Gretchen - "Ela Tem Raca, Charme, Talento E Gostosura" (4:03)
Coisa Quente - "Edmundo (In The Mood)" (3:35)
Ze Carlos - "Venha" (remix) (6:00)
Robson Jorge & Lincoln Olivetti - "Suspira" (5:40)
Os Carbonos - "Passaro Selvagem" (3:38)
San Rodrigues - "Fofa" (3:01)
Marcos Valle - "Parabens (Danca Do Daniel)" (8:34)
Lafayette - "Sol De Verao" (3:57)
Roberto Cesar - "Fevereiro (O Bamba)" (3:57)
Arlete - "Quero Ser Sua Mulher" (3:19)
Waldirene - "Queima Como Fogo" (3:28)
Luiza Maura - "Deixa Girar" (3:09)
Jorge Ben - "Rio Babilonia" (4:51)
Carlos Bivar - "Elo" (2:49)
Review: In full gatefold LP form comes the latest Brazilian boogie compilation by Horse Meat Disco, selected selectors of the best rarities in the disco genre. Curated mostly by founding member Luke Howard and with added consultations from crewmates James Hillard, Severino Panzetta and Jim Stanton, a lifetime of frolicking among samba troupes, carnival processions and yearly Rio visitations went into the choices you hear here, consummating one man's intuitive taste for a sound whose appeal stretches far wider than its nation of origin. Mr Bongo invited Howard to their Brighton HQ for an extended on-site selection, proving its off-the-cuff expertise: early electronica experiments from Ze Carlos blend voluminously with Jorge Ben pennings and mouth-watering Luiza Maura 7" cullings, proving a hand-picking that is at once eclectic and unifying.
Review: Straop yourself in and prepare for a cosmic trip on psyched out cosmic polyrhythms with kosmische overtones at the hands of newcomer Glass Beams. This debut on Research Record is a stunning one from the enigmatic producer but will have you googling t find out as much as you can while you get lost in the sliding bass and transcendent synthwork. It's tinged with a certain retro charm and 70s prog magic but also feels decidedly new and fresh. Masterful.
Review: Mr Bongo look back to the damn fine Latin funk and rock-infused soul sounds of Coke's 197 self-titled opus for their next well-chosen reissue project here. It is their only album, sadly, but is a brilliant mix of Miami Latin-funk, psychedelic garage rock and gritty soul sung mainly in English. It blends bright funk drumming, flavourful organs and zesty horn with Paul Garcia (guitar), Ariel Hernandez (bass), Ruben Perez (drums), Jose Rubio (keys) and Peter Fernandez (vocals) all produced by Mato. The record was popular in Miami but faded due to limited promotion and a Coca-Cola trademark dispute but was later rediscovered by collectors, with standout tracks like 'Na Na,' 'Got to Touch Your Face' and 'Te Amo Mas' all became staples of Latin sets.
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.
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: The riffing 'Latin Strut' by Joe Bataan, colloquially known as the "King of Latin Soul", was first released in 1974. This was an early joint outing between specialist Latin music pushers Mericana Records and RCA Victor; having already earned his name as a releaser of many a gold-rimmed, inner-labelled 7" record, Bataan was well into his acetates and LPs game by the point of his comeup in Spanish Harlem, New York. Backed as it was in '74 by 'Peace, Friendship & Solidarity', a waltzing song dedicated to the plight of Berliners during the Cold War, the star funk-samba shuffle 'Latin Strut' contrasts as a sizzling solicitation of descending contrapuntal piano and Quena fluting pizzazz.
Os Alquimistas Estao Chegando Os Alquimistas (3:12)
O Homem Da Gravata Florida (3:08)
Errare Humanum Est (4:51)
Menina Mulher Da Pele Preta (2:57)
Eu Vou Torcer (3:14)
Magnolia (3:13)
Minha Teimosia, Uma Arma Pra Te Conquistar (2:42)
Zumbi (3:32)
Brother (2:54)
O Namorado Da Viuva (2:03)
Hermes Trismegisto E Sua Celeste Tabua De Esmeralda (5:28)
Cinco Minutos (5 Minutos) (2:56)
Review: Brazilian Jorge Ben, you could say, is a musical equivalent to football superstar Pele. He is known around the world, is hugely prolific and had a style all his own. A Tabua De Esmeralda is the 11th album the great singer-songwriter and guitarist recorded and it came back in 1974. It was soon lapped up by fans and critics alike for its timeless blending of samba rock with his unique alchemy and sonic satire and found Ben redefined the vocal style he has showcased on previous work Forca Bruta. This time his vocals occasionally go off-grid and sit behind the beats to make for an alluring effect, while the album was also the last to use guitar quite as extensively.
Review: The latest addition to Echo Edits keeps the funk coming courtesy of Break Character who delivers two powerful tracks that are indicative of his unique approach, names to enhance each edit with extra layers of FX and beats. 'Cosmic Freaks' takes a 60s go-go rock groove and infuses it with Moog and Space Echo effects while paying homage to the psychedelic club sounds of Pierre Henry and JJ Perrey. 'Cherie Boca' then transports you in an instant to the funky samba rhythms of 70s Brazil with an extended edit and added beats to guide dancers from the favela to the beach. Two distinct styles, perfect for different vibes.
Review: The fantastic Tumblack was an overlooked group project made up of prolific French-Beninois everything-composer Wally Badarou and Tele Music library star Sauveur Mallia. Described as a "truly special disco-not-disco LP" by Be With, Tumblack saw to recreating the overtop pressures of hi-NRG disco without indulging the genre's otherwise glitzy sonic excesses. Instead, the likes of 'Invocation' and 'Parlement' remain rooted in deep percussed drum sounds, taking many cues from the zouk-informed musical traditions of the neighbouring Caribbean isles of Martinique and Guadeloupe. Only perhaps 'Caraiba' picks up a true boogie steam, with clavinet and bass enshrouding the crescendo in a true state of ecstasy. With original copies by and large nonexistent by now, this is a due (or possibly even overdue) repress indeed.
Gretchen - "Ela Tem Raca, Charme, Talento E Gostosura"
Coisa Quente - "Edmundo (In The Mood)"
Ze Carlos - "Venha" (remix)
Robson Jorge & Lincoln Olivetti - "Suspira"
Os Carbonos - "Passaro Selvagem"
San Rodrigues - "Fofa"
Marcos Valle - "Parabens (Danca Do Daniel)"
Lafayette - "Sol De Verao"
Roberto Cesar - "Fevereiro (O Bamba)"
Arlete - "Quero Ser Sua Mulher"
Waldirene - "Queima Como Fogo"
Luiza Maura - "Deixa Girar"
Jorge Ben - "Rio Babilonia"
Carlos Bivar - "Elo"
Review: International favourites on the boogie-and-beyond selection circuit, Horse Meat Disco deliver the first edition in a brand new compilation tracking yet more heat disco of a Brazilian flavour. Some 13 years in the making, much love and attention has been poured into this compendium, which unearths tracks from the seemingly endless urban goldmines of Brasilia and Rio, twin obsessive loci, nurtured by founding member Luke Eagle amid an extended exploration of the South American nation's dance music culture. Having learned to dance samba and paraded the Rio Carnival, this is a compilation rooted in worldly experience, made up largely of 7" finds. Chief among the brilliants are Ze Carlos' Italoesque wonder 'Venha' and the well-spiced 'Sol De Verao' by Lafayette, spanning years' worth of digging.
Review: Tel Aviv funk six piece Satellites are back in orbit, boldly moving the psychedelic folk-meets-groove sound they established on their eponymous debut forward on Lp number two. Drawing from the Turkish psychedelic wave of the 60s and 70s, their first record earned international acclaim, with support from BBC Radio 6 Music and FIP, as well as live sets on Gilles Peterson's Worldwide FM and KEXP. After two years of touring, the band entered the studio with a renewed sense of purpose and a tighter musical bond. The album opener, 'Tisladi Mehmet Emmi,' transforms a traditional Turkuler into a modern psychedelic funk masterpiece, blending saz, synths, basslines, and dramatic drumming, with Rotem's husky vocals narrating timeless themes of lament. 'Midnight Sweat' reveals a sultry side, with a late-night lullaby over a slinky disco-rock groove, while 'Hot Jazz' dives into cinematic territory, showcasing their jazz and funk chops. 'Gizli Ajan' and 'Yok Yok' surprise with genre-bending jams, while 'Ikmiz Bir Fideniz' becomes a cosmic folk-funk rendition. The album closes with a dynamic duo, from the cosmic disco-fuzz of 'Zuluf Dokulmus Yuze' to the dramatic finale of 'Zuluf B (Reprised).' Where their debut set the tone, this release marks their full transformation, confidently stepping out of the shadows of their Anatolian psych heroes to create a modern yet timeless record.
Review: Over the last couple of years, we've been treated to numerous reissues of classic cover versions by Japanese reggae/rocksteady combo Inokasira Rangers, including takes on Nirvana's 'Smells Like Teen Spirit', Pharrell's 'Happy' and New Order's 'Blue Monday'. Here we're treated to another, as the band's 2017 take on Underworld anthem 'Born Slippy' gets a fresh pressing. It's certainly a revolutionary revision, with Keichi Sokabe's surprisingly Karl Hyde-sounding lead vocal rising above a lusciously languid, sub-heavy reggae groove. Over on the flip they take on 'Groove Tube', a 1991 indie-pop-meets-acid house single from Japanese outfit Flipper's Guitar, reframing it as a baggy, glassy-eyed rocksteady number.
Painel De Controle - "Relax" (extended Waxist version) (5:54)
Rabo De Saia - "Ripa Na Xulipa" (Charles Maurice extended version) (5:28)
Famks - "Labirinto" (Nick The Record extended version) (6:17)
Review: France's Favorite label dabbles in all things funky and disco-flavoured, and this time they've decided to go with a Brazilian edge on their latest 12". Painel De Controle begins with a Waxist mix of "Relax", a chilled-out boogie monster with sultry vocals, while "Ripa Na Xulipa" by Rabo De Saia is more uplifting and heavy on the disco strings. Finally, Nick The Record rewires "Labirinto" by Famks into a subtly electro-fied boogie nugget. Nice!
Review: The wonderful Brazil 45 series from Mr Bongo is back with its big old torch to shine a beam of deserving attention on two standout funk and bossa nova tracks from Rosa Maria, which originally came in 1972 and have remained in demand ever since. The A-side, 'Deixa Nao Deixa', blends Afro-Latin guitar, wild horns and percussion with infectious vocal harmonies that all coalesce into a Brazilian funk classic. On the B-side, 'Avenida Atlantica' delivers alternating funk and bossa beats beneath layers of vocals, horns and percussion to bring big energy and dancefloor-ready heat. This reissue ensures these timeless tracks become available for your rotation once more.
Review: JKriv's classic Bukom Mashie Rework gets a deluxe revival in a delectable 7-inch package having long been hard to find if not out of print entirely. And now what's more it also features a fresh acid dub. The original eight minute opus has been expertly trimmed for a streamlined A-side stomper, while the B-side showcases a brand-new version with a reimagined arrangement. This edition is embellished with vibrant 303 acid lines and live flute by the talented Domenica from Underground System all of which ensure that it is sure to become a big summer anthem once more in 2024.
Review: Mahal by Glass Beams melds a diverse array of influences into a unique and enchanting soundscape. The Melbourne-based trio, shrouded in mystery with their mask-wearing anonymity, lets their music speak volumes. Built around founding member Ranjan Silva, their sound draws from the rich heritage of Ravi Shankar, Bollywood, Electric Light Orchestra, and traditional blues.Inspired by repeated viewings of 'The Concert For George', Silva's vision for Glass Beams seems to echo the fusion George Harrison envisioned when introducing classical Indian music to Western pop. The EP opens with 'Horizon,' setting a serene tone before leading into the title track 'Mahal,' an instrumental piece that envelops the listener in its mystical charm. 'Orb' follows with a riveting bass riff, while 'Snake Oil' delves deeper into Indian classical territory, showcasing evocative vocals. The EP concludes with 'Black Sand,' a dramatic and beautiful track featuring interwoven vocals and guitar. As their second EP, following Mirage, Mahal solidifies Glass Beams' distinct place in music, defying categorisation and quietly demanding attention with its almost otherworldly quality.
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: The FunkyJaws Music label invites us deep into their world for a third time here with another delicious 12".It's a various artists EP that features one of our top disco favourites - Eddie C. He opens up with 'Do You Wanna Dance' which has vocals pacing about the mix and old school acid bass twangs under raw house drums. Elado's '25.4 Millimeters' is a Middle Eastern funk workout with spangled drum hits and the flip side brings twisted acid disco and the cosmic trip that is 'In Your Ear With It' from Funkyjaws themselves.
Review: A new take on a Jonathan Richman classic from 1977 which has lit up clubs for 45-odd years, especially during the punk era. The track's infectious rhythm has inspired various reggae remixes but now it's getting a fresh cumbia twist. Cumbia and reggae share a common groove, making them a perfect match for DJs to mix and this one was recorded in Lima by Pancho Acosta, founder and guitarist of Company Quinto, who transforms the track into an upbeat cumbia gem. The flip side features Acosta's 'Carnaval de Jujuy' blended with Money Chicha's modern take on Peru's fuzzed-out chicha sound.
Review: British Bantu visual artist and musician Zola Marcelle shares her debut album, an ingenious ten-track record of ancestral musings, ethereal sound-dreamscapes and narrative vignettes, informed by soul, broken beat, and the musics of Zimbabwean Shona and South African Sotho. A riveting journey back through bloodlines and future-past hopes, Marcelle brings an impressively playful vocal and etheric attitude; opener 'Highlight' is an invitingly tender funky jazz primer, against which Zola speaks, outlining eternally recursive goals for life; the latter half of the record is more quelling, with 'Kgotso' building on the Sotho word for "stillness" to convey the later feeling of loitering in God's waiting room, while the B-side builds 'Saturn Drive' and 'Beyond' circle back to softly intoned Afro-beatifics.
Review: Strut introduces the highly anticipated third volume in the Disques Debs International series, diving deeper into the archives of one of the greatest French Caribbean labels, Disques Debs, based in Guadeloupe. Founded by Henri Debs in the late 1950s, the Debs studio naturally doubled as a record label and ran for over 50 years, releasing more than 300 7" singles and 200 LPs, cementing it as one of the foremost record labels to prize Caribbean music history. Not just limited to Guadeloupean musicians but also Martinicians and Parisians, the likes of Jocelyn Mocka, Mariz, Dominique Parol, Christian Yeye and Alex Rosa make this a thixotropic record, mercurial and restless as it is rooted in forms of zouk, biguine, gwoka and, of course, the nascent electronica. This third volume flaunts the label's dynamic latter-day period, as it interpreted the analog electronic dreams of the 1980s.
Review: Jorge Ben is one of the most influential Brazilian artists of his era. The so-called samba king brought all new rule-breaking style to the genre - both musically and lyrically - and fomented his own freeform acid-samba spin-off over the course of an impossibly high number of albums. One of the problems is that many of them were all given the same name, including this one, Ben. Fortunately which ever one you pick up there is joy to be had. Here there are plenty of psychedelic head twisters such as the opener 'Morre O Burro Fica O Homem' as well as deer, more soulful cuts like 'Fio Maravilha'.
Review: Columbian Afro-cumbia sensation Wganda Kenya drew acclaim for their group excursions in dance music, not least for the huge ensemble cast of nine-plus musicians that made them up. 'Shakalaode' came in 1976 as the infectiously slackened cover of Fela Kuti's 'Shakara', released five years earlier. Colombian Afrobeat leant more heavily on diasporic rhythmic elements, which differed from Nigerian Afrobeat in that these used regional cumbia, porro and mapale, descending from Afro populations who had settled along the Pacific and Caribbean coast. Less polyrhythmic and perhaps more tropical in feel, the A-side serves as a shining example, with rushy plucks and strident shouts intro'ing a flavoursome shakedown, and 'El Abanico' follows up as a surpriser Fatback Band cover.
Eden With The Invisible Session (with The Invisible Session - TIS version) (4:02)
Etna (with The Invisible Session) (4:05)
Call (with The Invisible Session) (4:13)
Eden (3:57)
Noir (2:50)
Review: ANAN is a project by DJs Roberto Agosta and Massimo Napoli and it takes its name from their surnames, repeated twice. Their new album is inspired by jazz, 70s psychedelia, Afrobeat, cumbia and soul and was recorded in a space in Catania, Sicily, where they melded those inspirations into a versatile and innovative sound. The session musicians manage to really lay down some deep melodies to give the album a live session feel. Tracks like 'Eden' and 'Naif' combine cinematic jazz with African influences, while 'Eros' blends Ethiopian and Indian cultures. 'Mind' offers a hypnotic cumbia and 'Etna' evokes spiritual psychedelia. The album includes also collaborations with The Invisible Session which take things to even higher spiritual planes.
Review: This collaboration between multi-instrumentalist Valentina Magaletti and Afro-Portuguese beat-maker Nidia follows artists like Moritz von Oswald and Laurel Halo on the label. The album bridges cultures and environments from Sicilian heat to English rain through infectious rhythms and intricate melodies. Meaning "roads" in Portuguese, Estradas reflects the duo's dynamic exchange while adapting their sound to the urgency and spirit of diverse spaces. Produced by Tom Halstead, it masterfully weaves syncopated drums, marimba and melodic interludes into an electrifying release that celebrates rhythm's universal power.
Review: Peggy O'Keefe's 1966 recording, made during her six-year residency at Glasgow's Chevalier Casino, captures the Australian-born pianist's true musical talent. Her rendition of 'Cubano Chant'ioriginally popularised by Art Blakeyiremains a stand-out, a highlight in jazz dance circles ever since. Praised by jazz legends such as Cleo Laine and Oscar Peterson, O'Keefe's piano playing is rich with skill and passion, demonstrated to full effect in these two tracks. Now rediscovered and presented on 7", this gem has been hidden away for nearly six decades but is now ready for a new audience.
Review: Insanely funky business from Senegal's famous Orchestra Baobab (who are still touring and toiling 40 years later), "Kelen Ati Leen" is a really sweaty, heavy slab of funk that stares west for inspiration and a mild psychedelic Hendrixian sheen. "Souleymane", released three years after the A-side in 1978, takes more of a Latin influence as the horns get steamy over a rigid highlife spine to create a detailed and very physical groove.
Robson Jorge & Lincoln Olivetti - "Aleluia" (3:52)
Review: Two silky sides of Brazilian disco soul on Mr Bongo's perennial Brazil 45s series. First up, long-haired lothario samba fusionista Marcos teams up with Leon Ware for a pristine polished piece of early 80s disco funk. Golden harmonies, staccato vocals and a super juicy bassline; it's not hard to see why it was his best selling single. Flip for the equally smooth "Alleluia" from Brazilian boogie gospelist; this one is all about the percussion heavy breakdown. Proper sunshine block party business.
Review: Destination Nigeria, 1975, Fela and Africa 70 are indelibly locked into a hugely prolific groove with well over 10 albums behind them. Then they release this, an LP comprised solely of two wondrously extended work outs from the troupe. "Expensive Shit" famously tells the tale of Fela's brush with the jaded law while "Water No Get Enemy" speaks - or rather sings - for itself. One of Fela's many notable and hugely influential releases; your collection isn't complete without it.
Review: Nigerian Afrobeat composer, bandleader, and multi-instrumentalist Fela Kuti has a vast catalogue that dates back over half a century. Roforofo Fight is one of the many standouts and it was recorded in Lagos in 1972 on the Jofabro label with the legendary Tony Allen on drums as well as Christopher Uwaifor on tenor, Lekan Animashaun on baritone and many other key players alongside the main man. The lyrics convey Fela's frustration at intolerant and violent behaviour as told through the story of a street fight.
Review: Faze Action's Afro series hits a fourth and final volume with Zeke Manyika and Faze Action themselves at the helm of two new singles. The vibes on this one take their cues from Afro Latin and Balearic worlds with opener 'Maswera' bringing nice open-air festival sounds, rich horn work and expressive drum funk. Manyika's chants are the icing on the cake for this one. Then comes a nice dubbed-out remix of 'Rugare' by Faze Action with lively disco drums and loose-limbed percussion. The original on the flip is a more straight-up and dazzling disco cut while a paired back instrumental of 'Maswera' closes things down in style. Timeless Afro bombs for sure.
Review: Latest in our cornucopian supply of Afro-funk and dance crossover music comes Italian supergroup Addict Ameba with a new, sophomore single version of the 2024 LP Caosmosi, which followed on from 2020's Panamor, and demonstrated an impressive ear for stylistic continuity. Led up by the Josh Idehen-featuring single 'Look At Us', this polydirectional power mover crossed between desert blues, Afrobeat, Latin rock and Ethio-jazz, all while offering a slickly maximised sound - careful not too sacrifice all the headroom, though it occupied more than enough space to cross into the periodic threshold of weird. This 7" study of the record, focusing on tracks 'Caosmosi' and 'Por Nostalgia', suggest two of the album's best selective choices for the roving DJ.
Review: The 12th release on Mr. Bongo's signature 45s series saw a reissue of two foundational releases in Brazil's modern popular music category; now the record hears a second round, fresh again off the master metal lacquer. On the A, we hear Brazilian samba luminary Elza Soares covering Jorge Ben's classic 'Mas Que Nada' - albeit with a hoarser vocal tone, such was Soares' signature voice, one which only led to a whopping 34-album career. B-sider Elizabeth, by contrast, upholds a mystery; the artist was nicknamed "Gatinha do Mato" ("jungle cat"), and recorded 'Vou Falar-Lhe Francamente' at some indeterminate point in 1960s Sao Paolo, when and where Brazilian local styles blended with funk and rock.
Jacob Velez & La Mambanegra - "Manana" (feat Nidia Gongora) (2:46)
Tonada - "Manezco" (3:17)
El Hijo Del Buno - "La Danza Del Espiritu" (feat Los Gaiteros De Pueblob Santo) (3:32)
De Mar Y Rio - "Bailen Y Gocen" (3:52)
Umu Obiligbo - "Udemba" (3:35)
Amadou Balake - "Massa Kamba" (4:33)
Joi N'juno - "Samemala" (5:18)
Conjunto - "Koemanoe Sani" (3:44)
Mendes Brothers - "Balumuka Palops!" (5:15)
Gaby Moy - "Ene Alengue" (5:53)
Poirier - "Teke Fren" (feat Waahli) (2:59)
Timothee Et Pot & Co - "Rentre Dans Ton Hlm" (5:24)
Locobeach - "Idea Desesperada" (4:05)
Review: This latest offering is a testament to Guts' curatorial flair, stitching together rhythms from across the globe. Each track is carefully chosen to highlight soulful grooves and infectious melodies, all while maintaining a sense of discovery. The release moves effortlessly between vibrant Afrobeat, laidback funk, and hypnotic Caribbean influences, creating a natural flow that feels like an intimate DJ set. This is music with heart and authenticity, a celebration of the dancefloor's rich diversity.
Lovely Day (Studio Rio instrumental version) (3:59)
Review: The bossa nova remake of Bill Withers' classic 'Lovely Day' by Studio Rio is a masterful mood lifter. Reissued by Mr Bongo, this track was a game-changer at the Shapes festival, transforming a snowy Alpine setting into a feel-good dancefloor. Originating from Studio Rio's 2014 release The Brazil Connection, the Grammy-winning Berman Brothers collaborated with Brazilian legends like Marcos Valle and Roberto Menescal. They used original multitracks to seamlessly blend Withers' soulful vocals with bossa nova rhythms. Joyful horns, a bouncing double bass, and Pretinho da Serrinha's cavaquinho playing create an end-of-night anthem that radiates warmth and positivity.
Thandi Zulu & The Young Five - "Love Games" (9:36)
Tony Wilson - "Hangin' Out In Space" (dub mix) (6:16)
JC Lodge - "In Between The Sheets" (4:02)
Soyuz - "Spring Has Sprung" (feat Asha Puthli & Sven Wunder) (2:08)
Review: Mr Bongo Record Club's Volume 7 presents a meticulously crafted mix of classic favourites and exciting new finds spanning a broad array of genres, including Brazilian, Latin, soul, disco, gospel, cosmic, dancehall and downtempo. This series has fans of the label excited about each volume that comes. With standout tracks like Os Panteras' Brazilian funk, the underground disco vibes of Claude Jay, and the soulful melodies of the Danish duo Gitte & Inger. Truth & Devotion's gospel soul and Chain Reaction's infectious grooves further illustrate the diverse range of influences at play. This volume particularly emphasises Brazilian music, diving deeper into folk and Afro-Brazilian sounds with selections from As Sublimes, Romeu Fernandes, and Conjunto de Percussao Dora Pinto. These tracks offer a refreshing shift from earlier volumes and showcase Brazil's rich musical heritage. A highlight is the exclusive 'Spring Has Sprung,' a collaboration between legendary Asha Puthli, the inventive band SOYUZ, and Swedish producer Sven Wunder. This track exemplifies the high-quality productions Mr Bongo Record Club is known for. Volume 7 blends Brazilian depth with dancefloor-ready hits, such as The Shades of Love's 'Come Inside.' This collection celebrates both timeless and contemporary music, reflecting the enduring allure of diverse and dynamic sounds.
Review: Cover songs can sometimes be difficult to tackle for an artist and even more so if it's a completely different genre. However, lending a fresh reggae twist to Toto's classic hit makes for a a great example of a successful one here. On side one, the English version of 'Georgy Porgy' features a laid-back, smooth reggae rhythm, with the iconic guitar hook reimagined as a reggae riff, giving the song a relaxed while still infectious vibe. Ethel Lindsey's soothing vocals blend seamlessly with the rhythm section, making this rendition feel both familiar and unique. On side two, the French version offers a delightful variation, with Ethel Lindsey's vocals taking on a slightly different tone, fitting the language while adding an extra layer of charm. The reggae influences remain strong and the song's laidback vibe is preserved on both versions.
Review: Ottawa's Afro-jazz-funk collective returns with a limited 7" showcasing two dynamic tracks that highlight their genre-blending prowess. Originally released in 2014 on Inner Fire, 'One Life To Live' kicks off Side-1 with an exhilarating fusion of funk, Latin and Afro rhythms. The track's lively horn arrangements and tight percussion create an infectious groove, balancing intricate musicianship with danceable energy. On Side-2, 'Kingdome Come' dives deeper into jazz territory, merging Afro-Cuban jazz with jazz-funk and Latin jazz elements. The result is a richly textured piece that moves fluidly between laid-back grooves and vibrant, rhythmic bursts. The percussion is sharp, and the brass shines with both restraint and exuberance, highlighting the band's ability to navigate complex arrangements while maintaining a relaxed, natural flow.
Review: 'Shehzadi' (which means "Princess") is an Indo-disco gem featuring Solomon's Hindi vocals over Sababa 5's blend of hypnotic drums, nice pulsing bass, bright electric guitar and sparkling synths in a minor key. It channels '80s nostalgia with a modern twist and so rather evokes a Stranger Things meets Bollywood-type vibe. 'Ranjha' (which means 'Lover') shifts to a Middle Eastern feel with synths that echo traditional instruments like the saz. The upbeat groove complements Solomon's dynamic vocals and is filled with hope while dramatic pauses and an exuberant synth solo from Sophia add extra flair to make for a compelling mix of emotion and energy.
Review: After a string of sought-after releases on labels like Barefoot Beats, Cocada Music, Bongo Synth and Too Slow To Disco, Bernardo Pinheiro brings his seasoned production skills to Onda Boa. It's nothing short of miraculous that this release is considered an effort in 'production' over composition, as these tracks could fool anyone into thinking they were recorded by a live band. That's part of the art, though: with Pinheiro described as a "man at home working in a myriad of styles", we truly do have a jazzdance production master on our hands, and this time he covers from scratch Marcos Valle and Azymuth's classic 'Virabrequim'. On the B, there's also an organic broken beat remix by fellow producer Voilaaa, who demonstrates an equal taste for retraining a live feel in their productions.
Sunshine In Atalaya (feat Emma Sehested Hoeg) (4:20)
Atlantic Fever (feat Dawda Jobarteh & William Winding) (7:06)
100 Ways To Drink A Glass Of Wine (feat Oilly Wallage) (1:29)
Under The Mango Tree (feat Dawda Jobarteh & William Winding) (4:18)
Ogum (feat Vanja Santos) (5:29)
Astral Journey (feat William Winding) (4:18)
Hotel Sicilia (feat Dawda Jobarteh & William Winding) (6:00)
100 Ways To Wake Up (feat Oilly Wallage) (1:21)
Fly Away (feat Emma Sehested Hoeg & William Winding) (3:12)
Review: Jonas Visti introduces a new project, Visti's Vinyl Collective, blending diversities of Afrobeat, soul, house, jazz, boogie and pop, crafted with a motley crew from Denmark's jazz scene and international guests. Along with William Winding, Visti infuses electronic elements with instrumental Balearic-esque contributions from fellow musicians Emma Sehested Hoeg, Dawda Jobarteh and Markus Artved, whom all add their voices and instruments. Visti's vision is to create a freeform, genre-defying project, tracking experiences alongside other artists and a connoisseur's intel, built up as he's developed his Visti's Vinyl radio show.
Review: Sol - the new album from Paris-based Venezuelan music artists Raul Monsalve y Los Forajidos - hears the band merge Venezuelan rhythms, jazz, Afrobeat, psychedelic funk, and experimental electronics into an utter boundary-piercing hyper-stimulater. For fans of George Clinton, Herbie Hancock, and Nyege Nyege Tapes, the album plants some roots and uproots others, with next-gen collab explorers Emanative, Kiala Nzavotunga, and Gustavo Ovalles using the passed-down torch to both burn old bridges and light the way over new ones. Drawing on old Venezuelan ecclesiastical traditions such as the Saint John the Baptist festival, the album opens with 'Fuego al campanero', blending Venezuelan chants with futuristic sounds, and burns into 'Como el Sol' and 'Machete no hace piquito', devling into themes of strength and perseverance.
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