Review: The UK's Mr Bongo has been reissuing old music and putting out new tunes since the late 1980's, and the label is still going strong in 2015. This latest 7" features two of Ethiopia's greatest musicians, Alemayehu Eshete and Mahmoud Ahmed, in a head to head, split EP. On the A-side, Mr Bongo has resurfaced Eshete's "Tchero Adari Negn", a supremely funky piece with the man's own voice gliding effortlessly over hard drums and fuzy guitar riffs; "Bemim Sebeb Litlash" goes deeper and more psychedelic on the flip, and Ahmed's voice is a pleasure as always. Check their other material on Mississippi for a broader introspective.
Miele - "Melo Do Tagarela (Rapper's Delight)" (instrumental) (4:10)
Review: Although Brazil's Banda Black Rio remain infamous for the albums that they recorded in the late 1970s, two beautiful LPs that rode that singular wave of samba-ridden jazz dance, 1980's "Miss Cheryl" is an outstanding tune, and we can hear why RCA picked it up back in the day. Mr Bongo provides us with the reissue here and, if you haven't heard it, it's an absolute delight which switches between disco, psych, and something inherently Brazilian - there's even a wacky synth in there, for good measure. Compatriot Miele appears on the flip with "Melo Do Tagarela (Rappers Delight)", a sublime slice of early, electronic boogie that sounds as fresh today as it did back at the tail end of the 70s. A devious little reissue that you should own...
Review: The love of all things Soviet and disco has been established by French/German duo Fulgeance and Scientist for several years now, having reached a peak last year with their album The Soviet Tape on First Word. Now they return with their own edit series on brand new label Excursions. With eyes squared fully on the floor, each obscurity is given some serious groove muscle for the floor... Charaunitsy's soulful croons and yearning horns are given an additional kick/snare swing, Latvia's Mirdza gets a deliciously camp turbo charge while Ukraine's Tatyana Kochergina gets a full-on Philly treatment with lavish strings and a bassline that won't say nyet.
Review: Wanna hear the Isley Brothers classic "It's Your Thing" given a Latin shakedown? Mr Bongos have got you covered on the latest 7" in their splendid Latin 45s series! Originally issued back in 1974 on TR Records, this Los Africanos cover is a rum heavy Nu Yorican funk-soul instrumental featuring screaming Hammond organ and FX. It's very expensive in original form now, so shout outs to Mr Bongos for pressing it up here along with an equally good 1968 cover of instrumental, boogaloo version of Eddie Floyd's all-time classic "Knock On Wood" from Machito & His Afro-Cubans.
What You Want To Be? (O Que Voce Que Apostar?) (2:09)
These Are The Songs (Esta E A Cancao) (2:59)
Review: Tim Maia's 1968 debut single, "What You Want To Be", has long been a favourite of dusty-fingered Latin music enthusiasts. Original copies, though, have long been out of the price range of most DJs and collectors. Happily, Mr Bongo has struck a deal to reissue it. The title track is something of a scorching dancefloor-treat - a boogaloo-era slab of Latin funk in which Maia and chums sing in English atop a bustling rhythm track and some seriously heavy horns. B-side "These Are The Songs" is a much more relaxed and laidback, samba-soaked affair, closer in tone to early 1960s U.S soul songs of the sort regularly covered by the Beatles early in the career.
Review: Born in Mali, Boncana Maiga is one of the most talented and popular producers of west african music since the 60's. He studied flute and latin arrangements in Cuba during the 60's & became orchestra leader for the national ivorian tv in Abidjan in the mid seventies, toured all over the world with the famous Africando band.
In the 80's he also recorded few rare Funky tracks with heavy breaks and this 4 track collection features rare tracks from 1978 to 1982 dedicated to dancefloor .Remastered by Frank at The Carvery this is solid ammunition for your dancefloor.
Review: Surely one of the most fitting albums of the summer, Sabrina Malheiros's fifth LP Clareia undergoes some stately remix treatment as we move from open fields to sweaty clubs to party for the rest of the year. Three of broken beat's finest and most respected protagonists all play a role... Man of the moment Henry Wu gets woozy on the organs and widens the whole jam out into seven minutes of space funk, Dego and Kaidi Tatham's 2000 Black dig deep into the bossa dynamic with a Latin jazzy spiritual feel running throughout the momentum while CoOp founder IG Culture adds a little skip to the drums, dreamy plucks and bassline that won't stop bouncing. If it's bruk, don't try and fix it.
Review: Fresh from '78: Brazilian funk lothario Marcelo's first big single (which was never out on a 45 before)- and a peak track from his debut eponymous album from the same year - gets a timely revisit from the Steven J's reissue/edit imprint Pepite. With its subtle piano striking Q&A, wild bass runs and clam-tight guitar/drum groove, Marcelo calls his way through the jam as if everything is a chorus. With its layered vocals, it's gutsy call to action for any dancefloor. Steven's edit stretches out the instrumental bars and brings out focus on the staccato vocal hook with a rising sense of momentum. Two great sides, one dope 45.
Review: Two powerful bossa nova workouts from 1972: Brazilian chanteuse Rose Maria delivered two incredible funk jams on Tapecar which escaped her prolific album releases and never enjoyed a repress. Until now... The Afro-Latin soul of "Deixa Nao Deixa" is all about the sudden dynamic from purring verses to emphatic, harmonic chorus while "Avenida Atlantica" takes a more straight-up funk route with its dominant horns and heavy boss break. Instant party material.
Review: Dynamite Cuts lives up to its name with this limited 7" from acclaimed Brazilian jazz singer Tania Maria. Two driving and dancey tracks pressed nice and loud for the first time on 45, "Fio Maravilha" is a busy arrangement made up of wild piano, big raw drums and Maria's impassioned, lung-emptying singing that whizzes along at pace. "Bedeu" has a little more Latin flavour, bossa nova swagger and space in the mix for the soul to shine through. Drop either one and take shelter, cause both of these cuts are bombs.
Review: Sammy Massamba's "Azali" originally came out in 1990. The afrobeat artist's sound is shockingly potent, fusing his roots with disco and boogie to create the stuff party dreams are made of. The song has just the necessary edge to make a classic, with the vocals leading the way through the tune beautifully. "Birika" is a slower jam, but no less bold with its keyboard brass and choice guitar solo. Aroop Roy jumps on the flip to edit "Azali", stretching out a touch and adding a little subtle drum machine jack to the beat. It's tastefully done, keeping the vibe on the original intact.
Review: After two 45s on Les Disques Bongo Joe, Dutch Afrofunk space cadets make their debut on Soundway with their first full EP. Hurling all their roots and inspirations into a heady, bewitching brew of west African, Columbian, Caribbean, Latin and all-round cosmic fusion, the results are four slabs of world funk gold. "Down In The Basement" updates highlife styles with a salubrious big-bottomed disco twist, "The Opposite" ups the tempo with a little more cumbia charm while "Continue The Fun" adds a dub mentality to the mix as we're chugged to oblivion with heads down introspection. Finally "Tuto Bay" closes somewhere on a Cuban beach with rum-warmed harmonies. Beautiful.
Review: If you're unfamiliar with the name Mavi Gunes 69, don't worry: it's a brand new project from Osman Murat Ertel - co-founder of cult Turkish psych-folk band BaBa Zula - and his life partner Esma Ertel, a talented singer, songwriter and dancer. There's much to admire on this out-there debut single, not least the lo-fi psychedelia of "3 Cember", where Esma Ertel's half-chanted vocals rise above hallucinatory Middle Eastern instrumentation (drenched in copious amounts of reverb) and a dark, low-slung groove. Flipside "Yafta" is a slightly more up-tempo affair, with flash-fried acid-funk guitar flashes and exotic instrumental flourishes rising above a near tribal late night groove. Both tracks are hugely atmospheric and undeniably intoxicating.
Review: Destination mid 70s Nairobi where Madagascan guitarist Jimmy Mawi was laying down some serious vibes... Signed to EMI's Pathe imprint, he released three singles during his career which have all since faded to obscurity. Until now. Dusty, garagey and steaming with raw blues fusion, it's hard to deny any parallels to Hendrix as Mawi expresses himself with a rough heartfelt frenzy. Highlights include the Zep-level smoked out soul of "Blue Star Blues" and the insistent drive and reverbed out faraway vocals on "Black Dialogue". Another exemplary Afro-funk find from Soundway.
Review: A special summer-tuned dedication to two of Africa's most creative contributors who both passed away at the birth of the New Year. First up, South Africa's Shaluza Max's 2002 classic gets the revisitation it deserves; big accordions, honeyed Zulu vocals and a chugging groove that could plough into any dancefloor under the sun, it struts with a timeless sense of universal groove science. Flip for a rewind to the mid 80s as Soundway pays tribute to the hugely prolific Tabu Lay Rochereau. Complete with smooth, soothing synths, show-stopping harmonies and slinky bassline that won't quit, it's as heart-rending now as it was 30 years ago.
Review: DJ Gandharva and Von Yodi's long serving Budabeats label is always a trusted source for razor sharp disco digs and more esoteric sounds from the four corners of the earth, and they continue their recent leap to vinyl with this stunning selection of jams from the southern hemisphere. Letta Mbulu's Soweto funk gets a little edit treatment from Petko Turner, while BeTe takes on Camila Costa's gorgeous Ponto Das Caboclas for a perfect sundown reflection led by tender acoustic strumming. Chillum Trio work up a sweat over Ebo Taylor's "Odofo Nyi Akyiri Biara", creating a certifiable party burner in the process, and then Birdhouse completes the package with the irrepressibly funky "Berimbao".
Review: George and Glen Miller are undoubtedly best known for their West End Records released 1982 boogie-soul classic "Touch Your Life". They released plenty of other records that flitted between soca, reggae, disco, and - in the latter stages of their career - electrofunk. "Easing", which appeared at some point at the turn of the '80s on London label Third World, remains one of their most potent releases - and, in its original form at least, formidably hard to find. This Soundway reissue wisely replicates the track list of the original release, beginning with the title track - a deliciously percussive, musically intricate chunk of peak-time disco smothered in sharp, Afro-funk style horns and George and Glen Miller's lilting reggae-soul style vocals. The flipside "Version" strips out the vocals, allowing listeners to hear in greater detail the pair's impeccable arrangements and instrumentations (particularly the fine orchestration and rich groove).
Review: Tamrat Kebede's Mombasa Roots is a project with a timeless edge and an inimitable Afro-roots vibe that is simply irreplaceable and downright irrefutable by any sort of music lover. Whether you are or are not into this delightful blend of tropical disco, tunes like "Karibishe" and "Mezea Tu" are almost impossible not to dance to, or at least appreciate. "Kasha Langu" is more appropriate to the true lovers of Afrobeat, thanks to its slow, seductive sway, while "What Is It That You Want" unleashes some fiery disco-boogie, and "My Everything" showers the room with yet more disco glitter, the sexiest of sorts.
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: Given that this is Moscoman's first solo single on the Disco Halal imprint he inaugurated in 2015, it's perhaps unsurprising that he's saved something rather special for the occasion. "I Ran" is a throbbing, high-octane peak-time treat, where haunting Arabic vocals seemingly float over a thrusting, arpeggio-driven groove and bubbly, off-kilter machine drums. It's druggy and intoxicating, of course, but also fiendishly heavy and pleasingly unorthodox. On the flipside, old pals Simple Symmetry re-imagine "I Ran" as a sticky and trippy chunk of organic Arabic dub disco, complete with toasty bass and razor-sharp electric guitars. It's not quite as thrilling as Moscoman's original version, but it's a close run thing.
Review: Having previously excelled at crafting party-starting bootleg funk remixes and composing revivalist soul slammers, Mr Bird has now decided to turn his attention to Afro-disco, Afro-funk and Afro-soul. Typically, the results are impressive, particularly "Dance Away", a hybrid Afro-disco/Afro-soul workout featuring the fine vocals of Chief Commander Yaaba. Elsewhere, he lays down a subtly housed-up take on Clavinet-happy Afro-funk (the superb, jazz-funk tinged "Floating Funk"), brilliantly breaks up the beats on the woozy, groovy and bustling "Carnival Beat", and lays blissful vocal harmonies over a sumptuous deep house beat on "The Sasquatch".
Review: Mukatsuku's long running "Afro Funk & Disco Gems" series has always been a reliable source of obscure, high-quality dancefloor material from the African continent. This tenth edition is another must-have - on the A-side you'll find the synth-laden, boogie-era sunshine of "Everybody Dance", one of the undisputed highlights of Peter Yamson's in-demand (and notably hard to find) "Son Of Africa" LP. With wonderful vocals, glistening guitars, lolloping drum machine beats and some stellar synth work, the track ticks all the right boxes. Over on the flip there's a chance to own Cameroon legend Tala Andre Marie's 1981 classic "Get Up Tchamassi", whose snaking sax lines, elastic slap bass and dreamy chords are nothing less than sensational.As played by The Allergies,Joe Claussell,Smoov,Kalita, Faze Action,DJ Moar etc
Tecumsay Roberts - "It Makes Me Dance & Sing" (5:44)
Commy Bassey - "We Want Togetherness" (4:37)
Review: Triassic Tusk's "Screamers, Bangers & Cosmic Synths" series of crate digging comps has seen the Scottish crew showcase some seriously hot, little-known music. Mukatsuku have joined forces with the imprint to give a 12" release to two potent Afro-disco smashers that recently featured on volume two of the ongoing compilation series ,now remastered and sounding better than ever. On side A you'll find Liberian artist Tecumsay Roberts' bouncy 1979 Afro-soul/Afro-boogie number "It Makes Me Dance & Sing", where spacey Moog solos rice above a funk-influenced dancefloor groove. On the flip, the fun continues via Commy Bassey's Clav-happy, Nigerian sounding Afro-boogie roller "We Want Togetherness", a positive plea for unity that's as relevant now as it was way back in 1980.Juno copies come in an exclusive branded card sleeve with an additional obi strip not available at other retailers .As played/charted by Red Greg,Joe Claussell,Marcel Vogel, Craig Charles,Faze Action,Kalita,Cedric Woo,JKriv,Prins Thomas,Floating Points and Dom Servini so far.
Review: Following killer releases from lesser-known talents like Aristidez, Colossio and Thomass Jackson, Mexico's premier modern disco label Calypso commence a new project that sees them celebrating some of their favourite cities around the world. The journey starts in Tel Aviv, where a range of underground producers present the kind of freaky disco-not-disco sounds that get dancefloors frisky the world over these days. Niv Ast keeps things simmering and sensuous on "Rainey Heart," while Rina gets locked into a dense chug of sweaty sonics and solid rhythms. Naduve has a slower, percussion-led groove rolling on "Hex Mex" that will inject spice into any adventurous warm-up, and Middle Sky Boom finishes the record off with the tense and teasing "Marble Arch".
Review: Mr Bongo's Brazil 45s series continues its consistently rich vein of form with two more beautifully contrasting - and previously difficult to track down - Brazilian soul jazz fusions from the 70s. Side A is inhabited by one of the era's most interesting individuals. Infamously censored and eventually exiled, Taiguara's chaotic flute, guitar and piano arrangement is a tight weave of melodies, counter melodies and start dynamics. Flip for the classically soul-oriented "Deixa Eu Te Amar" will bright horns, brash drums and a bold vocal from Marisa Rossi. Pow.
Review: Love Circle returns for a second release, digging deep into the misty past of golden era disco and finding rare gold for the reissue market to rejoice at. This time it's the work of Barry Blue and two projects he produced in the early 80s, lovingly re-edited for maximum dancefloor pleasure by Velvet Season & The Hearts Of Gold (aka gerry Rooney and Joel Martin). First up is surefire party starter "Breakin In" by Javaroo, and on the flip it's low down seduction workout "Love The Way You Love Me" by Marti Cane getting a fresh airing for all vintage-minded dancers and DJs.
Review: The ON label was active in South Africa between 1987-1992, an era following the end of the Apartheid regime and defining the new sound of young black South Africa in the early 90s. The late 1980s in the rainbow nation was a time when disco was mutating into what was becoming known as Bubblegum: pop music aimed at the black population of South Africa. Bubblegum was a response to Western styles like disco and the fast spreading house music which originally came from the black ghettos of Chicago and New York. When the second Summer of Love took over the UK in 1988, house, and other electronic music styles conquered South Africa as well. DIY - do it yourself - a motto that had already appeared in the punk movement, lifted the young local scene to the next level.
Review: Strangelove Music's latest vinyl-only outing dips into the infrequently explored archives of American multi-instrumentalist Frank Harris and collaborator Maria Marquez, a pairing that previously released a couple of sought after "ethno-wave" singles in the late 1980s. "Echoes" gathers together unreleased music made in 1985, presenting it as an unheard album that oozes off-kilter quality from start to finish. Most of the tracks were made using Harris' custom Synclavier synthesizer station, with his humid and breezy new age melodies and dreamy chords working brilliantly with Marquez's folksy, multi-lingual vocals, a variety of world music inspired rhythms and some seriously atmospheric field recordings. It's a formula that guarantees unusual but inspired results from start to finish.