejandro Jodorowsky before him, Luis served as assistant. In 1981, the Mexican government became very interested Perez work and sponsored the production of what became the first recording of the fusion of native mexican instruments with electronics - entitled ‘Ipan In Xiktli Metztli,’ in the Nahuatl language, or ‘En el Ombligo de la Luna’ in Spanish... ‘In the Navel of the Moon.’

                                          The impact of this recording and subsequent performances among media, ethnomusicologists and audiences alike established Luis Perez ‘Ixoneztli’ as a precursor to a new musical genre followed by a generation of young Mexican musicians - Ethno-Rock, Ethno-Jazz, Ethno-Experimental and the like. ‘El Ombligo de la Luna’ reaches us from deep in the past but it also exists entirely outside of time, as Luis Perez ‘Ixoneztli’’s offering to the world - the soul of Mexico channeled through the hands of a master musician.

                                          Pat Thomas Introduces...

                                          Marijata

                                            Ghana's Marijata was a group made up of three members – Kofi 'Electric' Addison on drums, Bob Fischlan on organ and Nat Osmanu on guitar. ‘This Is Marijata’ is the groups first LP; released originally on the Gapophone label – it is pure, rootsy, raw, driving African funk music of the highest order, now highly sought-after in both its original and previously reissued forms. Addison, Osmanu and Fischlan formed a band called the Sweet Beans with a young singer and guitarist, namely the legendary Pat Thomas. They released ‘False Lover’ in 1974 on Gapophone Records before recording ‘This Is Marijata’ and then ‘Pat Thomas Introduces Marijata’ shortly afterwards.
                                            ‘This Is Marijata’ is summed up perfectly by the text on the back cover: “Three young musicians of the Sweet Beans believe that in music and entertainment business, there is no room for mediocrity if one’s music is to win over a bigger audience and fame. How could they give the public a taste of the talent they had so meticulously nurtured since they began their musical careers without upsetting the current musical inclination in the country?
                                            Backed by a group of hand picked musicians, the whole album is exclusively the work of three young men who are trying to bring back some freshness and raw funk into the current flash-in-the-pan songs being recorded in this country.
                                            “I Walk Alone” a cool, scintillatingly slow number, displays some interesting instrumental works. “No Condition Is Permanent” and “Break Through” exhibit originality using the funk medium. Even though the vocal rendition sounds somewhat on the hoarse and gritty side, a strong impression is left on the mind of the listener that the boys have something going for them right in there. With the emergence of this album, I believe subsequent albums will breathe more freshness into the whole entertainment scene. Right on, brothers Marijata.”
                                            Produced in 1976 at Gapophone Records, Accra, Ghana, the album is licensed from George Prah, founder of Gapophone Records.It features correctly labelled sides, in contrast to the original pressing. Replica original artwork.

                                            FORMAT INFORMATION

                                            LP Info: *WAREHOUSE FIND*

                                            ‘Spirit Reflection’ is the third album LP from Los Angeles singer-songwriter Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create a unique, beautiful and multi-layered album.

                                            The album features a stellar line-up of LA talent; jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Nin 771;o, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results.

                                            Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and J- Rocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the ‘creative music ensemble’ Build An Ark alongside others including Carlos Nin 771;o, Dexter Story and Dwight Trible.

                                            Gaby was the only vocalist on Teebs' debut Brainfeeder release Ardour. She made major contributions to AmmonContact's Ninja Tune releases New Birth and With Voices, plus The Life Force Trio's Plug Research album Living Room. She was also the vocalist on Dimlite's Outernational Duet - released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing.

                                            David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. “Gaby and Carlos passed us a copy of ‘Spirit Reflection’. and we put it on the deck. It immediately grabbed us and we couldn’t stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We’re very proud to be releasing it”... “...this is a future classic, an 'album' in the truest sense of the word. Brilliant.” says Graham.

                                            “The music itself envelopes its listener in a warmth reminiscent of decades past, presenting both a nostalgic soulful sound and a sensual experience” Culture Collide

                                            “A romantic summer cocktail that should be imbibed half-nude on a beach or while scattering rose petals on a bed. The songs flow between seductive, relaxing and spiritually nurturing, with earthy rhythms and warm production that make the listener feel comforted” Buzz Bands LA

                                            “Jaw-droppingly tasty” LA Weekly

                                            STAFF COMMENTS

                                            says: Shades of Mia Doi Todd abound on this delicate and drifting journey through hook heavy, hazy soul. This is the soundtrack to the summer everyone.

                                            Eloah

                                            Os Orixas

                                            Tip off from our good friend Rodrigo Gorky aka Bonde do Role, that has since become one of our favourite album discoveries, and continues to grow on us with every spin.

                                            ‘Os Orixas’ is rich in layered percussion, horns and guitars. Singer Eloah’s lead vocals are reminiscent of the likes of Ellen McIlwaine, Elza Soares and Joyce. Samba, funk, folk, jazz and MPB over ijexa and African grooves, that combine beautifully across the moods. Os Orixas refers to one of the manifestations of the ’supreme God’ in the Yoruba faith.

                                            The songs were written by Luis Berimbau, assisted by Ildásio Tavares. Berimbau was a very influential multi instrumentalist, poet, writer and composer from Bahia, Brazil. He produced the wonderful folk / psychedelic rock group Perfume Azul Do Sol’s ‘Nascimento’ LP amongst many others.

                                            Tavares was an author, composer and poet from Salvador, Bahia. As a composer, he worked with many artists including Vinicius de Moraes, Maria Bethania, Alcyone, Toquinho, Nelson Gonçalves and Maria Creuza. Many of his poetic works were published, and he even penned Afro-Brazilian opera entitled ‘Lydia's Oshun’.

                                            Arthur Verocai

                                            Arthur Verocai - Mr Bongo Edition

                                            Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, this album gave him the chance to do his thing in it's most pure form. The LP has an orchestral folk-soul, jazz, funk or lo-fi electronic experimentation feel, in a similar vein to Shuggie Otis, Charles Stepney (the LP uses 20 piece string arrangements) or Jorge Ben, with lyrics (sung in Portuguese) that subtly challenge the repressive military dictatorship of the time. Featured musicians include Robertinho Silva, Paulo Moura, Edson Maciel, Oberdan Magalhaes (Banda Black Rio) and Tonhino Horta.  For a very long time, Mr Bongo have been trying to re-issue this record. A true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.  Mastered in 2012 from the original Continental master tapes and supervised by Arthur Verocai, the album comes complete with original replica gatefold artwork.

                                            'Dawn Of The Dread' brings the big personality that is Horseman to the forefront of a full length album for the first time. As fearsome a drummer as he is an MC, Horseman has worked with musicians and producers Tippa Irie, Max Romeo, Gregory Isaacs, Sugar Minott, Jah Shaka, Mad Professor, Barrington Levy, Eek-A-Mouse and The Royal Philharmonic Orchestra with John Holt - to name but a few - most recently performing with Hollie Cook and Prince Fatty. It was while playing with renowned outfit The Ruff Cut Band he met producer and long term colaborater Mike 'Prince Fatty' Pelanconi. 'Dawn Of The Dread' was recorded at Studio Dub in Thailand before being mixed at Prince Fatty's Ironworks studio in Brighton. "Mike just asked, "you ever been to Thailand?" and we went. There were great vibes, we walked in and it all fell into place. We were looking to get that 80s digital sound and all that original equipment was just there waiting for us. It was fate".

                                            The album is the follow-up to her fantastic eponymous debut album which was released to huge acclaim in 2011, with Q calling it "gorgeous late '70's style reggae pop" whilst the BBC named it as "one of the most enjoyable reggae albums of 2011". In 2012 a dub version of the debut album was released – "Prince Fatty Presents Hollie Cook In Dub". That same year Ian Brown asked Hollie to support The Stone Roses on one of their hugely anticipated reunion shows at Manchester's Heaton Park.

                                            The new album "Twice" sees Hollie's obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and Choir. The album was produced by Prince Fatty.

                                            Like many American stories, the tale of Fania comes from the boroughs and inner city barrios of New York City. Along the way, Fania artists mixed a cornucopia of styles that transcended the boundaries of traditional Latin music and set the path for the genres of salsa, boogaloo, Latin R&B, and Afro-Cuban jazz. This set brings the Fania sound right up to date with an excellent selection of contemporary remixes. Radio 1 DJ, Brownswood Records label boss and all-round music guru Gilles Peterson offers up a great mix of Nora Morales' "Saona", alongside Ashley Beedle, who touches up "Feel Like Making Love" by Ricardo Marrerro. Brazil's electronic trio of the moment, funk carioca outfit Bonde de Role take on Lenni Sesar's "Morris Park", while Sinden revamps La Lupe's version of "Fever". Hip hop pioneer DJ Format brings us a storming mix of Dave Cortez' "Happy Soul With A Hook", while Masters at Work's Louie Vega drops an 11 minute rework of Hector Lavoe's "Mi Gente". Add to that remixes by 4hero, Bugz In the Attic, Nicola Conte, Quantic, Andy Smith and Keith Lawrence, and I reckon we have a pretty essential LP.

                                            FORMAT INFORMATION

                                            2xCD Info: 28 track double CD.


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