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

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)

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

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)

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

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

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).

Special Limited Edition Silver Pressing for RSD 2021. A foundation of hip hop featuring Apache, Kool Herc's national anthem of hip hop.

Sampled by Nas,Kanye West, Sugarhill Gang, Jay-Z,Aphex Twin, DJ Shadow to name a few.

As with previous Sven Wunder material the tracks here on this 7” are covered in lush orchestration, evoking the rich musical soundscapes of a previous era (think library music or the film scores of Morricone). First up is the beautiful ‘Impasto’, which refers to the technique used in painting where the paint is laid in very thick layers on a surface. With its lavish sweeping strings and melodies there are echoes of the arrangements of Arthur Verocai, but it then takes a turn into 60s detective movie territory. You can imagine it being the score to a scene in a Harry Palmer film which breaks for a romantic interlude in between the action and suspense. ‘Prussian Blue’, is built on Sven’s ‘Shinrinyoku’ from the ‘Wabi Sabi’ album, sharing the same melody but here with an uptempo beat and another arrangement. It begins with a moment of calm with its soothing piano intro before it bursts into a percussive breakbeat workout. It skates and glides with the influences of Italian library music and Eastern melodies, yet at the same time it retains a unique element that can only be Sven Wunder. ‘Prussian Blue’ refers to the pigment that was imported to Japan. Once again, we are indebted to Sven Wunder and John Henriksson at Piano Piano Records for letting us share this melodious vision from one of our favourite contemporary musicians. The compositions on this 7” were produced with financial support from the Swedish Arts Council.

TRACK LISTING

1. Impasto
2. Prussian Blue

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

‘The Original Sound of Burkina Faso’ follows the hugely successful ‘The Original Sound of Mali’ compilation, also released 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 Cissé, Amadou Balaké, Pierre Sandwidi & Super Volta, Tidiani Coulibaly & Dafra Star, Bozambo, Youssouf Diarra and more. Available as deluxe 2-LP gatefold vinyl, CD and digital. Including a booklet with extensive liner notes and photography. Compiled by David ‘Mr Bongo’ Buttle and Florent Mazzoleni.

TRACK LISTING

A1. Abdoulaye Cisse- Jeunesse Wilila.
A2. Abdoulaye Cisse - Tieba Lou Tounouna
A3. Bozambo - Kombisse
B1. Amadou Balake - Whisky Et Coca-Cola
B2. John Oumar Nabolle_ - M’ba Lale
B3. Pierre Sandwidi - Boy Cuisinier
B4. Tidiani Coulibaly & Dafra Star - Sie Koumgolo
C1. Amadou Balake - Super Bar Konon Mousso
C2. Mangue Konde Et Les 5 Consuls - Pop Konde
C3. Youssouf Diarra (dit El Grand Ballake) - Djanfa Magni
D1. Amadou Balake - Wayisjelequeyele
D2. Amadou Balake - Aminata Du The
D3. Abdoulaye Cisse & Super Volta - A Son Magni

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

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

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

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

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

STAFF COMMENTS

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

TRACK LISTING

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

For number 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

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

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

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

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

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

TRACK LISTING

10,000 Roses
Chandelier
Cloud Dance
Forever

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

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

TRACK LISTING

Think
Atom

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

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

TRACK LISTING

Ennui
Abandoned

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)

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

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

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

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

TRACK LISTING

Neno Exporta Som - Deixa A Tristeza
Agnaldo Rayol - Sumauma

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

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

TRACK LISTING

Ise Aje Male
Egbe Kegbe
Emi Koni Koja Ayemi
Osupa Lomode Nsere Ale
Ere La O Je Labo Oko
Alapa Ma Sise

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

TRACK LISTING

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

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

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

TRACK LISTING

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

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

STAFF COMMENTS

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

TRACK LISTING

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

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

TRACK LISTING

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

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

TRACK LISTING

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

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

STAFF COMMENTS

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

TRACK LISTING

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

‘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

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

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

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

TRACK LISTING

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

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

TRACK LISTING

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

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

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

TRACK LISTING

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

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

TRACK LISTING

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

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

TRACK LISTING

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

‘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

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

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

TRACK LISTING

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

Two more of our favourite cuts from The Sylvers first album, produced by Jerry Butler, Keg Johnson and Michael Viner, written by the hugely talented Leon Sylvers III. ‘I Know Myself’ was sampled by 9th Wonder for his ‘Easy’ track.

Official Mr Bongo reissue of the ultra-rare Nigerian disco-boogie, ‘Viva Disco’, album from 1980. Originally released on the Afrodisia label, this one is unknown to even the most knowledgable collectors out there.

Tunde Mabadu recorded two albums in the 70’s - ‘Viva Disco’ and ‘Bisu’ as Tunde Mabadu & His Sunrise. Perfect examples of golden-era Nigerian disco & boogie that still hold their own today.

TRACK LISTING

Alabosi
Disco Press Funk
Amupara Ko Ma Dara
African Parowo
Angelina - Sugar Daddy
Viva Disco (Instrumental)

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.

TRACK LISTING

Tambourine Party
Afro Funk
Xray Gun
How Much I Love You
Ejole
TributeTo Murtala Mohammed
Get Up And Do It Good
Price Of Fame

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

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

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.

TRACK LISTING

Cunny Jam Wayo
Agboju Logun
Gboro Mi Ro

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.

TRACK LISTING

Culto Solar - In Altepetl Tonal
Suite Al Culto Solar - Xochiyaoyoloh
Suite Al Culto Solar - Ketzalkoatl Yauh Miktlan
Ipan In Xiktli Metztli

THIS IS A RECORD STORE DAY 2018 EXCLUSIVE, LIMITED TO ONE PER PERSON.

 Replica original artwork, official Mr Bongo reissue.

UK funk outfit Cymande followed their eponymous debut LP with "Second Time Round", also from 1973. Fusing musical influences such as soul, Afro-beat, reggae and calypso, they created a unique British funk sound that became a favourite sample source for hip hop producers in the next two decades. This LP includes the classic "Fug" and single / album opener "Anthracite" - a title only a UK outfit would ever call a track!

Ghanaian music legend Ebo Taylor returns with perhaps his finest album to date. But don’t take our word for it. That’s coming straight from the man himself, and he should know after more than 60 years in the business!
The 81-year-old composer, arranger, guitarist and vocalist has been a key figure in the evolving afro-funk sound since the Seventies, working with the likes of Apagya Show Band, CK Mann and Pat Thomas. Famously, he rubbed shoulders with Fela Kuti while studying in London in the Sixties, before going on to lead the Ghana Black Star Band (featuring Osei and Sol Amarfio from Osibisa) and later the Uhuru Dance Band back in Ghana.
Like Fela, he is always pushing forward, constantly reconceptualising his sound and attuning it for a new generation. Part teacher, part messenger, listen to "Yen Ara" and you will not only hear the high-energy afrobeat, sweet highlife, jazz and konkoma influences that he’s famous for, but also a disco pulse and hard-hitting percussive edge to the tracks, which were produced by Justin Adams (Tinariwen, Rachid Taha, Robert Plant) and recorded in the live room at Electric Monkey Studio in Amsterdam.
His group, the Saltpond City Band, are all handpicked local musicians featuring two of his sons. An appropriate line-up on an album whose titles means “we”. And they are on fine form, ripping through tracks such as ‘Krumandey’ (a surefire party starter) and ‘Mind Your Own Business’ (a simple message delivered over a frenetic drum rhythm).
Elsewhere, ‘Aboa Kyirbin’ will please fans of tough afrobeat grooves, while Taylor could well be inciting a riot at his next gig with ‘Mumudey Mumudey’, We hear him calling for ‘preshaaah’ and leading us into a call and response as the trumpet takes us higher. And the lift of those horns on ‘Ankoma’m’ evokes some of his finest work such as ‘Love & Death’ and ‘Come Along’, the latter recorded with the Pelikans and featured on a recent Mr Bongo reissue.

TRACK LISTING

Poverty No Good
Mumudey Mumudey
Krumandey
Aboa Kyirbin 
Mind Your Own Business
Ankoma’m
Abenkwan Puchaa
Yen Ara 
Aba Yaa

A Danny Krivit and Harvey favourite, as sampled by J Dilla and Glenn Underground - a dubby disco cover of the Gamble & Huff penned O’Jays classic. Also featuring on Kenny Dope's amazing "Disco Heat" compilation and receiving plenty plays at Mancusso's legendary Loft parties.

This sound was later pioneered by the likes of Arthur Russell and Larry Levan, and is especially present throughout the Sleeping Bag records catalogue. Replica original 7” artwork, official Mr Bongo reissue, mastered from our original DAT copy.

Latin LSD maverick and champion, Tim Maia returns to our shelves as Mr. Bongo dig deep into this funky tripper's arsenal to reveal an album of wide-eyed disco and riotous soul from later on in his career. That original batch of sunshine still resting in the recesses and pineal glands as the Maia clan deliver this excessive hit of Brazian disco funk from 1978,

The album kicks off with a trio of floor fillers: the exuberant party starter "A Fim De Voltar", a sing-a-long anthem in "Acenda O Farol" and the undeniably funky hit "Sossego" (file that one next to Fatback). But then Maia drops it down and gets existential on "All I Want", questioning the meaning of happiness. He also shows his tender side on slow burners such as "Murm Rio" (written by the great Cassiano) and "Pais E Filhos"; the latter featuring a supersoft bed of harmonies you can’t help but lay down on. But the party ain’t over and mid-tempo groover "Juras" gets the feet moving again before "Jhony" sends us swaying off into the night.

Maia’s appetite for excess would eventually get the better of him. But "Disco Club" is the sound of an unpredictable genius on top form. Get ready for the time of your life.

TRACK LISTING

A Fim De Voltar
Acenda O Farol
Sossego
Vitoria Regia Estou Contigo
E Nao Abro
All I Want
Murmurio
Pais E Filhos
Se Me Lembro Faz Doer
Juras
Jhony

Mr Bongo follow up their well received "Record Club - Volume One" with another exceptional collection of global grooves, perfectly placed for DJ use or home listening. Picking up some of the finest reissues of recent memory alongside a slew of their own discoveries, this collection is packed to the brim with soulful, jazzy and funky jams from all across the globe. The gospel stomp of Twinkie Clark's "Awake O Zion" blasts off after an Athens Of The North appearance earlier in the year, while the voodoo disco of Guy Cuevas' "Ebony Game" (yet to be reissued) makes a welcome vinyl appearance. The Afro-funk of the Kiru Stars is back on wax after a blink and you missed it issue on Afro7, while perenial Nigerian faves Effi Duke and Oby Onyioha groove away after PMG and Soundway presses respectively. Sofrito fave "Oh Yeh Soweto" keeps the party powering along before Rahbani's "Liza...Liza" blows us all away. Elsewhere, about a dozen dope Latin cuts send us dancing into the night with a sympathetic blend of sunkissed rhythms and smiling melody. Great stuff.

STAFF COMMENTS

Patrick says: Arguably even better than Volume One, this latest collection from Mr Bongo brings the global grooving to your living room/DJ Set. Ranging from Gospel disco to Nigerian funk, via South African party jams and Latin love affairs, this is a truly all killer affair.

TRACK LISTING

Luiz Henrique - Mas Que Nada
Elbernita ‘Twinkie’ Clark - Awake O Zion
Guy Cuevas - Ebony Game
Kiru Stars (Julius Kang’ethe) - Family Planning
Kelenkye Band - Jungle Music
Effi Duke & The Love Family - The Time Is Come
Anubis - Ecology
Dee Edwards - Put Your Love On The Line
Teaspoon & The Waves - Oh Yeh Soweto
Oby Onyioha - Enjoy Your Life
Leny Andrade - Na_o Adianta
Rosa Maria - Samba Maneiro
Tom & Dito - Obrigado Corcovado
Inezita Barroso - Maracatu Elegante
Joao Diaz - Capoeira / Elias
Rahbani And His Orchestra - Liza... Liza
The Beaters - Harari
The Equatics - Merry Go Round

A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogerio Duprat and Tenorio Jr. amongst others.

Replica original gatefold including the cover that was banned by the Brazil ian military government in 1973 during the brutal dictatorship. ‘

India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of Mr Bongo’s favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.

A record that Mr Bongo have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.

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

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

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

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

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

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

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

“Jaw-droppingly tasty” LA Weekly

STAFF COMMENTS

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.

TRACK LISTING

Messy Love
Baobab Tree
I Will Keep You
Spirit Reflection
Entranced
Super Nova Lovers
Stay A While
Lo Mas Dulce
Into Oya!
Windwaves

Malian music is arguably the most sophisticated form of African music. Now Mr Bongo, who have long been entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a selection of songs from across the country. Compiled by Vik Sohonie & Dave ‘Mr Bongo’ Buttle, the story of this release began in 2015 when Dave happened upon the Soul Bonanza blog. One mix in particular stood out and totally enthralled Dave - le monde a change: a tribute to mali 1970 - 1991. He already knew of Malian legends such as the Rail Band, Salif Keita, & Les Ambassadeurs du Motel de Bamako, but this mix was something else. On this album you will find well-known artists sing next to rarer discoveries. The Rail Band, who are one of the best known of all the big bands in Mali, gave us the stars Mory Kante and Salif Keita. Les Amabassedeurs du Motel de Bamako were another big act that had Idrissa Soumaoro, Kante, Man la, and for a while Salif Keita in their ranks. Sometimes Salif would play in both bands in one night, quite a feat considering the bands were fierce rivals. Asan albino Salif has had to face considerable prejudice from society, focusing on his musical career to help overcome this. A major discovery on the album has been Idrissa Soumaoro et L’Eclipse de L’Ija. L’Eclipse de l’Institut des Jeunes Aveugles was a Blind teenagers institute and their record was produced by the German association that took care of blind Malian teenagers in Bamako. It was never properly released commercially and was the first recordings by the legends of Malian music Idrissa Soumaoro, Amadou Bagayoko and Mariam Doumbia. Amadou & Mariam later got married and became household names. This album is a concerted global effort to showcase the most vital cornerstone of Malian culture in an attempt to preserve its reputation in the face of its current, grim reality. We hope our highlights of Mali’s rich history of musical innovation will serve as a starting point for reclaiming an image tainted by unnecessary conflict. May peace and music return to Mali soon.

TRACK LISTING

Idrissa Soumaoro Et L’Eclipse De L’Ija - Nissodia (Joie De L’op Misme)
Les
Ambassadeurs Du Motel De Bamako - Tiecolom-Ba
Super Tentemba Jazz - Mangan 
Rail Band - Mouodilo
Les Ambassadeurs Du Motel De Bamako - M’Bouram-Mousso 
Sorry Bamba - Yayoroba
Super Djata Band - Worodara
Zani Diabate Et Le Super Djata
Band - Fadingna Kouma
Les Ambassadeurs Du Motel De Bamako - Fatema
Super Djata Band De Bamako - Mali Ni Woula
Salif Keita - Mandjou
Alou Fane & Daouda
Sangare - Komagni Bela
Idrissa Soumaoro Et L’Eclipse De L’Ija - Fama Allah

"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.

TRACK LISTING

1. Ritual Negro
2. Agua Viva
3. Um Só
4. Sem Sombra
5. Savana
6. Advertencia
7. Quem Sou Eu?
8. Flor De Lotus
9. Dentro Da Selva
10. Desengano Da VistaDual
11. Arabindu

"The first instalment in our new 'Mr Bongo Record Club' compilation series – a selection of favourites, recent discoveries and sought after obscurities, which form the basis of our DJ sets and our radio show of the same name. Including cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie Laverne, Barbosa and more.

The original concept for 'Mr Bongo Record Club' was a radio show that allowed us to air our treasured record collections, recorded and broadcast once a month. We wanted to create an outlet free from any genre or BPM restrictions, not constrained by the need to beat-mix every record, a space where we could play latest finds alongside favourites. The only self-imposed rule being that it had to be played from vinyl.

We have always DJ'd across-the-board, but playing in an eclectic way hasn't always been easy. Recently DJ's such as MCDE, Floating Points, Nick The Record, Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and Young Marco – to name a few – have opened things up with very diverse sets to younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco, boogie, jazz, house, techno and beyond.
We're seeing a rare groove like sensibility. A shift towards the attitude of legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson, where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin back to back. At the same time it isn't a nostalgic or retro movement, people have a progressive attitude and a thirst for new-old music. It is a vibrant and exciting time – we are proud to be a part of it." - Mr Bongo

STAFF COMMENTS

Patrick says: Even the most cursory glance over this stunning setlist should have you reaching for your wallet. Bringing together classics, rare digs and pound shop finds from their long running radio show and DJ sets, those cats from Mr Bongo career through jazz rock, library funk, highlife, disco and latin without ever missing a trick. Essential!

TRACK LISTING

CD:
Hareton + Meta - KM110 (edit)
Amazones De Guinee - Samba
Evinha - Esperar Pra Ver
Neno Exporta Som - Deixa A Tristeza
Alipio Martins - Piranha
Lemos E Debetio - Morro Do Barraco Sem Agua
Barbosa - Seara De Oxala
Fruko Y Sus Tesos - Salsa Na Ma
Lantei Lamptey - Fish & Funjee (Komi Ke Kenam)
Buari - Karam Bani
The Rwenzori’s - Handsome Boy (E Wara) Pt. 1 & 2
Dave Pike Set - Mathar
Connie Laverne – Can’t Live Without You
Mavis John - Use My Body
Big Youth - Mammy Hot Daddy Cool
Tappa Zukie - Freak
Alex Rodriguez - El Mercado
Claudia - Jesus Christo
Cortex - Chanson D’un Jour D’hiver
King James Version - He’s Forever (Amen)

LP 1:
Neno Exporta Som - Deixa A Tristeza
Alipio Martins - Piranha
Lemos & Debetio - Morro Do Barraco Sem Água
Barbosa - Seara De Ocala
Dave Pike Set - Mathar
Lantei Lamprey – Fish & Funjee (Komi Ke Kenam)
Buari - Karam Bani
The Rwenzori’s - Handsome Boy (E Wara) Pt. 1 & 2

LP 2:
Mavis John - Use My Body
Big Youth - Mammy Hot Daddy Cool
Tappa Zukie - Freak
Connie Laverne - Can’t Live Without You
Alex Rodrigues - El Mercado
Cortex - Chanson D’Un Jour D’Hiver
King James Version - He’s Forever (Amen)

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’.

TRACK LISTING

A1 Exú
A2 Ogun
A3 Omulú
A4 Oxossi
A5 Logun Edé
A6 Nanan
B1 Oxun
B2 Yansan
B3 Yemanjá - Berimbau
B4 Xangô
B5 Oxalá
B6 Axé Opô Afonjá Alujá

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.

TRACK LISTING

Caboclo 2:48
Pelas Sombras 2:13
Sylvia 2:59
Presente Grego 2:29
Dedicada A Ela 3:30
Seriado 1:40
Na Boca Do Sol 2:52
Velho Parente 2:17
O Mapa 2:38
Karina (Domingo No Grajaú) 5:14

'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".

TRACK LISTING

Dawn Of The Dread
Reality Time
Take Charge
Brixton
The Yout Feat Tippa Irie
Snake Skin
Computer
No Ina Dat
Ghetto Life Feat Winston Reedy
Sweet Reagge Music Feat Earl 16

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.

Hollie Cook was born and bred in West London in a household dominated by music. She gravitated to the sounds of Marc Bolan, David Bowie and The Cure. With Sex Pistol Paul Cook as her dad, music was always around. Entering professional acting, singing and modelling at a young age, Hollie soon rejected her performance arts schooling for a musical path truer to her influences. Family friend and Slits singer Ari Up persuaded Hollie to sing backing vocals for a new EP "Revenge Of The Killer Slits", which she followed by ditching school to join the band on a six week US tour. Hollie was now an official Slit - Ari referred to Hollie as the 'second singer' - so when it came to record a new Slits album in LA, Hollie's vocals, keyboards and even her song "Cry" all featured. More collaborations followed: a duet with Jamie T on his "Chaka Demus" EP, with Ian Brown on "The World Is Yours", and most significantly as featured vocalist on Prince Fatty's underground reggae hit "Milk & Honey". Hollie jumped at the chance to get in the studio with Mike as she was smitten by the tracks she had heard. Hollie's passion for reggae singers Janet Kay and Phyllis Dillon combined with classic 60s girl groups formed the basis for her new solo work of self coined 'tropical pop'. Sweet.

An executive at soundtrack label MGM Records in the early 70s, Michael Viner was asked to provide a couple of tracks for upcoming B-movie horror film, The Thing with Two Heads. He hooked up with songwriter Perry Botkin, Jr and the pair, plus session musicians knocked out "Bongo Rock" and "Bongolia". By the middle of 1973, the songs, attributed to the Incredible Bongo Band, began to take off, both in Canada and on the U.S. R&B and pop charts, so Viner and Botkin took the concept to the next obvious level and cut an album, also titled "Bongo Rock". Reasonably successful at the time, the album then had a whole new lease of life when discovered by beat-hunting DJs looking for breaks they could spin back to back for dancers at their block parties. "Bongo Rock" features the b-boy / b-girl break classic and much-sampled "Apache" along with a plethora of ace bongoed-out rock cover versions and originals like "Duelling Bongos", "Let There Be Drums" and "Last Bongo In Belgium" all up to the same fantastic standard as "Apache" with a huge bongo breakdown in almost every track! Highlight of the album has to be the whacked-out cover of Iron Butterfly's "In-A-Gadda-Da-Vida" which takes the winning Apache formula to new depths of heaviness!