Mr Bongo keep the hits coming with a welcome reissue of Burnier & Cartier's self-titled LP, which has soared to the top of many a wantlist after appearing in many a setlist and sample-jam. A gorgeous set which touches on MPB, soul, jazz, disco and boogie, the LP has been championed by the likes of Jazzanova, Floating Points and Hunnee while Andres and KDJ and Kaytranada have all slammed it into the MPC and made good use of these exquisiste grooves. The perfect marriage of breezy South American rhythms, sunkissed melodies and smooth vocals, the album is a testament to the songwriting talents of the duo and the production and arrangement expertise of Arthur Verocai and Luis Bonfa.
Remastered for 2018 and presented in replica artwork, this Brazilian fusion gem is finally available without securing a second mortgage.

TRACK LISTING

So Tem Lugar Pra Voce
Aldeia Global
Lejos De Mi
Lembrando Ed Kleiger
Deixa Mudar
Parte Capital
Mirandolina
Ai E Que Ta
Aventura Espacial
Barranco
Europanema
Marcante

Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician,

Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states.

'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smoky, beat- down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu

Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener 'Raisins', with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend.

TRACK LISTING

1. Raisins
2. Sometime
3. The Breeze And I
4. East Side Boogie
5. El Toro
6. Bamboo Child
7. Andes

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, but this album gave him the chance to do his thing in its most pure form. The 29 minute masterpiece, perfect in its arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax.

Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly. The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others. The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur's supervision.

TRACK LISTING

1. Caboclo
2. Pelas Sombras
3. Sylvia
4. Presente Grego
5. Dedicada A Ela
6. Seriado
7. Na Boca Do Sol
8. Velho Parente
9. O Mapa
10. Karina

Thirty years after its original release, Main Source's debut album Breaking Atoms has lost none of its capacity to surprise or delight

It remains a prime example of a classically styled hip-hop LP - two DJs, one MC, 11 tracks, no flab or filler. It wasn't a slow burner - it was adored on release and hasn't left the top ten of any serious rap fan ever since.What makes it so special? Perhaps it's in the group's ear for a hook and sample, with Large Professor mounting a whole, celebrated career off the back of this gem. Perhaps it's in the way he manages to balance bragging with more political, thematic tracks such as 'Just a Friendly Game of Baseball' and 'Peace is not the Word to Play' without ever coming across as preachy.

Few albums of this length are able to spawn four singles - all of them must-haves - while still having material galore on the album that could have been pressed as a 12". 'Snake Eyes' 'Vamos a Rapiar' and 'He Got So Much Soul (He Don't Need No Music) could have been singles in their own rights, an embarrassment of riches.

Sample-wise, it's all about the skillfully woven mixture of the obvious and the obscure, with a tapestry of samples approach that's just not legally possible anymore. So while you might recognise a snatch of Donald Byrd's 'Think Twice' on the timeless 'Looking at the Front Door', it's layered with elements from Ken Lazarus, Detroit Emeralds, The Third Guitar and more. It's an approach that pays constant dividends and rewards repeated listens. Presented in its original format, this is the essence of Breaking Atoms, one of the best albums in the long history of this genre.

TRACK LISTING

Snake Eyes
Just Hangin' Out
Lookin' At The Front Door
Large Professor
Just A Friendly Game Of Baseball
Scratch & Kut
Peace Is Not The Word To Play
Vamos A Rapiar
He Got So Much Soul (He Don't Need No Music)
Live At The Barbeque
Watch Roger Do His Thing

It comes as no surprise to discover we are massive fans of Marcos Valle here at Mr Bongo, but this forgotten and obscure gem from the Brazilian maestro has proven to remain elusive to us until very recently

'Girassol' is a lost Brazilian-boogie stunner from 1983. It was originally released as an ultra-rare promo only 7". Composed by Marcos Valle, Paulo Sergio Valle and Ribeiro José Francisco, this all-too-short nugget (under 2 minutes) was recorded and pressed on the Valle, Ribeiro & Associados Ltda. imprint for Rede CB De Supermercados. It was a promotional item to be distributed to customers of a supermarket chain as a gift. Due to not having any conventional distribution channels this resulted in the 7" becoming a slippery customer to find.

It's a smooth AOR / Brazilian boogie joint with an uplifting chorus. The vibe is reminiscent of the much loved 'Estrelar' era of Marcos Valle's glorious recording career, and certainly one for fans of the Lincoln Olivetti, Robson Jorge production sound.

Ultra-rare Brazilian boogie from Marcos Valle.

Reminiscent of 'Estrelar' era Valle.

For fans of Lincoln Olivetti productions.

TRACK LISTING

Girassol
Girassol (playback)

The Mankunku Quartet's 1968 album 'Yakhal' Inkomo' clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse.

Originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his 'best of genre' focussed radio show, 'The 20 - South African Jazz'. On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes 'This is the LP that every jazz fan has been waiting for' and Ray was not wrong, it's a stone-cold timeless jazz classic.

Half-speed mastering at Abbey Road Studios.

TRACK LISTING

1. Yakhal Inkomo
2. Dedication (To Daddy Trane And Brother Silver)
3. Doodlin'
4. Bessie's Blues

Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it's not just a vital document, it's also a damn good listen. The line-up is a who's who of those who stood out from hip- hop's nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it's rough at the edges, it's occasionally amateurish, but it's completely, utterly glorious. The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny 'Ferrari' Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed. Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip- hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That's because the soundtrack perfectly encapsulated the essence of the film, the scene and hiphop's emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

TRACK LISTING

A1. Wild Style Theme
A2. MC Battle
A3. Basketball Throwdown
A4. Fantastic Freaks At The Dixie
A5. Military Cut (Scratch Mix)
A6. Cold Crush Bros At The Dixie
B1. Stoop Rap
B2. Double Trouble At The Amphitheatre
B3. Wild Style Subway Rap
B4. The Chief Rocker Busy Bee, DJ AJ At The Amphitheatre
B5. Gangbusters (Scratch Mix)
B6. Rammellzee & Shock Dell At The Amphitheatre

Curating these compilations, where Mr Bongo share their latest musical discoveries and old favourites from the global stage, is always a labour of love. This selection is less dancefloor driven than their previous volumes, as fewer opportunities for live events drove them to explore other paths and styles in the musical spectrum. But, whether you're DJing for a kitchen or a club, there is still a generous serving of spicy dancefloor magic.

For Volume 5, Mr Bongo looked to a broad church - from Brazil to Cuba, Ghana, Jamaica, Japan, Mauritania, South Africa, Sweden, Trinidad and Tobago, the UK, and the US. They pulled songs from the 70s up to the present day and feature a stellar cast of artists. There's an exclusive track from Sven Wunder which was recorded solely for this compilation. There's also a track from Admin which was released as a private press 7" at the start of 2021 and one they felt was far too good to only be available for the lucky few. You'll also discover one of their most treasured Gyedu Blay Ambolley productions, a full-force African disco colossus!

TRACK LISTING

1. John Barry-Moore - Abertura De "Os Inocentes”
2. Willy Chirino - Sing A Song (Canten Mi Canción)
3. Malouma – Nebine
4. Yasuaki Shimizu - Karachi
5. Mariah - Shinzo No Tobira
6. Mave & Dave - You Are Delicious
7. Mark Capanni - I Believe In Miracles
8. Admin - Step Into Light
9. Phillip Malela – Tiba Kamo
10. Gyedu Blay Ambolley - Let's Be Happy (Disco Mix)
11. Tyrone Evans - Rise Up (Discomix)
12. Stimela – I Hate Telling A Lie
13. Eamon - Ready For War
14. Sven Wunder – Mosaic
15. Hiroshi Suzuki – Romance
16. Tetê Da Bahia – Duplo Sentido
17. Malouma – Yarab

2021 saw the release of 'The Globefower Masters Vol.1' An album released on Mr Bongo and born from the fruitful collaboration between Glenn Fallows (The Impellers / Andres y Xavi) and Mark Treffel (Blue States / The Soul Steppers).Taking inspiration from classic 60s and 70s soundtrack and cinematic composers such as Axelrod, Morricone, Gainsbourg, Jean- Claude Vannier and Piero Umiliani, the album was very well received upon its release and struck a chord with the scene's connoisseurs.

The next logical step was to make their music available on 45 too. The release features an album track 'Fear Me Now' on the A-side and is paired on the B-side with two new tracks that channel the sound of library music giants such as Hawkshaw and Bennett. Three lush, warm and timeless productions.Inspired by classic 60s and 70s soundtrack composers such as Axelrod and Morricone, and library music giants including Hawkshaw and Bennett.

TRACK LISTING

Fear Me Now
All So Simple
Slurred And Blurred

A Swedish funk / psych / jazz rarity, it attracted little attention upon its initial release and seemed doomed to obscurity, but thanks to crate-digging DJs and a Mr Bongo 1996 reissue, it has since seen a new lease of life as a highly prized cult classic amongst record collectors. The album presents a unique blend of pop, jazz, funk and soul, containing more than a hint of Joni Mitchell, Led Zeppelin and the like. Backed by her husband Lukas Lindholm on bass Doris was able to lay down some seriously funky bass lines on tracks like 'Don't' and 'Beatmaker'.

On 'You Never Come Closer', an experimental track that was way ahead of its time, Janne Carlsson unleashes a fearsome sound on drums helped by Bernot Egerladh on organ. 'You Never Come Closer' was sampled on 'Closer' by infuential hip-hop producer Madlib for Quasimoto. This has led to Doris' work becoming increasingly popular amongst underground hip-hop fans. 'Did You Give The World Some Love Today, Baby' is more than just a curiosity, it's an overlooked gem, showcasing a singer with a distinctive voice, great range and charm.

TRACK LISTING

Did You Give The World Some Love Today, Baby
I Wish I Knew
Grey Rain Of Sweden
Waiting At The Station
Don't
Daisies
You Never Come Closer
Whispering Pine
I'm Pushing You Out
Won't You Take Me To The
Theater
Beatmaker
Bath

A cinematic musical journey that plays out like a long-lost soundtrack (think cult B-movies of the 60s and 70s); 'The Children of Scorpio' was formed from Paul's love of a myriad of genres; from European library music, acid folk, psych-funk, vintage soundtracks and the contemporary breaks scene. The album draws on iconic classics such as the masterful cinematic funk of Lalo Schifrin's 'Dirty Harry', Ennio Morricone's 'Vergogna Schifosi' and Luis Bacalov's 'The Summertime Killer', to name but a few.

You can also hear the folk sounds of Mark Fry's iconic 'Dreaming With Alice', the Britsh folk-jazz of The Pentangle and the David Axelrod-produced 'Release Of An Oath' by The Electric Prunes, woven into the cultural tapestry of this gem. The influence of these vintage productions of the 60s and 70s is evident; however, it could be argued that there's also echoes of the funkier psychedelic moments of bands such as The Stones Roses and The Charlatans, alongside contemporaries such as The Heliocentrics and Little Barrie, thus giving the album a broader crossover potential beyond the world of crate digging and vintage soundtracks. We are delighted to be releasing this slowly- brewed timeless classic that manages to achieve that rare feat of keeping one foot firmly in the past whilst still sounding totally contemporary.

TRACK LISTING

1. The Children Of Scorpio
2. The Road Through The Hills
3. Path Through The Forest
4. Searching For June (Interlude)
5. June
6. Scorpio's Waltz
7. The Invitation (interlude)
8. The Ritual '70
9. Scorpio's Garden
10. The Turning
11. Plan Your Escape
12. The Deserted Compound (interlude)
13. Buried In The Woods
14. Closing Theme

Belgium, not the first place you'd think of when it comes to Latin or Afro-funk. Yet one of the greatest records to blend both styles came from the small northern European country, masterminded by Nico Gomez and his Afro Percussion Inc.

'Ritual' was originally released in 1971 on the Dutch label Omega International (Gomez was born in Holland before moving to Belgium in the late 40s) and is being reissued by Mr Bongo in 2013, bringing its blazing funk grooves to both new ears and those already tuned in to this masterpiece's legacy.

Across its 11 tracks Ritual delivers the kind of production, arrangement and musicianship that rightfully belong in a dictionary next to the definition of professional. Gomez' band was tight and they knew it, showing it off on their covers of Perez Prado's 'Caballo Negro' and 'Lupita' by injecting the originals with a deep funk that blends both Afro and Latin influences. On 'Samba De Una Nota So' and 'El Condor Pasa', another pair of covers, they switch to soulful downtempo with mesmerising ease. The title cut remains one of the album's highlights, a devastating dancefloor groove with horns to match that has aged beautifully and was heavily sampled by Liquid People for 'The Dragon'. 'Pa! Pa! Pa! Pa!' adds touches of rock with fuzzy guitars for one of the album's headier experiences.

'Ritual' is a perfect example of the kind of experimentation that was rife in the 70s and which, when done as well as on this album, proves quite simply timeless.

Two tracks from the album were featured on our 2017 compilation 'The Original Sound Of Mali' (MRBLP135, still available), and we subsequently released the track 'Nissodia' on its own 12" (MRB12053 & MRB12053NO, both still available) in 2020, complete with a blistering dancefloor re-edit by Mike D of The Beastie Boys. 'Le Tioko-Tioko' is one of the rarest vinyl albums from the already scarce Malian vinyl discography, partly as the album was never released commercially, only independently distributed via the Malian Association for the Blind in Bamako. Though recorded at Radio Mali under the aegis of master engineer Boubacar Traoré; the album was originally released in East Germany.

The tapes had been taken by some Malian students to East Berlin as part of a student exchange program. It was then manufactured and released on the East German state owned label Eterna with only a few boxes of records being shipped back to Bamako. A true masterpiece, this legendary LP offers some devastating songs such as 'Djama' (society), 'Nissodia' (joy of optimism), and 'Fama Allah' (an ode to god). Hypnotic organ riffs and breakbeats convey an unknown funk quality in Malian music, it now stands as a loving tribute to an unsung Malian golden age. Sadly, like many of the other now desired and prized vinyl rarities, at the time of release, it almost immediately disappeared without a trace due to a lack of promotion, and distribution. So, it feels fitting to share this gem of a record again, and hopefully it with reach the wider audience it deserved over 45 years ago. A funky masterpiece packed with organ-driven riffs and incredible drum breakbeats. A sought-after rarity from the Malian golden age.

TRACK LISTING

1. Fama Allah
2. Djama
3. Beni Inikanko
4. Nissodia
5. Ben
6. Bimoko

With some of the best DJs and selectors there is a certain mysterious sound or underlying feeling which unites the music they play, regardless of genre, year or tempo. Luke Una is a master of telling a story through music and this compilation is a perfect example of his musical alchemy in action. Featuring tracks from Yusef Lateef, Airto Moreira, Crooked Man, Henri Texier and many more, it is a collection of new, old, rare and under-discovered music from around the world, all united by Luke under the banner of "E-Soul Cultura".

It's best described by Luke himself, who writes: "As the 5AM city sleeps and the strobe lights are slowly turned off, we gather on the wrong side of town in a transcendental journey alone together. We are the late night disenfranchised holding on in various after parties, flats, lofts, random kitchens and basements into the outer cosmos with É Soul Cultura. Music from exotic tear jerkers, Afro-spiritual jazz, cosmic Brazilian celestial grooves, machine street soul, dark horses, lost B-sides, £1 bargain-bin bombs, hidden gems, late night Italo dubbing, deep velvet N.Y.C garage, bass buggin sonic futurism, wrong speed 33BPM pitched up +8 new beat, majestic sunset strings, sweet vocals from heaven, no half steppin jazz dancing in outer-space and odd numbers. Yes… magical moments, together, holding on in witness protection suburban cul-de-sacs and Castle Court flats. Cosmic É high, 3000ft above the city getting evangelical to murky, wonky timeless beautiful music. This thing of ours dreaming of better days. Fail we may, sail we must, the sun will come up again." For anyone who has enjoyed his epic 5 hour shows on Worldwide FM, you know what to expect from the man who is Luke Una. Variety and quality all the way. 

STAFF COMMENTS

Barry says: One of Manchester's most well known DJ's and personalities brings his impeccable music taste and curation skills to stalwart label, Mr Bongo for a silky-smooth collection of crepuscular serenades, hazy dancefloor grooves and tropical bliss. A seamless, nuanced musical journey.

TRACK LISTING

1. Robson Jorge & Lincoln Olivetti – Eva
2. Chene Noir - Le Train
3. Metropolis - Every Time I See Him
4. The Brand New Heavies Featuring N'Dea Davenport – Stay This Way (The Lunar Dub)
5. Typesun - The P.L. (Extended Edit)
6. King Errisson - Space Queen
7. Yusef Lateef - Robot Man
8. Daniel Humair, Francois Jeanneau, Henri Texier - Le Cyclope
9. Airto Moreira - O Galho Da Roseira (The Branches Of The Rose Tree)
10. Francisco – Wache
11. Nar'Chiveol - Apocalypse Now Ho
12. On - Southern Freeez
13. Soylent Green - After All

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

The Accra-born pianist and frontman, ROB, 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. Driving funk and raw soul, 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. The RSD edition features replica original artwork, obi strip and red vinyl.

Vinyl Red PLUS Tip On sleeve.

THIS IS A RECORD STORE DAY 2022 EXCLUSIVE, LIMITED TO ONE PER PERSON.

The third volume in our "Brazil 45 Boxset Curated by" series comes courtesy of Master At Work and legendary producer / DJ, Kenny Dope. It features 10 knockout tracks and exclusive edits from Kenny, and is a selection of some of his favourites from the golden era of Brazilian music. A 5 x 45 set, it comes packaged in a limited edition and highly collectible BRZ45 box.

TRACK LISTING

Luli Luchinha E O Bando - Flor Lilas (kenny Dope Remix)
Jayme Marques - Berimbao
Di Melo - Perlonga (kenny Dope Remix)
Toni Tornado - Sou Negro
Milton Banana Trio - Primitivo
Milton Banana Trio - Cidade Vazia
Papete - Procissao Dos Mortos
Papete - Domingo No Parque
Antonio Carlos & Jocafi - Quem Vem La (kenny Dope Remix)
Miguel De Deus - Black Soul Brothers (kenny Dope Edit)

Some things take time to happen, some things perhaps take a bit longer than they should but, finally, we are delighted to present an issue of the iconic, and sought-after, Brazilian album 'Alucinolândia' by Zito Righi e Seu Conjunto from 1969.

The trippy, surrealist 60s cover design with hands holding eyeballs is somewhat confusing. Rather than the stoner acid rock record that the art may suggest, 'Alucinolândia' is actually a quintessential 60s gem, mixing samba, MPB, bossa nova, quirky organ-led mod-jazz groovers and easy-listening crooners with a relaxed cool swagger.

Zito Righi aka Isidoro Righi, the Brazilian saxophonist, instrumentalist, conductor and composer brought together an illustrious cast for this masterpiece, including the much-loved vocalist Sônia Santos. Sônia delivers a masterclass on the album's opener, and maybe its crown-jewel 'Poema Ritmico Do Malandro'. The song is fierce and driving with an enticing funk intro that bursts into a Samba / Batucada workout. A real monster that works magic on the dancefloor. Sônia would later re-visit this track in 1971 on a recording for Copacabana Records, which Mr Bongo released as part of the Brazil45 series. The Brazilian songwriter Roberval penned three tracks on the record, including another highlight and the far too short 'Birimbau'; a catchy Brazilian jazzy-samba dancer at its finest. Other musicians include the drummer Fernando who also recorded with the greats Dila & Guilherme Coutinho.

The fact the record was released in 1969 meant it was probably a bit out of step with its contemporaries in comparison to the works of artists such as Os Mutantes, Gilberto Gil et al. The core of 'Alucinolândia' is that of a more optimistic early to mid-sixties party feelgood vibe rather than the angsty, psychedelia, and rebellion of the Tropicália movement. Over 50 years since its release, the work can finally be judged on its own merit; and what a beauty it is.

TRACK LISTING

Poema Ritmico Do Malandro
Somos Todos Irmãos
Once In A While
Birimbau
Primeira Conjugacao
Bye Bye
Love Is Here To Stay
Isnt' A Dream
Sou Feliz Aqui
Adeus Amor
Alvorada
Hert

As pieces of musical curation go, Kenny Dope's reimagining and reediting of the Wild Style breakbeats is outstanding.

While the music from the 'Wild Style' OST is truly seminal, the story behind it is even more fascinating.Underneath the voices of important rappers from hip-hop's first wave – Cold Crush Brothers, Double Trouble, Rammellzee, Busy Bee and more – were a selection of backing beats that have underpinned and influenced a whole lot of hip- hop ever since. It would be easy to mistake them for genuine breakbeats dug out of crates, but they're not. Overseen by hip- hop impresario Freddie Braithwaite – better known as Fab 5 Freddy – in collaboration with Blondie's Chris Stein – the songs from the Wild Style soundtrack are all unique creations intended as a homage to the early breakbeats.Drummer Lenny Ferrari – who had played for Aretha Franklin before emerging on the punk scene – and bassist David Harper played many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound. They – and Chris Stein – weren't even in the same studio at the same time.Kenny Dope, a long-time fan of the music, later acquired the original reel- to- reel tapes from Charlie Ahearn, the film's director. Using the Wild Style breakbeats – many just a minute or so long – he transformed them into longer edits that give them more room to breathe. 'Down by Law' and 'Subway Beat' are two of the most famous, breakdance classics that summon up visions of graffiti'd trains speeding through the South Bronx.

From the legendary hip hop movie 'Wild Style'.

Kenny Dope edits using the original reel-to-reel tapes from Charlie Ahern, the film's director.

TRACK LISTING

Down By Law (Kenny Dope Edit)
Subway Beat (Kenny Dope Edit)

When it comes to the pantheon of hip-hop movies, ‘Wild Style’ is number one.

While the actual plot carries about as much weight as ‘Beat Street’ or even the Fat Boys vehicle ‘Disorderlies’ – and the acting is also nothing to write home about – the soundtrack is an indelible classic.What the film and its soundtrack caught was a moment in time and some key performances from genuine pioneers instrumental in the nascent hip- hop scene. And the influence has passed down through the ages, with rhyming couplets from the ‘Wild Style’ album still cited today, and Nas drawing on a snippet of the film for the opening track of his one true classic album, ‘Illmatic’.What’s unusual about the soundtrack – and evidenced on the tracks showcased here, available for the time on 7” since a 1983 Japanese release – is that it didn’t draw on the tried-and-tested breakbeats that many of the artists featured on it would have cut their chops on. Charlie Chase, whose slithery scratches adorn both sides of this record, would have been used to going back to back on the records captured later on the ‘Ultimate Breaks & Beats’ compilations. Instead, the music is produced by Chris Stein of Blondie in collaboration with Fab 5 Freddy, drawing inspiration from those earlier breakbeats, with drums provided by one Lenny Ferrari. Here, Grandmaster Caz of the legendary Cold Crush Brothers is at ease over both sides, the music evoking the sound he would have rhymed over at the block parties where he built his reputation. It’s a moment trapped in amber – you can’t listen to this 7” without imagining a graffiti strewn subway car in New York.

From the legendary hip hop movie ‘Wild Style’.

Produced by Chris Stein of Blondie in collaboration with Fab 5 Freddy.

Available for the time on 7” since a 1983 Japanese release.

TRACK LISTING

Wild Style Theme Rap 1
Wild Style Theme Rap 2

The original Wild Style soundtrack is such a landmark that it has spread its DNA throughout hip-hop ever since.

So many artists found inspiration in it, so many producers fished for samples among its choppy waves. If you haven’t played it for a while, it still has the power to surprise – hook after hook that fed into hip-hop history. That countdown from Public Enemy’s ‘Louder than a Bomb’? The chorus from Cypress Hill’s ‘A to the K’, vocal samples that underpin MF Doom classics and A Tribe Called Quest gems? All here.Phat Kev – aka Kev Luckhurst – teases out some of those notable moments in his superb cut- up from the 2007 reissue. The Brighton- born DJ subjects the Wild Style OST to a classic ‘Lesson-style’ cut and paste, teasing out some of the most classic moments, taking you on a whirlwind tour of the finest beats and most indelible rhymes. Here you’ll find ‘Stoop Rap’ interwoven with ‘Basketball Throwdown’ and ‘Fantastic Freaks at the Dixie’.The temptation to overcomplicate matters is wisely resisted – Phat Kev lets the guitar of Chris Stein, the drums of Lenny Ferrari and the lyrics of legends such as Grand Master Caz, Busy Bee and Rammellzee shine in their own right. Available for the first time on 7”, this is an outstanding tribute to one of the key records in hip-hop history.

TRACK LISTING

Lesson Part 1
Lesson Part 2

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 s axophones, 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

1. Belladonna
2. Summer Rain
3. Remadione
4. Mayday
5. Suspension
6. Hector’s House

Nico Gomez, a Belgian orchestra leader of Dutch roots, has long been a favourite with Latin fans, record diggers, DJs, and collectors alike

His blend of bossanova, latin jazz, and easy listening always turns up a few choice nuggets and surprises; what is perhaps most remarkable is that it was recorded in Europe. Back in 2013, Mr Bongo re-issued Nico Gomez's sought-after 'Ritual' album from 1971, and now we follow it up with another jewel from his catalogue his 1972 album 'Soul Of Samba'. For this re- issue, we have opted to present it with the cover art originally used on the Trio Records version released in Japan. In the Netherlands and Belgium, the album was released with different cover art under the title 'Bossa Nova’, on Omega International and International Bestseller Company records, respectively. We loved the beautiful psychedelic design of the Japanese version and wanted to use it for this re- issue. 'Soul Of Samba' features several euro-bossa-jazz favourites such as the catchy 'Rio'; which was a firm DJ choice cut at jazz dance nights, including Brighton's 'Jazz Rooms' in the 90s. It also featured in Rainer Trüby's classic ‘Glücklich' compilation series which explored European-Brazilian-inspired music. The beguiling ‘Aquarela', with its engaging latin shuffle, entices feet to the dancefloor and is not one to miss. 'Agua’ has a lazy-quirky latin-funk feel with breathy-stoned vocals floating in the background. The album additionally features numerous breezy latin, Brazilian, and easy listening joints, some of which are ripe for sampling.

TRACK LISTING

Aquarela
Tristeza
Desafinado
Agua
Orpheu Negro
The Girl From Ipanema
One

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)

Another act to emerge out of Melbourne's explosive underground music scene is Surprise Chef who Piccadilly regulars will know we've been supporting since their very first releases. Now working out of the College of Knowledge stable (their home / studio / record label namesake), the band's take on instrumental cinematic soul and funk has connected with listeners across multiple scenes and genres. Their intoxicatingly laidback sound, which pairs expertly crafted hooks with a seriously funky, watertight rhythm section, has earned them a wide appeal and made their tracks ripe for interpretation.

When floating ideas for potential remixers, two names came to the fore, Masters At Work and Harvey Sutherland. MAW have a long history with Mr Bongo having remixed the Brit- funk classic 'Dancing In Outer Space' by Atmosfear for the label in 1997, and releasing the original track, 'Brazilian Beat' in 2000. With their studio collaboration now back in full swing, it was the perfect time to inject the MAW magic back into the label. They picked 'Crayfish Caper' from the band's first album 'All News Is Good News' as their choice of track to remix. The 'Nuyorican Broken Remix' sees MAW stepping into their Nuyorican Soul guise. A Latin shuffle meets an afro-beat rhythm and some very chunky broken beats, which all underpins an infectious melody constructed around the original track's bassline. They pair this with horns and synths that add a flourish and reveal new layers as the track develops. It's a sound that is uniquely Nuyorican Soul and a welcome return for fans of this aspect of their phenomenal output. The 'Masters At Work Remix' is straight up vintage MAW in House mode. It takes many of the same elements found in the 'Nuyorican Broken Remix' and points things in a House direction. It's 4/4, but the beats have that Kenny Dope trademark swing. Tough, but oozing soul. Add to that heavy bass, vocal cuts, fierce horns and saxophone, layered synths, and that undeniable MAW bounce.

Rounding off the package is the remix from Harvey Sutherland. Having made international waves since 2013 with his unique take on dance music, Harvey has long been on Mr Bongo's remix radar, but until now we hadn't managed to get that ambition over the line. This time around the stars aligned perfectly. Surprise Chef and Harvey Sutherland are both Melbourne residents and they had already been working on projects together. The band set things up and Harvey chose to remix 'New Ferrari' from their latest album, 'Daylight Savings'. His take on the track sees things venturing into dubby-disco territory. A dreamy, cosmic, bass-heavy, sweeping synth-led workout, that retains yet reinterprets the catchy-as-hell hooks from the original track. A roller with serious muscle!

TRACK LISTING

1. Crayfish Caper (Nuyorican Broken Mix)
2. Crayfish Caper (Masters At Work Mix)
3. New Ferrari (Harvey Sutherland's Weird Flex - 12” Mix)

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)

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

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

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)

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

THIS IS A RECORD STORE DAY 2021 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY JUNE 12TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 6PM ON THE SAME DAY (SATURDAY JUNE 12TH).

The second volume in a series of Brazilian 45 boxsets, curated with beats & love by DJ Marky. Brighton's very own DJ Format icurated Volume 1 for RSD 2020.

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

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

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)

For number 83 in the Brazil 45 series we have a real treat. Di Melo’s self-titled debut album has long been collectible for its irresistible Brazilian-funk sound, pleasing the Brazilian, B-Boy breaks, funk collectors, and sample hunters alike.

With original copies for the album now fetching crazy sums, we felt these tracks needed another moment in the sun for all to enjoy. For this release we have selected two of our favorite cuts from this cult album, ‘Kilari ‘ & ‘Pernalonga’. Coincidentally these two gems were released on Odeon Records in 1975 as a rare promo campacto (a Brazilian 7”, which plays at 33rpm).

‘Kilari ‘ is a pure Brazilian-soul classic. All the right elements gel together, whilst Di Melo works his relaxed vocal magic over the top. ‘Pernalonga’, with its catchy guitar and horns intro, loose break-beat drum, has the feel-good factor which some may recognize as one of the samples behind N.A.S.A featuring David Byrne, & Chali 2na’s ‘The People Tree’ from 2009.

Di Melo is still recording to this day, releasing an album with Cotonete on Favorite Recordings in 2019 - a true don!!!

TRACK LISTING

Kilari
Pernalonga

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

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

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)

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

TRACK LISTING

Made You Look 
Made You Look (Instrumental Without Guns)

Number 81 in the Brazil.45 series sees further digging into the magical world of Jorge Ben’s lesser-explored 1980’s productions. ‘Ma Ma Ma Ma Ma (A Lingua Dos Anjos)’ is taken from his ‘Al Al , Como Vai?’ album from 1980, which is arranged, produced, and features keys by the don, Lincoln Olivetti. The song contains trippy lyrics singing about flying saucers and angels.

‘Dona Culpa’ finds Jorge featuring on a cool mid-tempo groove track taken from Cauby Peixoto’s ‘Cauby! Cauby!’ album (also from 1980). Singer Cauby Peixoto had a long and stellar career, recording and releasing music from the mid-1950’s all the way up until his passing in 2016.

TRACK LISTING

Ma Ma Ma Ma Ma
Dona Culpa (featuring Cauby Peixoto)

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)

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.

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.

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

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

‘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

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

‘Baby’ - cross it off your Wants List at last. Written by Caetano Veloso, arranged by Arthur Verocai, covering Gal Costa. An absolutely killer Brazilian modern soul jam - taken from the Quinteto Ternura self-titled LP from 1974. ‘Filhos De Zambi’ is uptempo samba-funk of the highest order, and now very difficult to find at a decent price in it’s original RCA ‘compacto’ format. ercussion high on the mix, hands claps and a brilliant harmonised chorus line.

TRACK LISTING

Quinteto Ternura - Baby
Trio Ternura - Filhos De Zambi

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

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

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

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

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

All-time classic hip-hop of the highest possible grade from A Tribe Called Quest, featuring that verse from Busta Rhymes. Replica reissue of the prized, Germany-only 7” from 1992, cut loud.

TRACK LISTING

Scenario (Album Version)
Scenario (Young Nation Mix)

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

Ze Roberto aka Joaquim Roberto Braga is a composer, singer and instrumentalist from Brazilian folk music roots. ‘Lotus 72 D’ is a tribute to the Brazilian Formula 1 world champion driver of 1972, Emerson Fittipaldi. In Roberto’s own words: “Lotus 72 D is a tribute to the sensational talent of Formula 1 driver, Emerson Fittipaldi, was was crowned world champion in 1972. I can’t remember the names of the musicians who participated in the recording because they were hired by the original record label, RCA/Victor. The production team consisted of artistic co-ordinator, Henrique Gastaldello, and arranger, Severino Filho. The year of recording was 1973. I’m not aware of another fast version of the song ‘Lotus 72 D’... My contract with the RCA/Victor was for 2 years. All my musical works belongs to me.” The mystery surrounding the ‘fast version’ stems from the Via Brazil compilation from 2001 - the version featured was pitched up. Hence, a lot of people know it at that tempo, because it is otherwise impossible to obtain!

TRACK LISTING

Lotus 72 D (Original)
Lotus 72 D (Fast)

The debut album from the legendary Brazilian group, Os Novos Bahianos officially reissued by our good friends at Mr Bongo.

Originally released by RGE in 1970 in Brazil, "E Ferro Na Boneca!" features 13- songs composed by Luiz Galvao and Moraes Moreira. This record shows the roots of the group, moving through psychedelics, edgey pop, rock and Tropicalia.

After writing "E Ferro Na Boneca!" their music began to move towards MPB due to the influence of Joao Gilberto, who began working with the group. In 1972 they released their incredible "Acabou Chorare" LP, which came top of Rolling Stone Magazine’s list of 100 Greatest Brazilian Records (published in 2007).

TRACK LISTING

Ferro Na Boneca
Eu De Adjetivos
Outro Mambo, Outro Mundo
Colegio De Aplicacao
A Casca De Banana Que Eu Pisei
Dona Nita E Dona Helena
Se Eu Quiser Eu Compro Flores
E O Samba Me Traiu
Baby Consuelo
Tangolete
Curto De Veu E Grinalda
Juventude Sexta E Sabado
De Vera

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

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

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.

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

‘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

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

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

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