Review: For the latest release on their on-point Brasil 45s sub-label, Mr Bongo takes a trip back to 1977, and the early days of legendary fusion outfit Banda Black Rio. Both the cuts here are taken from the band's brilliant debut album, Maria Fumaca, and see them fusing Brasilian samba and jazz sounds with the righteous, dancefloor-friendly grooves of funk and disco. "Maria Fumaca" itself is a deliciously sunny and sweaty affair, with punchy horns, eyes-closed guitar solos and jazz-funk electic piano lines rising above a carnival-ready samba-funk groove. The U.S funk influence comes to the fore more on flipside "Mr Funky Samba", which sounds like Azymuth jamming with members of the T.K Disco, Philadelphia International and Salsoul house bands. Yep, it's that good.
Review: Thanks to their superb collaborative album "Atemporal", many are now fully aware of the joint musical explorations of French band Cotonete and Brazilian singer Di Melo. That wasn't the case in early summer 2018 when their first single, "A.E.I.O.U", landed in stores. The record became a sleeper hit, was later remixed by Dimitri From Paris and is now given the re-press treatment. The original version (side A) is an inspired fusion of warm, breezy Brazilian disco and jaunty jazz-funk with one of the strongest, catchiest choruses we've heard in years. It's utterly ace all told, as is the more spacey and synth-laden B-side "Dub" mix. If you don't already own a copy, do yourself a favour and grab one of these.
Review: Danny Krivit's officially sanctioned re-edits of Earth Wind & Fire's "Brazilian Rhyme" and "Runnin" have been sought-after since they first appeared on a Japan-only 12" back in 2004. In fact, such is demand that even later bootleg pressings now go for silly money online. As this reissue proves, though, they're arguably amongst Krivit's strongest scalpel works. Certainly, his three-minute revision of the always too short "Brazilian Rhyme" teases it out to just the right length, in the process delivering a sweltering, sing-along summer anthem. The flipside revision of the equally as summery "Runnin" is every bit as good, with Krivit making merry with the original's life-affirming scat vocals and killer piano solos.
Review: This is a real lost South American Latin Jazz-Funk treasure from Argentina taken from some original 1974 recordings led by Carlos Franzetti. Known for his late 70s jazz-fusion album Graffiti, Franzetti recorded Dedos after returning to Argentina from Mexico where he was musical director at Fermata International. His friend Mochin Marafiotti, A&R at Music Hall, proposed the Latin Jazz project and the session featured Ruben Rada, Ricardo Lew, Emilio Valle, Osvaldo Lopez and Franzetti himself. Though initially overlooked, Dedos and Doce y Diez now receive a long-overdue reissue as they remain high on energy and deeply jazz gems with a Latin twist.
Fogo No Chap (Fire In The Ground) (DJ Muro edit) (4:26)
Casino Bangu (Lembrancas Do Lincoln) (feat Banda Utopia - DJ Muro edit) (4:32)
Review: .You'd be hard pushed to find a more lively collision of sounds than this one from Friends From Rio. The Brazillian outfit mixed up jungle funk, samba, Latin, soul and plenty more on their 2014 album Friends From Rio Project. 'Fogo No Chap (Fire In The Ground)' is one of the single rom it and here it gets an edit job by DJ Muro who draws out the good bits, lets the loose rhythms flow and gives plenty of room to the steamy wind leads. Flip over this fine 7" and you'll find another summer ready sound in 'Casino Bangu (Lembrancas Do Lincoln)' (feat Banda Utopia - DJ Muro edit) which is more percussive and just as vibrant.
Review: The Cuban boleros of the 1950s and Nuyorican street soul of the 1960s always embodied a timeless Caribbean romanticism in the midst of New York City's urban landscape. La Triunfadora's debut album captures this sense of revival with experimental, psychedelic arrangements that revitalise classic tunes with fresh interpretations. Their debut 7-inch on Names You Can Trust honours Cuban bolero maestro Cesar Portillo De La Luz with lush orchestration and vocals by Candace Camacho and Benjamin R. Julia. The B-side reimagines Ralfi Pagan's 1969 Latin soul gem 'Hijo De Mama' by blending analogue warmth with a modern twist.
Review: Los Caneyes was the first ever solo project from Cuban funk master Juan Pablo Torres and now Future Rootz - in collaboration with Canal Sounds and EGREM - is serving up a first-ever vinyl release of his early singles 'No Estabas No estabas Tu' and 'Oye Ven Y Baila Mi Son' on 7". These two superbly funky Afro-Cuban tracks were recorded in 1973 by this influential musical innovator. The first is a flame-hot and percussion-laden groove that is loose-limbed and sure to get those bones shaking and the second is similar - pure Latin heat for the floor.
Review: Original Gravity, Luchito Rodriguez and Nestor Alvarez return with yet two more Latin groove versions of funk and soul classics, emulating two sounds not yet brought together enough. 'Dap Walk' is a shot-by-shot cover of the song of the same name by Ernie And The Top Notes - a slick and slippery interpretation that translates the original AAVE of the song's intro into Spanish. 'El Barrio', meanwhile, opts for 70s crime thriller vibes, instrumentally verging on expressionism via djembe, brass sections and vibraslaps.
Nico Gomez & His Afro Percussion Inc - "Lupita" (7:16)
Review: Mr Bongo continue to churn out top-quality re-edits and here they enlist Danny Krivit aka. Mr. K, the New York producer who has longstandingly helped prop up the dance scene there since the early 1960s. Krivit is responsible for perhaps some of the earliest and most significant disco and funk edits on Earth, so we're more than happy to hear these new ones out, in which he lends his ear to two mambi from Latin extraordinaires Sabu Martinez and Nico Gomez. Percussive clanks and boxy slaps abound on this audiophiles' charm.
Review: Cuban bandleader, composer and rumba magician Ramon Santamaria had a huge influence throughout his 40 year career, notably writing Coltrane's famous "Afro Blue". Here are two of many stand-out cuts from his 1963 album Watermelon Man! While most the album's focus was on his Herbie Hancock cover, it's tracks like these that really gave the album its spirit and unique character; "Yeh Yeh!" is a samba shaking horn-led cut laced with crackling percussion and party cries while "Get The Money" leans back with rhythm and blues sass and a rhythm that's as powerful as Ramon's legacy. Moneymaker shaking guaranteed.
Review: Mongo Santamaria's 'Green Onions' here (a cover of the iconic Booker T standard) is a classic cut that showcases the legendary Cuban percussionist's mastery on the drums. First released in 1969 alongside the nighttime swayer 'In The Midnight Hour' , the single hears a funking reissue here that once more shines a blinding light on Santamaria's deft ability to blend originally American compositions with Latin rhythms and soul-jazz structures.
Review: This one is such an evergreen summer classic that it sells out whenever it reappears and gets reissued on a regular basis. Last time was last summer but now the rays are back in our lives we're glad it is available one more. Brazilian jazz vocalist Tania Maria is a true icon with a huge back catalogue of music behind her. Here, Soul Brother look back to her 1983 album Come With Me and lift a pair of pearlers for this vital 7". 'Come With Me' is a sundown slinker, with Maria's airy tone gliding over the sprightly piano chords while on the flip 'Lost In Amazonia' is a joyous, scat-powered slice of jazz funk with incredible slap bass flex. Essential summer grooves.
Juan Pablo Torres - "Cacao" (Dan Tyler NAD Bulto version) (7:54)
Juan Pablo Torres Y Algo Nuevo - "Pastel En Descarga" (Dan Tyler NAD) (3:39)
Grupo Los Yoyi - "Paco La Calle" (Nick The Record re-edit) (8:11)
Review: Dan Tyler and Nick The Record's third installment in the Mr Bongo Edits series brings a bold twist to Cuban classics with three tracks that are equal parts cosmic and dancefloor-ready. On the A-side, Tyler extends two Juan Pablo Torres tracks from his reissued 1978 'Algo Nuevo' and 1977's 'Super Son.' First, Tyler reimagines 'Cacao,' a standout track from Torres' LP, giving it room to breathe and intensifying the percussive climax with swirling synths and spacey dub effects. It's a track that thrives on a big system, building tension as it goes, and works wonders in the right environmentijust ask anyone who caught it at La Paloma in Barcelona. Next, Tyler dials into 'Pastel En Descarga,' turning the Latin-funk fusion into a punchy, trippy dub with delay and drama, keeping the track's energy while taking it further into spacey, cosmic territory. On the flip, Nick The Record tackles Grupo Los Yoyi's 1977 'Paco La Calle,' taking a 2009 edit and expanding it into a longer, more hypnotic piece. The percussion pushes and pulls as the psychedelic synths swirl, creating a dynamic and ever-building groove. The 2025 version is elevated with new synth lines courtesy of Tyler, deepening the track's psychedelic richness. A cosmic whirlwind of reworks that bridges the gap between '70s Cuban innovation and modern dancefloor sensibilities.
Review: It would be fair to say that the Afro-Cuban All Stars are Cuba's most important contemporary musicians. Their leader, Juan de Marcos Gonzalez, has been a pioneering figure for decades and his work with the likes of the Buena Vista Social Club has officially solidified his position as the guiding voice of Afro-Latin music. World Circuit has decided to reissue the band's debut album from 1997, A Toda Cuba Le Gusta, and it's no surprise given just how iconic it remains to this day. If you're a fan of rhythmic jazz with a Caribbean twist then this is the right material for you. If you're a record collector whose into the spicier end of the jazz scale then this is unmissable. Whoever youre, you're bound to enjoy this marvelous collection of tracks.
Review: Rewind to 1975, Brazilian supergroup Azymuth hit their richest creative vein with this self-titled full-length. Just as the band remain so themselves, this is still hugely relevant and ridiculously on-point considering it's 40 years on the clock. Proof can be found on every track from the sedative harmonic charms of the opener "Linha Do Horizonte", the raw slap bass funk, velvet keys and soaring synths on "Seems Like This" and the frenetic, almost techy mentality of "Wait For My Turn". An essential addition to any collection, this would have blown minds to pieces back in 1975.
Review: Far Out takes a second deep dive into the previously unheard early demos of Brazilian jazz-funk greats Azymuth, offering up more unpolished gems recorded during the years as one of Brazil's most sought-after session bands. Interestingly, much of the material is closer in tone and style to their subsequent releases, though some of the rhythms, solos and basslines are arguably a little wilder and more experimental. Highlights include the fizzing opener "Duro De Roer", the sweaty and percussive brilliance of "Bateria Do Mamao", the Blaxploitation influenced spy-chase madness of "Quem Tem Medo" and the surprisingly smooth "Manha", the demo that eventually earned Azymuth a recording contract.
Review: Before they found fame with their 1975 debut album, Azymuth divided their time between working as backing musicians (attending recording sessions with some of Brazil's top talent) and recording experimental home demos. Recently rediscovered, these demos are finally being given a release thanks to the efforts of Far Out chief Joe Davis. There's much to admire on this first batch (a second volume is also available) of previously unheard early recordings, from the high-octane Brazilian funk insanity of "Prefacio" and Jimmy Smith-esque "Melo De Cuica", to the spacey samba/jazz-funk fusion of "Xingo (Version One)" and the relaxed, slow-burn brilliance of seven minute B-side opener "Laranjeiras".
Review: By the time they released Saci Perere in 1980, carioca outfit Banda Black Rio were amongst Brazil's biggest dance music stars - an outfit whose blends of samba, jazz, disco, funk and MPB moved the heart and feet of the country's dancers. The set remains a timeless Brazilian classic - hence this much-deserved CD reissue. Highlights come thick and fast throughout, from the leisurely sundown headiness of 'Saci Perere', and horn-heavy jauntiness of 'Melissa', to the funky samba-jazz fusion of 'Subindo O Morro', synth-laden downtempo sunshine of 'Amor Natural' and the atmospheric Latin disco-funk of 'Broto Sexy'. An album that should be in every Brazilian music fan's collection.
Orgullecida (alternate Trio take - bonus track) (4:31)
Review: When it was first released a quarter of a century ago, the Buena Vista Social Club album - a concept album produced by Ry Cooder and Juan de Marcos Gonzalez, featuring veteran Cuban musicians recreating music that had been popular on the island nation in the 1940s and '50s - had a huge cultural impact. Not only did it sell like hotcakes around the World, leading to a US tour and documentary film, but it also raised interest in Cuban music, something that has sustained to this day. This 25th Anniversary edition, then, is fully justified. It boasts fully remastered vinyl and CD versions of the original album, each with bonus tracks, as well as partner discs entirely made up of previously unheard songs and alternate takes
Review: What is there left to say about this landmark recording, which captures the heart and soul of pre-revolutionary Cuban music, bringing together veteran musicians whose artistry might have otherwise been lost to time. The result is a stunning blend of son cubano, bolero, danzon and jazz, each track infused with intricate rhythms and heartfelt performances. Flamenco-tinged vocals soar over interwoven instrumentalsieach simple in isolation but collectively forming a rich, textured soundscape. The interplay between piano, guitar and percussion is electrifying, balancing smooth elegance with raw passion. From the hypnotic pulse of 'Chan Chan' to the fiery energy of 'El Cuarto de Tula' and the aching beauty of 'Veinte ANos', the music effortlessly bridges past and present. Moments of exuberance give way to quiet reflection, showcasing the full emotional range of these master musicians. The sharp piano work, the percussive drive and the warmth of the vocal harmonies create an irresistible urge to dance. Even in its most hurried passages, there's an undeniable charmievery note brimming with life. Now presented on a 4xLP gatefold edition, pressed on 180-gram audiophile vinyl and cut at 45 RPM for maximum fidelity, this reissue elevates an already timeless collection. The past lingers in every note, proving that old songs truly do stir old feelings.
Review: Eagle eyed diggers might have spotted Camarao Orkestra's excellent Nacao Africa 12" single dropping last year on Favorite Recordings. Now the promise of that single has been followed up with this wonderful album - a scintillating blend of Latin jazz, funk, samba, Afrobeat and much more besides. The playing is second to none, not least the gorgeous Rhodes on "Dia De Verao", and the energy pivots nimbly across these seven tracks to make for a varied but cohesive listen. Uptempo "Guerreiro Yoruba" is an infectious stomper, while "Copacabana" captures a cool 70s funk vibe that wouldn't sound out of place on a Rufus & Chaka Khan record. With the title track bringing the perfect laid back party flavour too, there's a lot to savour on this album, not least while the sun is shining.
Playa Noche (feat Michael Brun & Keyon Harold) (3:13)
Dime (3:31)
Catalina (feat Monsieur Perine) (2:48)
Datela (2:51)
Pretty (feat Big Freedia) (3:08)
I Don't Care (feat Geroge Clinto & Nik West & Trombone shorty) (3:21)
Anything (3:01)
So Lucky (feat Eric Krasno & Maurice Brown & Anjelka "Jelly" Joesph) (3:22)
La Pomada (feat Wampi) (3:06)
A Tu Merced (feat Pancho Cespedes & Gonzalo Rubalcaba & Camila Guervara) (4:12)
Review: Cimafunk, the Grammy-nominated Cuban sensation and former medical student turned funk superstar, returns with Pa' Tu Cuerpa here and again reaches new heights. Released by both Thirty Tigers and Terapia Productions, this album offers a boundary-pushing sonic experience that's as innovative as it is unclassifiable. While deeply rooted in Havana's rich musical traditions, it transcends borders to blend the vibrant rhythms of the Caribbean with the gritty funk of Detroit and the soulful horns and bass lines reminiscent of New Orleans. It is a signature bold fusion of sounds that captures the raw, authentic spirit of the streets while creating something entirely new and electrifying.
Review: This time last year, French combo Cotonete joined forces with Brazilian singer Di Melo to deliver what became one of the sleeper hits of last summer - the Latin disco/jazz-funk fusion of "A.E.I.O.U.". Here they continue their partnership with a first collaborative full length. It's a quietly impressive outing, with Di Melo's distinctive vocals rising above cuts that variously doff a cap to sultry Brazilian disco-funk, Azymuth-esque jazz-funk, soundtrack-friendly cinematic soundscapes, Astrud Gilberto style sweetness and humid salsa-funk (standout "Kilario (2019 Version)". It's a warm, loose and hazy set that feels authentically South American despite its Parisian roots.
Review: Originally released in 1969, Exciting Drums African Rock Party is the first album from Akira Ishikawa under his Count Buffalo alias. It's a wide-ranging affair which includes covers of contemporary standards such as 'You Keep Me Hanging On', 'Back In The U.S.S.R.' and 'Soul Limbo', all given a bold and brassy jazz revision by Ishikawa's band, which included Hiromasa Suzuki on piano, Masaoki Terakawa on bass and Takeru Muraoka on tenor sax. This is the first time it's been repressed since its release, so you can expect all Japanese jazz aficionados to be jumping on this one quickly.
Mi Amor Buenas Noches (Con Carlos Agentino) (2:29)
Review: Celia Cruz is widely known as the Queen of Salsa, and Azucar & Salsa is a perfect celebration of her iconic voice and the unique spirit she brings to her work. The album finds her at her most electrifying and fuses the driving rhythms of salsa with her unmistakable charisma, with the results being a high-energy mix of percussion, horns and powerhouse vocals. Tracks burst with salsa colour and are anchored by Cruz's signature cry of 'iAzucar!'-a joyful call to life and rhythm which you will soon be shouting yourself. Cruz's presence is magnetic here, whether commanding the dancefloor or weaving emotional depth into ballads. Whether you are new to her work or a diehard fan, Azucar & Salsa isa fine tribute and reminder of why her music still moves new generations.
Review: This reissue brings an essential piece of Latin music history back to life. The album crackles with energy, blending Afro-Cuban rhythms with an electrifying brass section and masterful percussion. Upbeat guaracha mambo, driving son montuno and cha-cha-cha grooves create an infectious momentum, while the arrangements from legends like Tito Puente, Charlie Palmieri and Louie Ramirez ensure every track is dynamic and meticulously crafted. The opener is a self-affirming explosion of rhythm, setting the tone for a collection that seamlessly balances joyful exuberance with poignant storytelling. Tracks like the rapid-fire guaracha about the struggles of rebuilding life as an immigrant add depth, while lighthearted guajira melodies and a playful cha-cha-cha about space travel showcase remarkable versatility. Despite its initial modest success, this record was a foundational moment, paving the way for an illustrious career that would define and elevate salsa worldwide. The remastering from the original analogue tapes ensures a rich listening experience. Nearly six decades later, its impact and brilliance remain undeniable.
Review: We are thrilled to announce the European release of a record by one of our Brazilian musical heroes, a king of tropical groove across all eras. This highly limited edition comes in a unique sleeve, making it a killer record and absolutely essential. Great albums often lead to great shows, but with Donato Eletrico, the reverse is true. This album began to take shape after a 2014 performance at Sesc Pinheiros in Sao Paulo, Brazil. During this show, the artist finally presented the iconic album "Quem e Quem" live, more than 40 years after its initial release. For this significant event, Donato collaborated with young Sao Paulo musicians who had been working with him on a new project. Together, they recreated the original groove-laden atmosphere of Quem e Quem, centered around Joao's electric piano. The success of this performance made it clear that this collaboration had the potential for more. The result is Donato Eletrico, a vibrant collection of tracks that hark back to the distinctive sound Donato explored in the 70s.
Review: Esperanto is widely heralded as a Venezuelan jazz-Ffsion masterpiece. It was first released in 1980 and is a real collector's item that is hard to find an expensive. French label Favourite now presents a first ever reissue of the eponymous LP that was recorded in Caracas by a number of talented musicians. It has strong Latin and funk overtones. Squelchy synth sounds and is a must-have for anyone interested in this fine fusion sound. The band started off playing jam sessions that grew ever more refined to the point that they eventually lay down this enduring masterclass.
Review: The vibrant Cuban music scene of the 1970s thrived with creativity, and FA-5's self-titled 1976 album perfectly captures that energy. Part of Mr Bongo's Cuban Classics series, the record blends Latin rock, funk, soul, disco, and Afro-Cuban rhythms into an eclectic and captivating sound. The funk-heavy opener, 'Muevete Con Las Fuerzas Del Corazon' features an infectious bassline, lively horns and drum breaks, setting the tone for a genre-hopping journey. With standout tracks like the Latin disco-funk 'Casa De Ladrillo' and a cover of Commodores' 'Brick House' this hidden gem, which was produced by Tony TaNo, is a must-have for both fans and collectors.
Review: By the time he recorded "Brazilian Dorian Dream" in 1976, Brazilian composer, musician, producer and bandleader Manfedo Fest had already worked on countless bossa-nova, samba and jazz albums, both in the United States and his native Brazil. Yet the album, which Far Out has now reissued, is like nothing else he recorded before or after - and not just because it was based on "the principle of the modal diatonic scales of the Dorian mode". Musically, it's deliciously vibrant and colourful, combining elements of his native Brazilian samba and bossa-nova with Azymuth style jazz-funk, American jazz-fusion, and futuristic, then cutting edge synthesizer sounds. Above all, though, the album strikes a near perfect balance between funkiness and the sweet sunniness that defines some of the greatest Brazilian music.
Srirajah Sound System - "Si Phan Don Lovers Rock" (feat Molam Inteng Keawbuala) (4:56)
Perikas - "Laberinto" (4:01)
Mac Thornhill - "No Way To Control It" (5:14)
King B - "Love Is Crazy" (6:48)
L'Innovateur Djoe Ahmed & Le Zoukabyle - "Amek Amek" (4:36)
Champagn' - "Bel Ti Negress" (4:56)
Androo - "Lyriso" (6:30)
Hidrogenesse - "La Carta Era Muy Larga" (5:31)
Kajou - "Tet Chaje" (6:10)
Conjunto Baluartes - "Nira Gongo" (2:56)
Land Shark - "Tie Me Up" (The Nas-T version instrumental) (6:27)
Pellegrin El Kady - "Seiva De Carnaval" (6:17)
Lee Jackson Band - "Call On Me" (6:54)
LTA (Love The Action) - "What Comes To Ya?" (6:59)
Urban Volcano Sounds - "Ame No Uta (Rain Song)" (New extended version) (5:45)
Review: For the last decade, John Gomez and Nick The Record's freewheeling Tangent parties have proved popular in London, offering dancers the chance to shake their stuff to a wide selection of superb (and normally insanely rare) records over a high quality soundsystem. The pair's first Tangent compilation, which arrives via Mr Bongo, naturally offers a superb reflection of their approach and is packed with must-have cuts. For proof, check the proto-house era dubbed-out boogie of King B's 'Love Is Crazy', the sun-splashed Brazilian gorgeousness of 'Laberinto' by PERIKAS, the spaced-out headiness of Hidrogenese's 'La Carta Era Muy Larga (Dub)', the heavy batacuda business of 'Nira Gongo' by Conjuto Baluartes' and the dub disco-flecked, deep house brilliance of LTA's 'What Comes To Ya'.
Srirajah Sound System - "Si Phan Don Lovers Rock" (feat Molam Inteng Keawbuala)
Perikas - "Laberinto"
Leo Basel - "Quelle Drole De Vie" (Nick The Record & Dan Tyler re-edit)
Mac Thornhill - "No Way To Control It"
King B - "Love Is Crazy"
L'innovateur Djoe Ahmed Et Le Zoukabyle - "Amek Amek"
Champagn' - "Bel Ti Negress"
Androo - "Lyriso"
Hidrogenesse - "La Carta Era Muy Larga" (dub)
Love Isaacs - "Surprise Surprise" (Joao Gomes & Dan Tyler Are Predictably Delayed rework)
Kajou - "Tet Chaje"
Conjunto Baluartes - "Nira Gongo"
Land Shark - "Tie Me Up" (The Nas-T version instrumental)
Rick Asikpo - "Let’s Get High" (Nick The Record re-edit)
Pellegrin El Kady - "Seiva De Carnaval"
Lee Jackson Band - "Call On Me"
LTA (Love The Action) - "What Comes To Ya?"
Urban Volcana Sounds - "Ame No Uta" (Rain song - extended version)
Review: Those on London's crate-digging underground should be well aware of Tangent, an eclectic, anything-goes party created by esteemed record collectors John Gomez and Nick The Record. With a little help from Mr Bongo, they've curated this compilation featuring some of their favourite selections from the party - the vast majority of which are either obscure, rare or overlooked. It's a predictably impressive selection all told, with the pair bouncing between digital reggae-infused global grooves (Srirajah Soundsystem), mid-80s French jazz-funk-synth-pop fusion (an exclusive edit of Leo Basel), quirky riffs of the Pointer Sisters (Marc Thornhill's 'Automatic'-inspired 'No Way To Control It'), zouk, proto-house-era Balearic brilliance (Androo), squelchy AOR synth-disco (Hidrogenesse), heavy Latin percussion workouts (Conjuto Balurantes), dub (Lee Jackson Band) and much more besides.
Srirajah Sound System - "Si Phan Don Lovers Rock" (feat Molam Inteng Keawbuala) (5:03)
Perikas - "Laberinto" (3:59)
Mac Thornhill - "No Way To Control It" (5:09)
King B - "Love Is Crazy" (6:47)
L'Innovateur Djoe Ahmed & Le Zoukabyle - "Amek Amek" (4:39)
Champagn' - "Bel Ti Negress" (5:05)
Androo - "Lyriso" (6:30)
Hidrogenesse - "La Carta Era Muy Larga" (5:33)
Kajou - "Tet Chaje" (6:05)
Conjunto Baluartes - "Nira Gongo" (2:51)
Land Shark - "Tie Me Up" (The Nas-T version instrumental) (6:26)
Pellegrin El Kady - "Seiva De Carnaval" (6:13)
Lee Jackson Band - "Call On Me" (7:01)
LTA (Love The Action) - "What Comes To Ya?" (7:04)
Urban Volcano Sounds - "Ame No Uta (Rain Song)" (New extended version) (5:47)
Review: To celebrate ten years of one of London's most loved underground club nights, Tangent, Mr Bongo are thrilled to launch this new compilation series. Crafted by its two residents, John Gomez and Nick the Record, it aims to transmit a taste of Tangent's spirit: a party rooted in inclusivity and open-mindedness, whose name captures the spontaneous switches in musical direction that are a defining element of their nights. For the compilation, the pair have cherry-picked a selection of their prized, rare and dancefloor-ready tracks from around the globe, that have soundtracked the past decade of parties. Spanning live-recorded disco, Brazilian boogie and weighty lovers' rock, this selection of rare sonic meats is a prized procuring, the consistent quality of which you likely won't be able to track down in many other contexts.
Review: Future Rootz has collaborated with Canal Sounds and EGREM for a gem of a reissue here that goes all the way back to 1977 when producer and bassist Jorge Soler stepped out as Grupo Yoyi for Yoyi, an album that marked his only known solo project. The record now sits up there as one of the rarest and most desirable albums from the Cuban musical canon as it is such a sublime fusion of Afro-Cuban rhythms with jazz, funk and disco. The musicianship throughout is exceptional with mesmeric synths and evocative horn solos all tethered to the sort of grooves that will either chill you out or heat you up depending on the setting.
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