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MR BONGO
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.
‘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!
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.
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
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!
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).
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).
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.
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.
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.
‘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.
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!
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.
Mr Bongo do all the diggers a favour here and give us a welcome reissue of the Japanese jazz/breakbeat, folkloric mega-rarity as hallowed the likes of DJ Shadow, Cut Chemist, Egon and co. Rumour has it the last time someone saw an original copy in the wild City were in the second division and Lenny Henry was funny. "Bamboo" uniquely combines traditional Japanese instrumentation with Western jazz influences for a seriously esoteric sound.
Minoru Muraoka plays ‘shakuhachi’ - a traditional bamboo Japanese flute - joined by his band members accompanying him on the ‘koto’ (strings) and ‘tsu-tsumi’ (drum) amongst others, to create their ‘Shakuhachi Jazz’ sound.
Alongside covers of well known jazz and pop classics we also get two ace original songs and SO many killer breaks!
Minoru Muraoka plays ‘shakuhachi’ - a traditional bamboo Japanese flute - joined by his band members accompanying him on the ‘koto’ (strings) and ‘tsu-tsumi’ (drum) amongst others, to create their ‘Shakuhachi Jazz’ sound.
Alongside covers of well known jazz and pop classics we also get two ace original songs and SO many killer breaks!
Ultra-rare jazz-funk/fusion album by Japanese drummer, Akira Ishikawa, featuring percussion-heavy versions of ‘Let’s Start’, ‘Bongo Rock’ and ‘Pick Up The Pieces’. ‘Back To Rhythm’ was the final recording in Ishikawa’s Africaninfluenced period. He cut this record with his band ‘Count Buffalos’, featuring Kiyoshi Sugimoto, Takeru Muraoka, Larry Sunaga and arranger Hiromasa Suzuki. It includes excellent cover versions of The Beatles, Simon & Garfunkel, BT Express, Stevie Wonder, Average White Band, Incredible Bongo Band and Fela Kuti. Originally released in Japan in 1975 by Columbia, this is now extremely difficult to find in its original format, and very pricey indeed!
Beautiful debut album from the incredible Celia, conducted & arranged by Arthur Verocai and Rogerio Duprat and featuring songs by Lo Borges, Antonio Adolfo and Joyce amongst others. Celia recorded four self-titled albums for Continental between 1971 and 1977, ‘Amor’ in 1982 plus several more before she sadly passed away late in 2017, aged 70.
Celia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful “Abrace Paul McCartney” and her husband at the time, Nelson Angelo, recorded some of the songs.
Celia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights over the course of her extensive career. Joyce was particularly supportive in the making of this album, writing the beautiful “Abrace Paul McCartney” and her husband at the time, Nelson Angelo, recorded some of the songs.
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’.
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.
Another classic from Brit Funk pioneers Atmosfear. This time it’s the turn of the mighty ‘Motivation’ - pure dance floor, feel good vibes, produced by the amazing duo of Andy Sojka and Jerry Pike, cut loud at 45rpm. As per the original release it comes backed with the track ‘Extract’ a percussive lead jazz-funk workout with some tight bass work by Lester J. Batchelor, which was a regularly favourite at DJ Harvey’s legendary Moist club night.
STAFF COMMENTS
Sil says: Mr Bongo come through with a pair of Jazz Funk classics from UK heroes Atmosfear, which play perfectly next to house, disco and soul sides - tried and tested winners for the DJ.
'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.
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.
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!
Rich, deep, percussive soulful folk album from master Togolese singer, Akofa Akoussah, the record moves through uptempo afro-folk-funk on ‘Tango’ to deep ballads of ‘Ramer Sans Rame’ and ‘I Tcho Tchass’ and lighter moments on ‘G Blem Di’ and ‘Mitso Aseye’. Akofas exceptional songs and soaring vocals are decorated with percussion, guitar lines, subtle backing vocals and horns to create a unique, rich sonic. The album was recorded for release by French label Sonafric in 1976. Produced by Gerard Akueson; founder & owner of African record label, ‘Akue’, based in Paris.
Music was truly in the blood of Julie Akofa Akoussah. She began singing at the age of three, inspired and led by her mother and older sister and became principal soloist in her school choir, St. Peter & Paul Choir of our Immaculate Conception Parish of Nyekonakpo, at the age of 8. From there her career blossomed, and singing often took precedence over her studies. In order to master her art she spent time studying and working closely with local groups including Melo Togo, Rocka Mambo, Rio Romamcero, Ok Fiesta, Eryco Jazz, Afro Cubano, Los Muchacho, Elegance Jazz and Togo Star amongst others.
In her own words: “Luck opened the door in January 1966 where I had the honour of being selected to share the stage with Bella Below - one of the best voices of Africa - at the 1st ‘Negro Arts Festival’ in Dakar. On my return, I was approached by Ambroise Ouyi, the highly respected singer & poet, and we wrote ‘Tu Ne M’Ecris Plus’, my very first opus."
The popularity of her work led to an increased exposure for Togolese music outside of the country, in neighbouring Ghana and Benin most notably. During her career she collaborated and performed with greats including Manou Djibango, Queen Pelagie, Abeti Massikini, Aycha Kone and Myriam Makeba. Akoussah was also dedicated to, and widely recognised for, her work for social causes, championing and nurturing young musical talent, and the fight against AIDS. She was president of the National Union of Artists Musicians of Togo (UNAM) before sadly passing away in April 2007 after a long illness, at the age of 57.
Music was truly in the blood of Julie Akofa Akoussah. She began singing at the age of three, inspired and led by her mother and older sister and became principal soloist in her school choir, St. Peter & Paul Choir of our Immaculate Conception Parish of Nyekonakpo, at the age of 8. From there her career blossomed, and singing often took precedence over her studies. In order to master her art she spent time studying and working closely with local groups including Melo Togo, Rocka Mambo, Rio Romamcero, Ok Fiesta, Eryco Jazz, Afro Cubano, Los Muchacho, Elegance Jazz and Togo Star amongst others.
In her own words: “Luck opened the door in January 1966 where I had the honour of being selected to share the stage with Bella Below - one of the best voices of Africa - at the 1st ‘Negro Arts Festival’ in Dakar. On my return, I was approached by Ambroise Ouyi, the highly respected singer & poet, and we wrote ‘Tu Ne M’Ecris Plus’, my very first opus."
The popularity of her work led to an increased exposure for Togolese music outside of the country, in neighbouring Ghana and Benin most notably. During her career she collaborated and performed with greats including Manou Djibango, Queen Pelagie, Abeti Massikini, Aycha Kone and Myriam Makeba. Akoussah was also dedicated to, and widely recognised for, her work for social causes, championing and nurturing young musical talent, and the fight against AIDS. She was president of the National Union of Artists Musicians of Togo (UNAM) before sadly passing away in April 2007 after a long illness, at the age of 57.
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.
Dismayed at the prospect of a harsh British winter, Mr Bongo fly south to Rio for the foreseeable, bringing us a gorgeous double sider of uptempo vintage MPB samba jazz from Carlos Sodre, originally released as a 33rpm ‘compacto’ 7” single on Copacabana in 1965. On the A-side, "Ciumeira" shuffles and sizzles with snake hipped rhythms, heavy guiro and Technicolour orchestral arrangements. On the B-side, "Rasga Teu Verso" drops the intensity for a more sultry swing through the smoke and sweat of the jazz bar.
Widely available for the first time in forty-five years, featuring ‘It’s A New Day’, one of the most sample breaks in history.
Record collectors, producers and crate diggers like a good creation myth, and Skull Snaps’ self-titled ‘debut’ had it all. A mysterious funk trio, who recorded one album under a curious name, housed it in a sleeve that looked more like a proto-metal album, and released it through a label (GSF Records) that folded shortly afterwards? Everything pointed towards the Skull Snaps album as a single totemic object, packaged in a way that predicted its own disinterment almost twenty-five years later.
For those who sampled it, myth maintenance was advantageous, both for their reputations and for their consciences. Likewise, an unsanctioned 1995 reissue on Charley Records removed the credits from the inner sleeve to further sever the record from its context - or perhaps because the label couldn’t quite face using the names of artists they had no intention of paying. Either way, owning the record was a right of passage, as Amir Abdullah once wrote: “If you don’t have Skull Snaps in your collection, your collection is weak.”
Featuring sleeve notes by Anton Spice. Licensed from Sam Culley.
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.
Love for Atmosfear was born out of the underground UK dance scene of the early 1980s; from nightclubs, pirate radio shows and soul weekenders. A localised scene that went on to have a global influence.
The band’s most notable track ‘Dancing in Outer Space’ - included here on the CD version as a bonus - is a certified classic. It was a chart hit in the UK and was also championed Stateside in clubs such as the mythic ‘Paradise Garage’ and ‘The Loft’ by the likes of Larry Levan and David Mancuso. An instantly recognisable anthem that is just as fresh today as it was when it was first released.
Originally released in 1981 via Elite / MCA records, ‘En Trance’ is a joyous album that arguably represents the pinnacle of the Brit-funk sound. The band consisted of bassist, and keyboardist Lester J. Batchelor, drummer Ray Johnson, guitarist Andy Sojka, saxophonist Stewart Cawthorne, singer and guitarist Tony Antonio and producer Jerry Pike. The album captures the excitement of these exceptional players demonstrating utmost originality in the studio.
The band’s most notable track ‘Dancing in Outer Space’ - included here on the CD version as a bonus - is a certified classic. It was a chart hit in the UK and was also championed Stateside in clubs such as the mythic ‘Paradise Garage’ and ‘The Loft’ by the likes of Larry Levan and David Mancuso. An instantly recognisable anthem that is just as fresh today as it was when it was first released.
Originally released in 1981 via Elite / MCA records, ‘En Trance’ is a joyous album that arguably represents the pinnacle of the Brit-funk sound. The band consisted of bassist, and keyboardist Lester J. Batchelor, drummer Ray Johnson, guitarist Andy Sojka, saxophonist Stewart Cawthorne, singer and guitarist Tony Antonio and producer Jerry Pike. The album captures the excitement of these exceptional players demonstrating utmost originality in the studio.
Written and produced with Ebo Taylor and originally released in 1975, "Simigwa" is Ambolley's debut solo album. It's a legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk.
Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.
‘Simigwa’ was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.
Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.
‘Simigwa’ was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.
Official Mr Bongo reissue of this ultra-rare LP from the funk stars deluxe, ‘Super Elcados’. "Togetherness Is Always a Good Venture" is a fusion of heavyweight Nigerian funk, soul & disco, originally released by EMI Nigeria in 1976. The ‘Super Elcados’ (and ‘Elcados’ on other recordings) recorded three albums in the mid and late-70’s, this is their first. It was followed by ‘This World Is Full Of Injustice’ and ‘What Ever You Need’. Dipping into the sunkissed grooves here you'll find hot guitar licks, fuzzy organs and bright brass, all taking turns over an irresistible Afro-funk rhythm section.
First official reissue of the extremely rare full-length album by Lagos-based bandleader Shina Williams. Clean copies of the original currently sell for up to £500.
The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde Willimas and several other decorated Nigerian musicians - who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others - together to record. The result is ‘African Dances’, a timeless fusion of afrobeat, electronics, boogie and disco.
Includes his most well-known song, ‘Agboju Logun’ that Williams knew was ground breaking - “I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,”. This album version is a different mix to the two-track 12” that came out under on Earthworks, Rough Trade in 1984.
The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde Willimas and several other decorated Nigerian musicians - who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others - together to record. The result is ‘African Dances’, a timeless fusion of afrobeat, electronics, boogie and disco.
Includes his most well-known song, ‘Agboju Logun’ that Williams knew was ground breaking - “I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,”. This album version is a different mix to the two-track 12” that came out under on Earthworks, Rough Trade in 1984.
Official Mr Bongo reissue. Replica original artwork, including the insert with listening instructions, in Spanish and English.
Luis Perez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of pre-Columbian instrumentation. This research that allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico.
He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old.
He continuously utilises these instruments in performances, concerts, lectures, exhibitions and recordings, in a sense, keeping them alive. Following a decade playing in Mexico City’s psychedelic rock scene, his early solo work was a mixture of sounds derived from his vast array of pre-Hispanic and ethnographic wind and percussions which he managed to blend with electronic devices including tape delay units, electric guitars and synthesisers. During this time, he was given the name ‘Ixoneztli’ (or “one who makes music”) by the legendary ‘curandera’ Pachita and her son Enrique, to whom, like Alejandro Jodorowsky before him, Luis served as assistant. In 1981, the Mexican government became very interested Perez work and sponsored the production of what became the first recording of the fusion of native mexican instruments with electronics - entitled ‘Ipan In Xiktli Metztli,’ in the Nahuatl language, or ‘En el Ombligo de la Luna’ in Spanish... ‘In the Navel of the Moon.’
The impact of this recording and subsequent performances among media, ethnomusicologists and audiences alike established Luis Perez ‘Ixoneztli’ as a precursor to a new musical genre followed by a generation of young Mexican musicians - Ethno-Rock, Ethno-Jazz, Ethno-Experimental and the like. ‘El Ombligo de la Luna’ reaches us from deep in the past but it also exists entirely outside of time, as Luis Perez ‘Ixoneztli’’s offering to the world - the soul of Mexico channeled through the hands of a master musician.
Luis Perez was born in Mexico City on July 11, 1951. From 1971 onwards he dedicated much of his time to the research of pre-Columbian instrumentation. This research that allowed him to travel the Mexican territory and study musical traditions of the native peoples of Mexico.
He learned directly from the living sources of the music and collected samples of musical instruments and the songs of different native speakers including Maya, Nahuatl, Mazateco, Yoemem, Comcaac, Raramuri, Wixarika and more. His personal collection of native Mexican instruments includes ethnographic instruments still in use by ethnic groups, along with archaeological artifacts some of which are more than 2,000 years old.
He continuously utilises these instruments in performances, concerts, lectures, exhibitions and recordings, in a sense, keeping them alive. Following a decade playing in Mexico City’s psychedelic rock scene, his early solo work was a mixture of sounds derived from his vast array of pre-Hispanic and ethnographic wind and percussions which he managed to blend with electronic devices including tape delay units, electric guitars and synthesisers. During this time, he was given the name ‘Ixoneztli’ (or “one who makes music”) by the legendary ‘curandera’ Pachita and her son Enrique, to whom, like Alejandro Jodorowsky before him, Luis served as assistant. In 1981, the Mexican government became very interested Perez work and sponsored the production of what became the first recording of the fusion of native mexican instruments with electronics - entitled ‘Ipan In Xiktli Metztli,’ in the Nahuatl language, or ‘En el Ombligo de la Luna’ in Spanish... ‘In the Navel of the Moon.’
The impact of this recording and subsequent performances among media, ethnomusicologists and audiences alike established Luis Perez ‘Ixoneztli’ as a precursor to a new musical genre followed by a generation of young Mexican musicians - Ethno-Rock, Ethno-Jazz, Ethno-Experimental and the like. ‘El Ombligo de la Luna’ reaches us from deep in the past but it also exists entirely outside of time, as Luis Perez ‘Ixoneztli’’s offering to the world - the soul of Mexico channeled through the hands of a master musician.
Reduced
‘The Original Sound of Burkina Faso’ follows the hugely successful ‘The Original Sound of Mali’ compilation released in March this year, also on Mr Bongo. Here we have a collection of songs that pay tribute to a truly golden age of music; touching on folk, funk, blues, highlife, disco, psyche, latin, rock and soul.
Burkina Faso may be one of the least well-known parts of West Africa but it has a deep history and musical pedigree. A few years before President Thomas Sankara changed his country’s name from Upper Volta to its current one, a new sound emerged to soundtrack a cultural revolution. Featuring music by Abdoulaye Cisse, Amadou Balake, Pierre Sandwidi & Super Volta, Tidiani Coulibaly & Dafra Star, Bozambo, Youssouf Diarra and more.
Burkina Faso may be one of the least well-known parts of West Africa but it has a deep history and musical pedigree. A few years before President Thomas Sankara changed his country’s name from Upper Volta to its current one, a new sound emerged to soundtrack a cultural revolution. Featuring music by Abdoulaye Cisse, Amadou Balake, Pierre Sandwidi & Super Volta, Tidiani Coulibaly & Dafra Star, Bozambo, Youssouf Diarra and more.
Ghana's Marijata was a group made up of three members – Kofi 'Electric' Addison on drums, Bob Fischlan on organ and Nat Osmanu on guitar. ‘This Is Marijata’ is the groups first LP; released originally on the Gapophone label – it is pure, rootsy, raw, driving African funk music of the highest order, now highly sought-after in both its original and previously reissued forms. Addison, Osmanu and Fischlan formed a band called the Sweet Beans with a young singer and guitarist, namely the legendary Pat Thomas. They released ‘False Lover’ in 1974 on Gapophone Records before recording ‘This Is Marijata’ and then ‘Pat Thomas Introduces Marijata’ shortly afterwards.
‘This Is Marijata’ is summed up perfectly by the text on the back cover: “Three young musicians of the Sweet Beans believe that in music and entertainment business, there is no room for mediocrity if one’s music is to win over a bigger audience and fame. How could they give the public a taste of the talent they had so meticulously nurtured since they began their musical careers without upsetting the current musical inclination in the country?
Backed by a group of hand picked musicians, the whole album is exclusively the work of three young men who are trying to bring back some freshness and raw funk into the current flash-in-the-pan songs being recorded in this country.
“I Walk Alone” a cool, scintillatingly slow number, displays some interesting instrumental works. “No Condition Is Permanent” and “Break Through” exhibit originality using the funk medium. Even though the vocal rendition sounds somewhat on the hoarse and gritty side, a strong impression is left on the mind of the listener that the boys have something going for them right in there. With the emergence of this album, I believe subsequent albums will breathe more freshness into the whole entertainment scene. Right on, brothers Marijata.”
Produced in 1976 at Gapophone Records, Accra, Ghana, the album is licensed from George Prah, founder of Gapophone Records.It features correctly labelled sides, in contrast to the original pressing. Replica original artwork.
‘This Is Marijata’ is summed up perfectly by the text on the back cover: “Three young musicians of the Sweet Beans believe that in music and entertainment business, there is no room for mediocrity if one’s music is to win over a bigger audience and fame. How could they give the public a taste of the talent they had so meticulously nurtured since they began their musical careers without upsetting the current musical inclination in the country?
Backed by a group of hand picked musicians, the whole album is exclusively the work of three young men who are trying to bring back some freshness and raw funk into the current flash-in-the-pan songs being recorded in this country.
“I Walk Alone” a cool, scintillatingly slow number, displays some interesting instrumental works. “No Condition Is Permanent” and “Break Through” exhibit originality using the funk medium. Even though the vocal rendition sounds somewhat on the hoarse and gritty side, a strong impression is left on the mind of the listener that the boys have something going for them right in there. With the emergence of this album, I believe subsequent albums will breathe more freshness into the whole entertainment scene. Right on, brothers Marijata.”
Produced in 1976 at Gapophone Records, Accra, Ghana, the album is licensed from George Prah, founder of Gapophone Records.It features correctly labelled sides, in contrast to the original pressing. Replica original artwork.
FORMAT INFORMATION
LP Info: *WAREHOUSE FIND*
‘Spirit Reflection’ is the third album LP from Los Angeles singer-songwriter Gaby Hernandez. Blissful layers of instrumentation, electronics, vocal harmonies and folkloric percussion intertwine with west coast feel to create a unique, beautiful and multi-layered album.
The album features a stellar line-up of LA talent; jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Nin 771;o, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results.
Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and J- Rocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the ‘creative music ensemble’ Build An Ark alongside others including Carlos Nin 771;o, Dexter Story and Dwight Trible.
Gaby was the only vocalist on Teebs' debut Brainfeeder release Ardour. She made major contributions to AmmonContact's Ninja Tune releases New Birth and With Voices, plus The Life Force Trio's Plug Research album Living Room. She was also the vocalist on Dimlite's Outernational Duet - released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing.
David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. “Gaby and Carlos passed us a copy of ‘Spirit Reflection’. and we put it on the deck. It immediately grabbed us and we couldn’t stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We’re very proud to be releasing it”... “...this is a future classic, an 'album' in the truest sense of the word. Brilliant.” says Graham.
“The music itself envelopes its listener in a warmth reminiscent of decades past, presenting both a nostalgic soulful sound and a sensual experience” Culture Collide
“A romantic summer cocktail that should be imbibed half-nude on a beach or while scattering rose petals on a bed. The songs flow between seductive, relaxing and spiritually nurturing, with earthy rhythms and warm production that make the listener feel comforted” Buzz Bands LA
“Jaw-droppingly tasty” LA Weekly
The album features a stellar line-up of LA talent; jazz star Kamasi Washington, Stuart Howard (AKA Lapalux), Kelis and Gaslamp killer collaborator Dexter Story, plus Ninja Tune, Plug Research and Soul Jazz artist Carlos Nin 771;o, Miguel Atwood-Ferguson and Gabriel Reyes-Whittaker all accompany Gaby, with stunning results.
Even before Spirit Reflection had been finished, the demo mixes caught the ear and gained support from Gilles Peterson, Lefto, Toshio Matsuura (U.F.O.) and J- Rocc (Beat Junkies). Born, raised and based in Los Angeles and of Chilean descent, Gaby Hernandez has been writing and recording since 2001. She was a founding member of the ‘creative music ensemble’ Build An Ark alongside others including Carlos Nin 771;o, Dexter Story and Dwight Trible.
Gaby was the only vocalist on Teebs' debut Brainfeeder release Ardour. She made major contributions to AmmonContact's Ninja Tune releases New Birth and With Voices, plus The Life Force Trio's Plug Research album Living Room. She was also the vocalist on Dimlite's Outernational Duet - released as part of his highly acclaimed Sonar Kollektiv longplayer This Is Embracing.
David and Graham from Mr Bongo met Gaby and Carlos Nino at the end of their hugely successful Arthur Verocai album launch and rare record sale at the RAPPCATS venue in LA. “Gaby and Carlos passed us a copy of ‘Spirit Reflection’. and we put it on the deck. It immediately grabbed us and we couldn’t stop listening to it. When we got back to the UK we got in contact straight away and signed the album. We’re very proud to be releasing it”... “...this is a future classic, an 'album' in the truest sense of the word. Brilliant.” says Graham.
“The music itself envelopes its listener in a warmth reminiscent of decades past, presenting both a nostalgic soulful sound and a sensual experience” Culture Collide
“A romantic summer cocktail that should be imbibed half-nude on a beach or while scattering rose petals on a bed. The songs flow between seductive, relaxing and spiritually nurturing, with earthy rhythms and warm production that make the listener feel comforted” Buzz Bands LA
“Jaw-droppingly tasty” LA Weekly
STAFF COMMENTS
Millie says: Shades of Mia Doi Todd abound on this delicate and drifting journey through hook heavy, hazy soul. This is the soundtrack to the summer everyone.
"Krishnanda" is an album in the truest sense of the word – a spiritual, psychedelic Brazilian masterpiece from start to finish – celebrated by everyone from Seu Jorge and Kassin to Floating Points, Madlib and DJ Nuts. These days, originals change hands for thousands of squids, so it's about time that this classic was lovingly re-issued with heavy sleeve and on heavy weight vinyl. Pedro dos Santos, born in Rio in 1919, was a percussionist virtuoso, composer and inventor of instruments that apparently included oddities such as the "Tamba" (electrified bamboo drum) and the mouth berimbau whistle. He was given the nickname Pedro 'Sorongo' after the rhythm he invented, and as the music takes hold, you'll hear that trademark sway throughout 'Krishnanda'. In the same vein as Verocai and his self-titled LP, "Krishnanda" was Pedro's chance to shine with his own, and only, solo recording, and the Brazilian grabbed the opportunity with both hands. Musically, the album touches folk, samba, Afro-Brazilian and psychedelia, while lyrically we hear a depth and diversity to match the spread of the sounds; themes including morality, perception, existence and ego all enter into Pedro's musical world. Despite the genius of the record and the influence that it had on musicians at the time of release, it disappeared into obscurity. Mr Bongo first discovered the record around 2003, through their friend Julio Dui. Around that time Brazilian funk and bossa was the flavour of the day, so didn't catch our ear immediately, however it continued improve with age and now they consider it to be one of the best albums ever made, regardless of genre or origin.
Tip off from our good friend Rodrigo Gorky aka Bonde do Role, that has since become one of our favourite album discoveries, and continues to grow on us with every spin.
‘Os Orixas’ is rich in layered percussion, horns and guitars. Singer Eloah’s lead vocals are reminiscent of the likes of Ellen McIlwaine, Elza Soares and Joyce. Samba, funk, folk, jazz and MPB over ijexa and African grooves, that combine beautifully across the moods. Os Orixas refers to one of the manifestations of the ’supreme God’ in the Yoruba faith.
The songs were written by Luis Berimbau, assisted by Ildásio Tavares. Berimbau was a very influential multi instrumentalist, poet, writer and composer from Bahia, Brazil. He produced the wonderful folk / psychedelic rock group Perfume Azul Do Sol’s ‘Nascimento’ LP amongst many others.
Tavares was an author, composer and poet from Salvador, Bahia. As a composer, he worked with many artists including Vinicius de Moraes, Maria Bethania, Alcyone, Toquinho, Nelson Gonçalves and Maria Creuza. Many of his poetic works were published, and he even penned Afro-Brazilian opera entitled ‘Lydia's Oshun’.
‘Os Orixas’ is rich in layered percussion, horns and guitars. Singer Eloah’s lead vocals are reminiscent of the likes of Ellen McIlwaine, Elza Soares and Joyce. Samba, funk, folk, jazz and MPB over ijexa and African grooves, that combine beautifully across the moods. Os Orixas refers to one of the manifestations of the ’supreme God’ in the Yoruba faith.
The songs were written by Luis Berimbau, assisted by Ildásio Tavares. Berimbau was a very influential multi instrumentalist, poet, writer and composer from Bahia, Brazil. He produced the wonderful folk / psychedelic rock group Perfume Azul Do Sol’s ‘Nascimento’ LP amongst many others.
Tavares was an author, composer and poet from Salvador, Bahia. As a composer, he worked with many artists including Vinicius de Moraes, Maria Bethania, Alcyone, Toquinho, Nelson Gonçalves and Maria Creuza. Many of his poetic works were published, and he even penned Afro-Brazilian opera entitled ‘Lydia's Oshun’.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, this album gave him the chance to do his thing in it's most pure form. The LP has an orchestral folk-soul, jazz, funk or lo-fi electronic experimentation feel, in a similar vein to Shuggie Otis, Charles Stepney (the LP uses 20 piece string arrangements) or Jorge Ben, with lyrics (sung in Portuguese) that subtly challenge the repressive military dictatorship of the time. Featured musicians include Robertinho Silva, Paulo Moura, Edson Maciel, Oberdan Magalhaes (Banda Black Rio) and Tonhino Horta. For a very long time, Mr Bongo have been trying to re-issue this record. A true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre. Mastered in 2012 from the original Continental master tapes and supervised by Arthur Verocai, the album comes complete with original replica gatefold artwork.
'Dawn Of The Dread' brings the big personality that is Horseman to the forefront of a full length album for the first time. As fearsome a drummer as he is an MC, Horseman has worked with musicians and producers Tippa Irie, Max Romeo, Gregory Isaacs, Sugar Minott, Jah Shaka, Mad Professor, Barrington Levy, Eek-A-Mouse and The Royal Philharmonic Orchestra with John Holt - to name but a few - most recently performing with Hollie Cook and Prince Fatty. It was while playing with renowned outfit The Ruff Cut Band he met producer and long term colaborater Mike 'Prince Fatty' Pelanconi. 'Dawn Of The Dread' was recorded at Studio Dub in Thailand before being mixed at Prince Fatty's Ironworks studio in Brighton. "Mike just asked, "you ever been to Thailand?" and we went. There were great vibes, we walked in and it all fell into place. We were looking to get that 80s digital sound and all that original equipment was just there waiting for us. It was fate".
The album is the follow-up to her fantastic eponymous debut album which was released to huge acclaim in 2011, with Q calling it "gorgeous late '70's style reggae pop" whilst the BBC named it as "one of the most enjoyable reggae albums of 2011". In 2012 a dub version of the debut album was released – "Prince Fatty Presents Hollie Cook In Dub". That same year Ian Brown asked Hollie to support The Stone Roses on one of their hugely anticipated reunion shows at Manchester's Heaton Park.
The new album "Twice" sees Hollie's obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and Choir. The album was produced by Prince Fatty.
The new album "Twice" sees Hollie's obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and Choir. The album was produced by Prince Fatty.
Prince Fatty Meets The Mutant Hifi in 'Return of Gringo!' is the fevered and frontal lobe-damaged brainchild of Nick Coplowe (The Mutant Hifi) and Mike Pelanconi (Prince Fatty), the result of years of plotting, planning, laughing and procrastinating. Put simply, it is a surf/ska/spaghetti western soundtrack album for a film that is yet to be made. Think Dick Dale jamming with the Skatalites with Morricone at the helm, including appearances from Alessandro Alessandroni (the original spaghetti western whistler) and you're in the right section at the record store, although it is possibly a very small section.
It's a quick draw shootout in a Mexican standoff, pitting hard hitting ska against ripping surf riffs and outlaw bandito brass, the cold anarchic freedom of the wild west seen through a lomographic lens where the hot sun and scorching sand make sure that only the toughest survive, leaving their enemies to the flies, the prairie dogs and the vultures. It is the son of a thousand fathers, every one of them a bastard. Every gun sings it's own tune.
It's a quick draw shootout in a Mexican standoff, pitting hard hitting ska against ripping surf riffs and outlaw bandito brass, the cold anarchic freedom of the wild west seen through a lomographic lens where the hot sun and scorching sand make sure that only the toughest survive, leaving their enemies to the flies, the prairie dogs and the vultures. It is the son of a thousand fathers, every one of them a bastard. Every gun sings it's own tune.
Like many American stories, the tale of Fania comes from the boroughs and inner city barrios of New York City. Along the way, Fania artists mixed a cornucopia of styles that transcended the boundaries of traditional Latin music and set the path for the genres of salsa, boogaloo, Latin R&B, and Afro-Cuban jazz. This set brings the Fania sound right up to date with an excellent selection of contemporary remixes. Radio 1 DJ, Brownswood Records label boss and all-round music guru Gilles Peterson offers up a great mix of Nora Morales' "Saona", alongside Ashley Beedle, who touches up "Feel Like Making Love" by Ricardo Marrerro. Brazil's electronic trio of the moment, funk carioca outfit Bonde de Role take on Lenni Sesar's "Morris Park", while Sinden revamps La Lupe's version of "Fever". Hip hop pioneer DJ Format brings us a storming mix of Dave Cortez' "Happy Soul With A Hook", while Masters at Work's Louie Vega drops an 11 minute rework of Hector Lavoe's "Mi Gente". Add to that remixes by 4hero, Bugz In the Attic, Nicola Conte, Quantic, Andy Smith and Keith Lawrence, and I reckon we have a pretty essential LP.
FORMAT INFORMATION
2xCD Info: 28 track double CD.
This Sunday (August 25) we are down @ThePilcrowPub next to the CIS building celebrating the launch of our new beer… https://t.co/ng2LNvz2SY
Fri 23rd - 3:22
Fri 23rd - 3:22
Our very own Ryan here looking very happy with his new @HorsebeachBand album ‘The Unforgiven Current’ which is out… https://t.co/5hvcgSqC3w
Fri 23rd - 1:02
Fri 23rd - 1:02
Coloured vinyl from Ghost Funk Orchestra, Tropical Fuck Storm aka @tfs_theband Augustus Pablo Meets King Tubby and… https://t.co/gwcS9ATOYT
Fri 23rd - 12:56
Fri 23rd - 12:56
Out day. @work1ngmensclub 7” ‘Teeth’ Limited to 500 copies only. Don’t sleep.
https://t.co/2zZgwq94dq
Label… https://t.co/Chh4EcsdiT
Fri 23rd - 11:28
Fri 23rd - 11:28
Happy New Music Friday everyone. We are open all weekend and we have brand new banners gracing our walls today from… https://t.co/ACNwFvdjHy
Fri 23rd - 10:21
Fri 23rd - 10:21
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