Review: The Alex Santos Orchestra is a self-described "orchestra" orchestrated for the express purpose of sanctifying one Alex Santos' lifelong love for jazz and Latin music. Following the much loved 'Alex Santos Y Su Orquesta', 2021's next step in Latinizing said quasi-conceptual ensemble, we've now landed in the project's live ambit. 'The Alex Santos Orchestra On Tour' captures just two live highlights from a much more recent outing (given the mystification surrounding the project, this may or may not have happened). Whatever the case, these recordings span both potentialities, retaining something of a highly-strung Hammond organ come upfront-drumkit drama on the B-side, 'Mr Clean', and an equally stirring version of the main theme from 'The Godfather' on the A.
Review: Both of these funk gems are taken from a cult compilation Trans Groove Express, which explored the sounds of Express Records and was assembled by MURO. Fourth Wave now serve them up on a superb 7", starting with Maki Asakawa. 'Hohi Hitotsu' is a delightfully gentle and subtle dub with funky guitars adding movement while the sultry vocal soars. Yasuhiro Abe's 'Night Fish' is a brighter and more retro 80s soul and boogie sound with glowing chords and snappy hits. The Japanese language vocal is emotive enough to mean plenty without understanding the meaning of the words.
Review: Heavy Jazz returns with Ellis Island, their latest instrumental offering following the success of 'Indian Rope Man'. This new release highlights Brian Auger's signature jazz prowess, delivering another intricate and powerful workout. The flip side honours the late Zoot Money with the first-ever 7" release of 'George Bruno Money'. This limited edition comes in a carefully designed sleeve featuring foldout flaps and a cutaway rear. It's an essential piece for jazz lovers and collectors alike, brimming with soulful rhythms and nostalgic nods to jazz legends.
Review: The BDQ duo were in the studio 25 years ago working on these tracks but never quite finished them due to life changes like marriage and kids. Recently, while revisiting old tapes, they discovered a lost tape and decided to give it another listen. They liked what they heard and after a bit of effort to transfer the tracks, they now feel the time has come for a vinyl release. Side 1 features their version of Timebox's 'Beggin'' with vocals by Sarah Orpen and Bryn Barklam laying down some killer Hammond sounds. Side 2 presents their take on the Mirettes' 'Take Me For a Little While' with more stellar vocals from Sarah.
Review: Get your hips and heart around this bit of L.A. boogie by the elusive Ben White and you cannot help but feel better. It is a highly sought-after rarity that disco collectors have been fawning over since forever. It was originally reissued as a 45 by the great Athens of the North and now comes this 7" version which was sourced from Andy Noble, who has often helped the label out before. It features two sides of exceptional modern soul and boogie that blend rhythm and grove in magical ways that are never going to age. 'I See A World' has lovely and tender falsetto vocals and 'Give Me Love (Always)' is more of a party starter.
Review: A bold fusion of Afrobeat, funk and jazz on the debut LP from Blvck Spvde & The Cosmos, marking an exciting addition to Mello Music Group's catalogue. The album is steeped in legacy, with powerful rhythms and expansive arrangements, with tracks like 'Doom' revealing an intense, layered sound, while 'What You Won't Do' reinterprets a classic with introspective depth. All in all, there's a balance of forward-thinking jazz with hints of raw, soulful energy as the ten-piece ensemble capture the feel of St. Louis' live scene and a spirit that's truly timeless.
Smile In Your Face (Sunaga't Experience remix) (5:58)
Review: This release sees BOO showcasing their versatility, seamlessly blending elements of soul, jazz and electronica into a captivating sonic tapestry. 'Smile In Your Face' is a testament to the artist's ability to craft intricate soundscapes and infectious melodies, creating a listening experience that's both soothing and invigorating. The A-side features a collaboration with Muro, adding a touch of hip-hop flavour to the mix. On the flip, 'Smile In Your Face -Sunaga't Experience Remix-' takes the track into deeper, more atmospheric territory, courtesy of Sunaga t Experience. The production throughout is top-notch, with lush instrumentation and subtle electronic textures, all complementing BOO's soulful vocals.
Review: French disco singer Maeva Borzakian delivers a stupefying pair of electro-soul tracks to Six Nine, expanding on early feedings on 80s soul and Anglo-Saxon pop for a fresher modern twist. Raised in Paris among jazz musicians, Borzakian rejected the tutelage of her family in favour of self-taught disco productions and performances, which led to her building a career as a resident performer in her home city's many clubs and bars, studding the casts of over 20 different band projects so far. This limited UK press bottles the new and exclusive track 'Hey You' - a synth tomming wake-up slap that exhorts the bad actor in an earlier, controlling relationship - and a T Groove remix of 'You're My Ecstasy', an emotive loller with a finito feel and a drive towards empowerment.
Review: LRK Records has put together a special limited edition 45rpm by Bella Brown & The Jealous Lovers. Due to high demand, the popular 'Soul Clap' (Radio Edit) from their album is now available on vinyl and this energetic version condenses the original into a dance floor-ready anthem with funky Bohannon rhythms and James Brown-inspired grooves which has already received extensive airplay. Additionally, the festive track 'Always Christmas Eve' comes on the A-side of this special grey coloured vinyl.
Review: We Got To Change is an uncovered gem from James Brown, recorded in Miami at Criteria Studios on August 16, 1970. Featuring the original J.B.'s lineup, including Bootsy Collins, Catfish Collins, and Clyde Stubblefieldithe legendary Funky Drummerithe track was laid down in between some of Brown's most iconic releases like Sex Machine and Soul Power. With its unmistakable groove and fiery energy, this lost recording is an essential piece of Brown's storied career, capturing the raw funk sound that defined an era.
Review: Bull & the Matadors, hailing from East St. Louis, brought their soulful energy to the Toddlin' Town label in 1968, joining forces with the iconic Leaner family. Inspired by Rowan & Martin's Laugh-In and its courtroom sketch craze, they released the groovy r&b hit 'The Funky Judge,' crafted by Andre Williams and Leo Hutton. Now, their unreleased sequel 'Where Did The Judge Go' finally sees the light, rescued from obscurity for eager fans on provided on the flipside.
Review: Colin Curtis - an early purveyor of rare groove and jazzdance whose credo rings far and wide - has been helming his own label of originals for some time now. Presently focusing on the best live-feel broken beat, house and jazz in his orbit, his latest curation, Cengiz and Ishfaq's 'Vibrations', is no break from this general rule. Each artist helming one side respectively, Cengiz' 'Motf' and its remix work a steadily built progression around faint jeers, metallic percs, filterpassed tom fills and space-age risers, the latter of which is much more skeletal than the former; while Ishfaq's 'Wonderjazz' moves impressively somewhere in the lost interregnum between speed garage and techfunk.
Review: Echo Chamber Recordings celebrates its first anniversary this month with a new release in the Boogaloo Lessons Series. This latest instalment comes in special hand-numbered orange vinyl 7" limited to 150 copies and features Cheeba's Latin Bros, who deliver exceptional boogaloo tracks as per usual. The A-side, 'One Step Beyond,' boasts infectious rhythms, powerful drum beats and dynamic fills. On the B-side, 'Set Your Soul Free' combines the energetic boogaloo vibe with a touch of soulful tenderness, featuring vibrant percussion and captivating, offbeat chords. This release promises to keep the dance floor moving and showcases the rich, rhythmic textures of the boogaloo sound.
Review: Discodelic comes correct again with a new 7" that features a pair of rather lesser-known and brilliantly obscure Latin psych-rock gems. Conjunto Raza' 'African Dream' is all crackly and immediately nostalgic because of it, with noodle acoustic guitar sounds making way for a more upbeat and driving 60s garage rock sound but all in loveable lo-fi. Add in a red-hot vocal and you have a flame cut full of funk. On the reverse, The Scepters 'Message' is another well-aged jam that brings rawness and emotion in equal measure.
Review: The Scepters, formed in 1967 in Paraiso by guitarist Celso Spencer, were a popular Panamanian band known for their energetic performances across military bases and high school dances in the Canal Zone. Alongside Lionel Best and Jose James, they covered Top 40 hits and iconic rock bands like Santana and Jimi Hendrix. They released two 45s, including 'Message,' which debuted at Panama's first National Soul Music Festival in 1971 and features next here to a jam from Conjunto Raza, another project led by Agustin Leiro, this one with rotating musicians. They released a single 45 on Onda Nueva in the mid-70s and it blends Zonian and Panamanian talent with aplomb.
Take It To The Limit (Joaquin Joe Claussell extended version) (7:17)
Review: New York disco don Joe Claussell takes a scalpel to Norman Connors' 1980 uncut 'Take It To The Limit', turning a smooth Philly disco-soul burner into a swirling, peak-time epic. Originally voiced by Adaritha and buried on Connors' overlooked tenth LP for Arista, the track is flaymorphosed: pulled inside out, looped, stretched and whipped into chaos with Claussell's trademark floor-focused touch. If you've caught him lately at Body & Soul, you've likely heard this one spiralling into the rafters.
Review: Released in 1977 on Buddha Records, Norman Connors' heartfelt number 'Once I've Been There' is a lush piece of honest-to-goodness soul music that's long been held in high regard by diggers. It features a powerful vocal performance from Prince Phillip Mitchell, warm orchestral instrumentation, and a gentle groove arranged by Jerry Peters. Blending elements of classic r&b with jazz sophistication, the track has a timeless, cinematic feel. It's a standout in US drummer Connors' catalogue. Released in the same year, 'Captain Connors' is a loose and limber soul-jazz workout, with energetic horns and deinty keys riding over a sprawling arrangement. Well worth adding to the collection.
Review: Stefano De Santis echoes purple dubstep on this live-feeled new electronic jazz dazzler, all improvised synth fusion that works well both as a danceable cut and a timeout moment. Just two tunes, 'Santos 79' and 'Moon Over Rio' come across like the morning and evening sides of De Santis' lifeworld; the former is a warm, glitzing sonic waxing, full of tweezy approach notes and Simmons drum 'pows'; the latter is a crepuscular waning, contrasting to the other by way of twinkly chime cascades and deeper chromatic blues.
Review: The latest release from the TakeFingz label, DJ Katch's 7" single, dives into the blaxploitation soundscape with a fresh twist on a classic 80s hip-hop track. This installment, the fourth in Katch's series, reimagines Grandmaster Flash's iconic 'The Message,' splitting the track into two sidesiScene A and Scene B. Side-1 features an extended funky loop, evoking the feel of a hero driving into the sunset during the credits, while still retaining a vibrant dance floor groove. Side-2 offers a stripped-down, choppier version, perfect for DJs to mix or scratch. Katch's rework celebrates 50 years of hip-hop with his signature style, blending streetwise funk and jazz with distinctive samples and iconic verses. Played by notable DJs like The Allergies and Craig Charles, this release showcases Katch's talent for creating a "furtive" sound, blending classic hip-hop with a touch of cinematic flair.
Review: When it comes to new funk, it doesn't get much raunchier or weird than this. Packed with rhythmic rodomontade, DJ Koco Shimokit and Southpaw Chop - both from Japan - bring an adroit right and sinister left hand respectively to the art of vinyl flipping and sampling, staying true to the rule of primary sourcing: "always sample straight from the original wax." Though it's a moot point as to whether sample mileage should be legitimated as a concept in the same sense as food mileage is, we can see and hear the appeal, as this loopy chef-d'œuvre hears its samples chopped and braised to the crispest degree, sating even the most dulled of tastebuds, and letting no indelicacy past the noise gates. Side B offers a special treat for heads too: the demo version of the pair's debut single, 'Funky Soul Brother'.
Review: Toby Gee's Lowrider 7" delivers a fresh spin on two iconic tracks, turning them into fun party-fuelling artillery. On Side-1, the Racked Mix of 'Lowrider' reimagines Cypress Hill's classic into an underground groove, infusing it with a darker, more rhythmic vibe that keeps the original's essence while bringing something entirely new to the table. On Side-2, the Cracker Mix of 'Vanilla Bop' takes Vanilla Ice's 'Ice Ice Baby' and transforms it into a lively jam band groove. The crisp scratches and expertly crafted edits to the original vocals add a layer of excitement, making it a perfect floor filling track that's sure to get attention.
Review: Three German instrumental talents - Chris Haertel, David Nesselhauf, Julian Gutjahr - make up The Drawbars, whom together describe their music as 'off jazz'. Following up their prior outing for Basel's BurningSole, on which two instrumental originals stuck out like raw thrums, their latest is an unexpected curveball in the form of a standout rare groove version of Billie Eilish's modern classic 'Bad Guy'. Riffing of its madhouse hooks by way of a watery high electric keyboard part, the essence of the track pairs timely well the Northern-soulful form of breaks, fills and bass jaunts. The B, 'Smokes & Mirrors', returns to OG songwriting and hears electric glisses and portamento synths dance across sultry, incense-filled rhythmatic rooms and navy-noted blueses.
Julie Driscoll, Brian Auger & The Trinity - "Indian Rope Man" (3:22)
Brian Auger & The Trinity - "Black Cat" (3:23)
Review: Heavy Jazz Records has licensed this very welcome reissue of one of the most iconic Hammond Mod dancefloor bangers of all time. This limited edition new 45 rpm features Julie Driscoll, Brian Auger & The Trinity's 'Indian Rope Man' on one side, a track packed with driving chord work, vibrant guitar licks, and passionate, intense vocals. On the flip side, Mod enthusiasts will find another gem in the form of 'Black Cat.' This track races forward with raw brass, hard-edged vocals, scintillating drums and epic chord progressions. A true pair of heavy-hitting tracks from the vault, sure to thrill collectors and dancers enthusiasts alike.
Lost Girl (Marc Hype & Jim Dunloop Late Night rework) (3:24)
Special Technique Of Love (Jim Dunloop Shaolin Soul edit) (3:08)
Review: Dusty Donuts return with another heavyweight 7" of hip-hop gold, this time journeying from Queensbridge to Staten Island. Side A delivers a bouncy, chopped-up rework featuring a Lost Girl once heard on a legendary QB mixtape and it is guaranteed to ignite any dancefloor. Flipping over, the vibe shifts to Shaolin with a raw and soulful reinterpretation of a classic that pays tasteful homage to Staten Island's finest. With tight edits and a deep love for golden-era hip-hop, this release hits hard on both sides and is another great example of the craftsmanship, nostalgia and party-starting energy the Dusty Donuts crew always deals in.
Ebony Evans - "Loving You Is All I Wanna Do" (4:38)
Lewzarius - "Step Up" (4:54)
Review: Ebony Evans is a superb soul talent who for this single worked with Manny Campbell who wrote and arranged. Originally recorded in 2004, 'Loving You Is All I Wanna Do' appeared on the Luv's Fire CD Maxi Single and later on a full album in 2006 through Coastal Records but now debut on vinyl thanks to Soul Direction. On the flip side, Lewzarius' 'Step Up" shines as a rich collaboration between Campbell and Haran Griffin, who is best known for 'Movin' Much Too Fast.' Atlanta-born Lewzarius recorded this track during his time at Coastal Records in the late 90s.
Review: The new sublabel, La Sirenetta will be celebrating the vibrant Italian Afro scene of the late 80s while aiming to elevate World Music for today's dance clubs. This initiative focuses on unearthing and reissuing hidden gems from their extensive analog collections, spanning regions from Martinique to the Ivory Coast and Nigeria to Haiti. The first release features two tracks that encapsulate this vision: 'La Danza Della Giungla' on Side-1 and 'Quella E Una Bambola' on Side-2. Both tracks are expertly edited to ensure they resonate on contemporary dance floors, presenting them in high-quality, collectible 12" formats. With this launch, La Sirenetta promises to enchant collectors and DJs alike, laying the groundwork for a series of releases designed to invigorate Afro and world music scenes.
You Don't Want My Luvvv (Beatin' Hard version) (5:42)
Review: Brooklyn producer Gerard Young aka Ge-ology has always championed intricacy in his original house productions, preferring to survey and purpose-build from the ground up, not prefabricate. His Versions series through Hot Biscuit has been going since 2025, with a higher-than-usual number of deep cuts (usually six in total for each 12") all given names like "Extended FeelTheFire Mix", "From SideToSide", "CapricornTribe Mix" and "Raw Stripdown Version", evidencing a sense of literary licence and playing on otherwise boxed-in remix titling traditions. Janky sampled refuse of disco-soul and gospel replay over 'Keeep The Beat' like trash-humped radio components larked from wreckage - our fave track here by far.
Review: MURO Select presents yet another crucial 7" for Fourth Wave Record Factory for anyone whose ears prick up when it comes to Far Eastern soul, city pop and jazz cause this one has two of Hamada Kingo's urban mellow gems. He was a key figure in 80s city pop and AOR and his iconic track 'Dream Is Alive' from the Earthian image album makes its vinyl debut and is full of The flip side features 'Yokaze,' another standout urban mellow tune that captures the smooth, soulful vibe of his work and is perfect for those close listen bar sessions or the gentle moments early in the evening.
Review: Maledetta Discoteca closes out its year with this special blue vinyl featuring a mix of brilliant Italo disco artists. They all hail from Italy and Argentina and are editing originals that span disco, electro, proto-house and more. Hararis' 'Si No Pagan' is the first under the scalpel and is a funky cut with raw drums. Lance's 'Yo Quiero A Lucy' is a more slowed down and seductive sound with 80s synths, Marta Paradise's 'Calling' (edit) is a direct and sugar synth laced house stomper and Alan Strani's 'Tension Salsable' brings things to a closer with a nice stomping disco grove with mysterious synths and lush percussion.
Review: 'Fast Freddie the Roller Disco King' is a tune that is as good as its title. It was originally a single by Little Anthony and the Imperials (as The Imperials), featuring none other than Prince on guitar, synth and keyboards. The track's base was recorded by Prince with Pepe Willie and Andre Cymone at Sound Palace Studios in New York with later vocal and instrumental overdubs by The Imperials. The B-side, 'I Just Wanna Be Your Lovin' Man,' is an early version of '10:15,' though Prince's involvement as guitarist on this one remains unclear. Either way, this is a brilliant reissue for disco and funk lovers.
Review: For Fourth Wave Record Factory, MURO has put together a couple of new and exclusive 7" releases that feature two classic Japanese AOR tracks by artists who very much played a part in defining the sound. Firstly, Ginji Ito's smooth and soulful 'Heart and Soul,' originally from his tenth album, shines with mellow mid-tempo vibes and glossy vocals and melodies. On the flip side is 'Uwaki na Kare,' a beloved cover of a classic US disco track from Ritsuko Kazemi's third album that comes correct with a catchy, laid-back Saturday love groove. This release marks the first time these iconic songs have been pressed on 7".
Review: This classic Japanese funk tune has long been adored by erudite boogie, 80s funk and soul fans in Japan but also more internationally, and for the first time here it is now available as a 7" single. Produced by Toshiki Kadomatsu, the release includes one track each from the Jadoes albums It's Friday from 1986 and Free Drink in 1987, both of which are considered iconic in the Japanese boogie canon. 'Summer Lady' is full of glossy 80s drums and sparking melodies that bring unbridled joy and 'Friday Night' is a little more paired back but the stepping drums and male-female vocal interaction is a thing of beauty.
Review: Born and raised in Chicago, Durty Truth Records founder Darryn Jones delivers a couple of corkers for North-East England re-edit imprint Hot Biscuit Recordings. A-side 'In The Bush' is a thrillingly heavyweight jam - an Afro-funk meets Afro-disco version of a track made famous by US disco and boogie outfits, which Jones has expertly extended and rearranged in all the right places. B-side 'In The Know', meanwhile, is a take on a more classic-sounding slab of Afro-disco that boasts a superb "walking bassline", extended electric piano solos, sultry strings and a fine male lead vocal.
Review: Those good folks at Burning Sole dip into their funk treasure chest once more here and share a raw, densely packed new sound from The King Rooster. This firmly red 45 kicks off with 'Bush Drop' which pairs deriving, shrill Hammond organ stabs with sleazy guitar licks and drums that feel James out live and in the moment. 'Dirty Cop' has squealing leads that very much bring the feel of a 60s spy chase thriller with more vivacious drums and even some police sirens to add to the dramatic and evocative effect.
Review: Seun Kuti has released his highly anticipated album Heavier Yet (Lays The Crownless Head) via Record Kicks to great excitement. This album, executive produced by Lenny Kravitz and featuring Fela Kuti's original engineer Sodi Marciszewer, marks a significant milestone in Kuti's career. Following his Grammy-nominated album Black Times, this release showcases his evolution as both an artist and activist. The album features six powerful tracks, each embodying themes of resistance, resilience, and revolution. The track 'Dey,' featuring Damian Marley, emphasises self-empowerment, while 'Emi Aluta' pays homage to revolutionaries, featuring the innovative Sampa The Great. 'T.O.P.' critiques societal values, promoting empathy and a connection to nature. 'Love and Revolution' highlights Kuti's belief in love as a catalyst for change. Kuti expressed gratitude for Kravitz's brotherly support and Sodi's guidance during the production process. He continues to uphold the legacy of his father, Fela Kuti, using his music to inspire social change. This album promises to redefine contemporary Afrobeat while staying true to its roots. Fans can expect an album that entertains, inspires and ignites activism.
Review: Francesco Fisotti is the leader of the new Italian disco-funk band Le Dune and this makes their debut release. 'Sugar' features a fusion of electronic drums, synths and groovy bass with a retro feel but fresh modern production flair next to vibrant guitars. When you pair all that with catchy, pop-driven vocals you have a timeless disco vibe that will unique all manner of dancers. Alongside the original version, the Extended Mix emphasises the groove, the Instrumental Version' leans into a percussive, tribal sound while the 'La Notte Mix' co-produced by Issam Dahmani delivers a late 80s proto-house feel.
Review: Two formerly passed-over bonus tracks from two of Lettuce's earlier records, 2008's Rage! and 2012's Fly respectively. The US collective and Berklee College graduates, seasoned stalwarts of funk and soul, first featured 'Monorail 3000' and 'Star Children' as afterthoughts on their otherwise sprawling third and fourth records, both funded by Velour Recordings. The tracks alternate between dextrose sweetness on the light-rail A and cosmic rocketship B-side, demonstrating the great versatility of these all-heart alumni.
Review: Discodelic and Groovie Records unveil a pair of rare 1970s Panamanian gems here with forgotten tracks from The Meditators, and Los Misticos. Originally recorded for radio and left in storage, these Latin psych funk bombs capture the underground spirit of Panama's vibrant music scene from more than 50 years ago. Licensed through Tamayo Records, these songs have been beautifully mastered and now the long-lost recordings, which barely made it to vinyl the first time around, become available for all who are keen to drop the heat and learn about Panama's hidden musical treasures at the same time.
Review: These two rare 1970s Panamanian gems are long-forgotten tracks from The Meditators and Los Misticos that now get pressed up to a very colourful 7", though we also have a plain black version. These Latin psych-funk recordings were created for radio but were stored away for many years and now listening back they offer a glimpse into the vibrant, underground scene of Panama. Beautifully remastered and licensed through Tamayo Records, these rediscovered songs are now available after originally being pressed in extremely limited quantities. These tracks provide a unique chance for listeners to experience Panama's hidden musical treasures while adding some heat to any collection.
Review: Mexico city label Discodelic shares the first edition in their Eclipse series and sublabel, which focuses on obscure and undocumented or under-documented Mexican groups. On the first of two new 45s, the label focus on Los Sabios and Los Eliceos, two obscure monster Latin funk psych groups who recorded in the mid 1970s. Packed with a wowwing lead guitar focus and a vintage psychedelic baste, Los Sabios' 'Trip To The Moon' takes its name from the first ever sci-fi film, and aptly lays back while playing through a distinctive Latin pulse and swarthy funk dust-cloud. Eliceos' 'La Cabana', meanwhile, teleports us right on down to the poolside beach hut, as a chuffing electric organ line buzzes atop a bustling drummed undercurrent.
Review: Trip To The Moon by Los Sabios kicks off this cosmic 7" with its hypnotic rhythms and swirling synths, blending classic cumbia with spacey, psychedelic vibes. The A-side track is a journey into the unknown, pulsating with infectious grooves that feel like they've been beamed in from another galaxy. On the flip side, Los Eliceos deliver 'La CabaNa,' a more grounded yet equally entrancing tune, driven by tight percussion and warm, melodic guitar lines. Both tracks offer a fresh take on traditional cumbia, making this release a must-have for collectors and dance floor enthusiasts alike.
Aniceto Molina Y Su Conjunto - "Cumbria Candela" (3:04)
Catalino Y Su Combo Negro - "Cumbia Montaera" (2:23)
Los Hermanos Martelo - "Por Las Buenas" (2:52)
La Pesada - "Cumbia Y Tambo (En La Lluvia)" (3:54)
Review: The third instalment in the 'Cumbia Sabrosa' series delves into the rich archives of Colombia's Codiscos label, unearthing a selection of tracks that exemplify the vibrant energy of cumbia. Artists such as Los Trotamundos, Aniceto Molina y su Conjunto, and Los Hermanos Martelo contribute to a compilation that seamlessly blends traditional rhythms with the dynamic flair characteristic of the sonidero scene. Each track offers a unique glimpse into the musical landscape of the era, highlighting the enduring appeal of cumbia's infectious beats.
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