Review: This is another reissue of a record that remains an ongoing favourite. Original Gravity delivered again with the original pressing featuring two unique versions of 'Burning Spear'. Nestor Alvarez opens with a lively, Latin-inspired rendition filled with fluttering flute melodies, raw drum beats and vibrant dancing keys that radiate sunny energy. On the flip, La Machine D'Argent takes a more cosmic approach, smoothing the vibe and layering spaced-out sounds for a dreamy, immersive journey. This release showcases Original Gravity's knack for reimagining funk with flair by offering two distinct yet equally good takes on a timeless groove.
Lynn Williams - "How Can You Call Love Fascination" (2:26)
Review: Jimmy Bo Horne brings his raw and expressive vocals to this new release on Japanese label Ultra Vybe. The oft-sampled America singer, writer and producer has been turning out such sounds since the mid 70s but remains on top of his game here. The big horns bring energy, the rolling rhythm section gets you up on your feet and the whole thing screams floor filler. On the flip is Lynn Williams with 'How Can You Call Love Fascination,' a much more slow and sensual soul tune with acrobatic vocals and nice piano fills next to a big horn section.
Review: It might be getting cold and dark and wet here in the UK but music will always be able to transport us to warmer, sunnier, happier climes. And so it is with this new 7", which includes a booklet, from Discodelic. It's a two tracker from Cizana and La Nueva Generation that is flame hot and bristling with energy - Cizana's 'She Sold Her Soul' kicks off with its joyous flutes, hand drums and percussive Latin grooves then La Nueva Generacion slow things down and up the brass with their carnivalesque Afro-funk workout 'Uhru Sasa'.
Review: Samosa Records returns with Afrikano Vol. 3 which is a lovely Afro-themed, genre-blending EP featuring four standout tracks from trusted artists. Kicking things off is Vincent Galgo's 'African Rebel,' a 125bpm fusion of horns, driving rhythms, and Afro-pop bass. Frank Virgilio follows with 'Mistress,' a jazz-infused mid-tempo groover, packed with guitar riffs, organ stabs, and hypnotic bongos. Newcomer Casper Leo delivers 'Tom Tom,' a tribal delight featuring Kora guitar and melodic Marimba. Closing the EP is Lego Edit's 'El Safari,' a sultry Afrobeat banger that grabs hold and doesn't let go.
Review: Delve beyond cumbia's usual bounds and explore psychedelic dimensions in modern tropical music courtesy of this, La Banda Chuska's debut single on Names You Can Trust. It offers a window into this evolving sonic landscape, blending as it does rip-roaring guitar riffs with contemporary flair. Picture the B-52s navigating a twisted Pacific-Peruvian time warp, bongos in hand, and this will give you a good idea of what to expect. This vibrant adventure encapsulates La Banda Chuska's colourful fusion of sounds and will have you surfing through a wave of tropical vibes in no time.
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: Rindert Lammers' debut LP is a kaleidoscopic suite in five movements; pelican wingspans of twinkly, retentive but then also generous jazztronica, centring on two distinct themes: Japanese cinema and YouTube confessions. Japanese culture is seen through a grateful lens, as theatrical titans such as Kirin Kiki are homaged; the B1 especially is inspired by a poignant moment in the actor's portrayal of Hatsue Shibata in the 2018 film Shoplifters. Seemingly firstly inconsequential digital traces are lent an upscale gravitas, meanwhile, as a voice clip from a YouTube comment on an algorithmically boosted Hiroshi Yoshimura video evolves into the ride-embellished upswell 'Thank You Hiroshi Yoshimura'. Mastering the art of appreciation from afar, Lammers brings a mood of gobsmacked reverence for Japanese enviro jazz and its offshoots, suspending us over an endless realm of forms circa 1989.
Review: Several years before Uzi Kinrot, we were lucky enough to attend a cultural exchange, of sorts, between Lithuania's burgeoning electronic scene and Israel's fertile alternative music community. The results were staggering, and in addition to presenting the Balkan state as an epicentre of leftfield dance, it also made a strong case for the Middle East as a hotbed for the kind of music makers destined to score some Quentin Tarantino or David Lynch movie. Back up to date, and Les Dynamites, whose reputation has long reached beyond their Jerusalem hometown, have returned to emphasise the latter point. Uzi Kinrot is a groove-packed double-A side that feels alive with energy, perhaps thanks to the single-take recording process. It's twangy, psychedelic, nostalgic and yet utterly timeless stuff that yearns to be heard on a beach while you hide from the heat of afternoon sun.
Review: You could easily think this was a dusty reissue of a long-lost Afro classic. But no, it is not. Instead, it is new music from Loboko, a new group created from the rich musical melting pot that is New York City featuring young Congolese vocalist and guitar talent, Yohni Djungu Sungu, plus Soukouss-Stars associate and top bassist Ngouma Lokito. This is their debut recording and surely the first of many that will be built of jam sessions. It is traditional Congolese music with a modern twist but plenty of guitar-driven sounds from African soukous with Caribbean inspirations, Loboko's unique take on the ethnic Baluba rhythm, and elements drawn from the seben style. Utterly intoxicating.
Review: Some six years (give or take a few months) on from the release of their superb debut album Psychedelic Disco Cumbia, self-styled 'NYC tropical supergroup' Locobeach are back! This time round, they've treated us to a genuine rarity: a rarely spotted double seven-inch EP. All four tracks have, apparently, been extensively road-tested in their live sets and become, in their words, "fan favourites". They begin in stellar fashion via a head-nodding, cumbia-powered cover of Cure classic 'Close To You' (it's genuinely great - one of the best covers we've heard for a while), before imagining a suitably tropical spy chase on the urgent and percussion-rich 'Idea Desesperada'. On 45 number two you'll find the cheeky cumbia-soul-meets-yacht-rock cheekiness of 'Isabella' and the surf-flecked, high-octane tropical fun of 'U.S Marshall'.
Review: Hailing from Berlin, Los Baby Jaguars craft vibrant musical journeys that span cumbia, Latin funk and on to Afrobeat. They themselves call their unique sonic cocktail a "tropical rocket" ride through the decades from the 60s to the present and we do not argue with that. Their debut 45 is a double header here, 'Las PiNas' and 'Playa Boogaloo,' released by Nu-Tone with some superb artwork. The music collides cumbia and Afrobeat on a cosmic dance floor amongst the stars and brings an all new kind of energy to international dub.
Review: Los Disco Duro are all about offering up "analogue synthesizer interpretations of Latin classics" and have been doing so now for almost a decade, most often on the Disco Bas label in the US. Their reworks and reimaginations know no stylistic bounds as price here with an intergalactic-sounding take on kiddie-disco fav 'Macarena.' The vocals are reusing through a talk box, the vamping chords and drums are fat the synths pixelated. 'Musica Chiquita' is then a fresh deep house cut with starry eyed synths and planning bas that is, frankly, brilliant.
Review: Discos Mas kicks off their New Year with a vibrant Los Disco Duro version of the iconic 'Cumbia de Sal'. this top take blends the famous Moog cover with the original 60s version for some super fresh results. Featuring vocoder vocals, brilliantly resonant synths and funky drums, this unique cut enhances the classic cumbia beat with all-new energy. The release also includes a double A-side with a cover of 'Mexico' by the wonderful Mexican Institute of Sound. Camilo Lara's original composition is reimagined with signature Los Disco Duro elements such as vocoder vocals, synths and cumbia percussion, all of which add up to a refreshing mix of modern and traditional rhythms, nostalgia and innovation.
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: More heat here from Original Gravity with 'The Harlem Bugalu' from Luchito and Joaquin Marquez. This is a 7" that soon transports you to boogaloo paradise with its feverish Latin grocers and non-stop drum funk. The A-side is laden with spoken words, zippy percussive sounds and mad bongo bubbles with lashing of horn-led exuberance. Flip it over and you will find the slightly darker and more menacing energy of Joaquin Marque's 'Mala Mania'. Get your shake on and drop this one this summer for swift dancefloor explosions.
Review: The Original Gravity label is back with more of its fully functional but also exceptionally flair-fulled funk sounds, this time with Luchito and Nestor Alvarez behind 'Tighten Up.' It is another choice reissue that has been dug carefully out of the vaults and comes in seriously limited quantities on 7". Luchito & Nestor kick off with the original version of 'Tighten Up' on the a-side and it's packed with high-tempo breaks and sung-spoken vocals. On the flip is a more fiery and explicitly Latin affair with the warming chords and florid horns of Nestor Alvarez's 'Just Add Vibes.'
Review: We're excited by this fresh repress from the fine folks at PVine because it brings back to life an iconic cut from the widely beloved Hawaiian AOR album Lui. This classic gentle sound is also known for its stunning artwork and has long been a fav of collectors and diggers. Alongside 'Oh, Oh (I Think I'm Fallin' In Love)' on the A-side, you can find 'My Lover' on the flip and it is another showcase of the smooth, mellow grooves that appeal to free soul and AOR enthusiasts. These two timeless and once 'contemporary Hawaiian' songs from the 70s feature plenty of local musicians and have subtle influence from the US West Coast sound.
Review: Dynamite Cuts has done it again here. Celebrated American bassist Curtis Lundy called upon his sister Carmen for her vocal talents for this wondrous vocal jazz cut. 'Never Gonna Let You Go' is powered by a superb double bass groove, with lush xylophones and plenty of lively drums al backing the acrobatic vocal performance. It has never before been pressed up to 7" is a serious must have for collectors, especially as it is backed with the wonderful walking basslines and feathery light snares, meandering keys and seductive jazz melodies of 'Jabbos Revenage'.
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: Rashied Ali had a unique talent for transforming unlikely sound pairings into masterpieces. Following Interstellar Space with John Coltrane and Duo Exchange with Frank Lowe, he joined forces with violinist Leroy Jenkins for this album in 1975. Jenkins was fresh from the Revolutionary Ensemble and composed all pieces for this rare duet, which is now reissued on vinyl for the first time in nearly half a century. The deluxe set includes an unreleased session exploring standards, the sounds of Coltrane and some truly wild improvisations. A top treasure for jazz-heads.
Review: Record Store Day and Black Friday 2023 continue to serve up the treasure even now as we roll into 2024. This latest pice, Creative Improvisation Ensemble, is from Marion Brown and Leo Smith who explore an experimental and avant-garde world of challenging jazz. It is freeform, unbound by rules and expectations and very much keeps you on your toes as the saxophones burst to life, express tortured emotions and peel away to nothing. Some cuts are more heavily percussive with tribal drums like 'And Then They Danced' and others are persuasive numbers that make you move.
Dark As (feat The Maghreban & Tamar Collocutor) (4:52)
Tea Leaf Dancers (feat Vince Vella) (3:51)
The Volume Of The Light (feat Jessica Lauren) (4:43)
Review: London spiritual jazz man Emanative is drummer and producer Nick Woodmansey. He has put out some well received albums on Brownswood, The Steve Reid Foundation and Jazzman Records and also tries his hand - successfully - at electronic music. Vocalist Liz Elensky has been part of the project since 2006 and this album finds the duo head in a new direction that delves deep into electronic sounds but with soulful jazz vibrations and contributions from the likes of Rocketnumbernine, The Maghreban and Khalab & Jesica Lauren amongst others. It results in an album that is as alluring as it is inventive.
Review: Ella Fitzgerald and Louis Armstrong came together first of all for their 1956 album Ella and Louis. Just a year later, the enduring jazz icons hooked up once more on Verve Records for the simply titled Ella and Louis Again. It was recorded at Radio Recorders and Capitol Studios in Hollywood and where their first album was all duets, this one features seven solo vocal tracks by either Armstrong or Fitzgerald amongst its dozen duet tracks. Louis only played trumpet on six of these tunes but there was such a vibe between the two artists that it was never seen as an issue.
Review: The late, great Jose Padilla was a big fan of the work of Stan Getz, whose easy-going, sun-soaked and accessible take on jazz - and especially his more Latin-tinged offerings - appeared frequently in the Balearic legend's DJ sets. Jazz Samba Encore, the saxophonist's 1963 collaboration with Brazilian jazz guitarist Luiz Bonfa, remains one of the most unashamedly joyous sets in his catalogue. Reissued here in a Japanese edition, it sees Getz and Bonfa trading solos over luscious bossa-nova and samba grooves. There are plenty of standout moments, with our picks including the dreamy 'Sambalero', the sparkling breeziness of 'Samba De Duas Notas (Two-Note Samba)', the glorious 'Suadade Vem Correndo' and smoky closing cut 'Ebondy Samba'.
Review: A stunning album of big band music from Finnish composer, Kerkko Koskinen, featuring Linda Fredriksson on saxophone and the UMO Helskinki Jazz Orchestra, Agatha 2 is a sequel of sorts to their original Agatha album released in 2007. Tracing Koskinen's signature immensely emotive and dramatic approach to composition, this album sits beautifully between moody atmospheres and fully immersive rushes of cinematic sound. It is clear that Fredrikkson and Koskinen share a clear vision with her solo performances shining against the undulating orchestral backdrop. Taking on a distinctly melancholic and nostalgic mood, especially with the pieces 'Promenade' and 'Piana', the drums are positioned at a purposeful distance to the driving dynamics of the composition, adding a hint of melodic colour to the overall piece rather than being a central force. An inventive project that journeys forwards and backwards in time.
Review: La Clave's self-titled album from 1973 is a refreshing mix of Latin rhythms and the vibrant sounds of the city of San Francisco. Formed by nine musicians from Mexico, Panama, Cuba and Puerto Rico with Benny Velarde at the helm, the group blended their rich cultural backgrounds with the soulful and experimental music scene of the Bay Area during that period. This unique mix created a joyful, energetic sound that still lures you in to this day, which is why this mini-classic gets reissued as part of the Verve By Request series.
El Paso Del Gigante/La Dana De Los Mirlos/Cumbia Sampuesana (4:17)
Lucia (4:27)
Angel’s Point (3:17)
San Fernando Rose (3:21)
Juana La Cubana (3:52)
Llorar (3:41)
Ooo Baby (4:00)
Cascabel (4:07)
Review: LA Lom's March 2024 show at Chicago's Thalia Hall debuts on vinyl for Record Store Day 2025 a year or so after the band's defining live moment. Just months after packing the Empty Bottle, the band returned to an even larger crowd, which served as proof of their ever-growing Chicago fanbase. Determined to keep the raw energy of their LA roots alive, they built a bright red round stage in the centre of the hall and were surrounded by fans dancing and singing from every side. The night was captured on film and tape by longtime collaborator Jacob Butler and now, the much talked about performance featuring original tracks, classic cumbia covers and a Smokey Robinson ballad finally makes its way to wax.
Lost & Looking (Colleen 'Cosmo' Murphy Cosmodelica remix) (3:43)
Collage (Bruise remix) (3:43)
Review: Set for release on 28th October, the deluxe edition of Lady Blackbird's debut album 'Black Acid Soul' comes with a staggering 11 additional songs, encompassing brand new material such as stunning single 'Feel It Comin' and remixes commissioned by the likes of electronic, jazz, funk luminaries Emma-Jean Thackray, Colleen 'Cosmo' Murphy and Greg Foat.
Review: Lagartijeando is a key figure in the alt-Latin electronic scene alongside the likes of Nicola Cruz and Chancha Via Circuito. He makes an essential return here with 7 Caminos, a fourth career long player with Wonderwheel. Recorded between Cholula, Mexico and Tarapoto in Peru, it transports you in double quick time to the South American jungle and Mexican Altiplano volcanoes. Sunny melodies take flight over shuffling rhythms, dubby basslines unfurl like flowers at dawn and intimate vocal whispers bring a human touch to the rhythms. A gorgeous soundtrack to a perfect afternoon of escapism.
Review: Guitar virtuoso Julian Lage's Speak To Me is a dynamic Blue Note album produced by Joe Henry. Arriving with 13 original tracks, Lage's compositions navigate a rich tapestry of American music genres, from gospel hymns to California singer-songwriter vibes and skronky jazz. The album's lead single '76' showcases a hard-driving blues essence, while 'As It Were' offers an atmospheric acoustic ballad. With contributions from Kris Davis, Patrick Warren, Levon Henry, and his trusted trio with bassist Jorge Roeder and drummer Dave King, Lage presents a multifaceted musical journey that captivates and enthrals in equal measure here.
Review: Reissued and remastered for the first time, with its original tracklist and cover, Francis Lai's eerie-romantic soundtrack for A Man And A Woman, directed by Claude Lelouch, matches the film's subject. That is, two widowers meet for the first time at their children's school, and find themselves plagued by haunting visions and flashbacks of their former spouses. Netting the Palme d'Or at Cannes in 1966, the film has gone on to set the benchmark for French romantic soundtracks, a mark set by the score's rose-tinted sonic scenery, diegesis-breaking narrations and almost automatic singing.
Review: Claude Lelouch's 1966 romantic drama, translated into English as A Man and A Woman, is simultaneously filled with hope and tragedy. It's a passionate story but not one without warnings and lessons about the challenges of getting over loss and learning to trust again. It was also a huge success at the time of its release, grossing $14million at the US box office, which was big bucks back then for a foreign language movie. As the title suggests, the plot follows two single parents - he and she - who lost their spouses in horrible circumstances, namely suicide and an accident, and set about building new lives for themselves, which then cross paths. To complement this, French composer Francis Albert Lai created a sexy, playful, but highly emotional score, which ranges from heartfelt songs to jazz cool and laidback rock 'n' roll.
Review:
If you're a lover of Brazilian psychedelic folk, you will already be well familiar with this utter masterpiece from Brazilian actor and musician Guilherme Lamounier. He recorded three such records in the 1970s, and this, the second of them, is widely regarded as the best. It has long been a real rarity and holy grail amongst diggers after being created with composer Tiberio Gaspar and recorded at Radio Gazeta Studios in Sao Paulo. Element sou US hippie culture as well as love song stylings, angular funk and piano ballads all feature with plenty of great musicianship and rousing lyrics. Truly escapist stuff.
Review: In the early 1960s at Berklee College of Music, Byard Lancaster connected with fellow musicians like Sonny Sharrock and Dave Burrell and they helped steer him towards the world of free jazz. After moving to New York, he recorded with Sunny Murray and released his debut album It's Not Up to Us in 1968. In the early 1970s, Lancaster frequently collaborated with Jef Gilson and released four albums on Gilson's Palm Records, including Funny Funky Rib Crib. This 1974 recording blends brilliantly creative jazz with funk and soul elements and features an ensemble that explores dynamic grooves and meditative tracks like 'Work and Pray' and 'Loving Kindness.'
Review: 'Eastern Sounds' was one of the last recordings made by his band that Yusef Lateef shared with pianist Barry Harris. With the demise of their playing relationship coming to an end, the album is a spiritual journey through tonal and polytonal improv, building on the musical expertise of the far East and appropriating it for jazz.
Review: Legendary multi-instrumentalist Yusef Lateef recorded this seminal record in 1960 and showcased a slightly more restrained yet equally captivating side of his artistry. Released on Riverside, it captures Lateef at the height of his creative powers, delivering soulful grooves like 'Goin' Home' and a tender rendition of Duke Ellington's 'I'm Just a Lucky So-and-So.' Playing both saxophone and oboe, Lateef is supported by a stellar ensemble: Hugh Lawson on piano, Ron Carter on cello, Herman Wright on bass and Lex Humphries on drums. A masterful blend of subtlety and depth, this is an essential piece of jazz history.
Review: William Emanuel Huddleston is better known as Yusef Lateef. It is fair to say he remains a towering presence over 20th-century jazz with a vast discography, much of it packed with classics. Jazz Mood from back in 1957 is a really fine example of what he can do. It found the multi-instrumentalist reconfiguring jazz just as he came to prominence at the end of the 50s. Playing alongside him for this album are some of Detroit's finest such as Alice Coltrane's brother Ernest Farrow on bass, and Curtis Fuller who would later join Jazz Messengers, on trombone. Sumptuous stuff.
Review: Jessica Lauren is a cornerstone of the UK jazz scene who has spent decades enhancing recordings and performances for legends like Jean Carne, Dexter Wansel and The Heliocentrics. As a core member of Emanative, her talents are well-known and her latest release, Film, affirms her status as a forward-thinking artist. Originally recorded in 1997 and released on CD in 1999, Film has been remastered and is now reissued on gatefold vinyl. The album's fusion of modal jazz, electronica, library music and field recordings feels remarkably current and blends acoustic and electric pianos, harpsichord and synths in a beguiling fashion. As such, Film cements Jessica's place as an innovative musical visionary.
Review: Jazz saxophonist Tony Lavorgna, sometimes known as Captain Bad, recorded Chameleon with the St Thomas Jazz Quartet in 1982. The title track is a cover of Herbie Hancock's classic from Head Hunters, given a fresh lick on this superlative album of incredible renditions of long time favourites. Ray Charles' 'Georgia On My Mind', War's 'The World Is A Ghetto' and Dave Brubeck's 'Take The 'A' Train' all get a look in, given a soulful treatment which goes down very smooth indeed. On the strength of these, it's a shame the group never recorded more music together, covers or otherwise.
Review: Azar Lawrence's 1976 solo album People Moving is one that puts his skill on tenor, alto, and soprano saxophones front and centre throughout. The classic album was assembled by a stellar lineup including none other than Patrice Rushen on electric piano and vocals, as well as Harvey Mason on drums and Mtume on percussion. It was dedicated at the time to Charles Stepney and blends funk, soul, and jazz into a vibrant musical experience. The title track, 'People Moving,' stands proud with Lawrence's soulful saxophone and Jerry Peters' impressive horn arrangements really drawing you in. The record also marks Skip Scarborough's debut as a producer, and it's a role he later expanded when working with artists like Bobbi Humphrey, Con Funk Shun, and Phyllis Hyman.
Review: Ledley is an album of immersive, improvised electroacoustic music by Raph Clarkson who plays trombone and takes care of FX while Chris Williams is on saxophone and Riaan Vosloo on electronics and post-production. It is their debut release and it pays tribute to legendary Spurs footballer Ledley King by drawing on the atmospheric sounds of North European ambient music and layering in deep references to Tottenham, with tracks like 'Seven Sisters Road' and 'Lordship Lane.' The album explores the intersection of improv and football fandom while, we're told, expressing the themes of community, struggle and resilience. With intricate, evolving soundscapes, this is a profound meditation on football.
Review: Drummer and composer David Lee Jr.'s acclaimed yet hard to find gem Evolution from 1974 is revered for the way it ingeniously melds the experimental spirit of John Coltrane and Sun Ra with the infectious rhythms of New Orleans. A standout among legendary New Orleans drummers, including Zigaboo Modeliste and Idris Muhammed, Lee Jr. showcased fiery innovation and unparalleled experimentation here on this 'lost classic' deep jazz album, originally released on Lee Jr.'s Supernal Records. It embodies a quest for creative progress and spiritual freedom and is rooted in the vibrant rhythms of New Orleans and Afro-Futurist musical concepts. It remains a rare and monumental achievement in the realm of deep and spiritual jazz, and here has been newly remastered for a limited magenta vinyl edition.
Review: Anyone who has seen Nigerian saxophonist Bukky Leo perform with his backing band Black Egypt will tell you how incendiary they are live, frequently delivering performances that blur the boundaries between Afrobeat, Afro-jazz and Afro-funk. It's fitting then that Bukky and his band's latest release is a live album made up entirely of their interpretations of tracks from legendary Nigerian musician William Onyeabor. It's simply superb, with the ensemble's wonderfully laidback Afrobeat interpretation of 'Atomic Bomb', a rousing, dance-along romp through 'Good Name' and an insatiable, deliciously low-slung shuffle through sensual classic 'Body & Soul' belong amongst the many musical highlights.
Review: The highly anticipated reissue of the rare groove gem Transfusion by West Coast funky drummer extraordinaire Les Demar is finally here thanks to P-Vibe and comes with an obi! Originally released in 1977 on the esteemed Dobre label, this album stands as one of Demar's most significant works from the 1970s. It boasts iconic tracks like 'Moondial,' featuring a legendary drum break sampled by artists such as Jurassic 5, De La Soul, DJ Shadow, and Greyboy. Additionally, the album showcases a plethora of groovy numbers like 'Canned Heat Suite' and 'Kaballa,' alongside the mesmerizing Afro-Latin funk of 'Bacchanal,' epitomizing Demar's fusion of funky rhythms and jazz sensibilities.
Review: Les Demerle Sound 67 is a group defined by core member and prodigious drumming talent DeMerle, who famous playing power and rhythmic elasticity is what stands out here. It is a high class jazz record with his bold presence and command of modern jazz drumming front and centre as his side men do a fine job of filing in the spaces with Randy Brecker on trumpet and rock diva Genya Ravan adding her own vocals. This album is a great find in some long lost vault that contains plenty of evidence as to why DeMerle would go on to be so revered in ensuring years.
Review: Acid Jazz Records are master compilers who here turn their focus once more to Les Sympathics De Porto Novo Benin. It's part of the label's reissues series focussing on rare sounds from legendary Benin imprint Albarika Store and is a second album from one of the most notable groups to hail from Porto Novo'. This 1970s collective, founded by Herman Laleye, is famed for its heavy rhythm section and vocals from Gangbo Bonheur, Armand Pognon playing blues-tinged guitar and Camille Zanou's on the organ. Rather than straight-up Afro-beat, Afro-funk or Latin, this band fused it all seamlessly into something new.
Review: Here, celebrating its 40th anniversary, Level 42's World Machine returns with a special reissue of the 1985 album that launched them to global fame. Departing from their jam-based roots, the band embraced a more structured songwriting process and also set to work producing the album themselves with engineer Julian Mendelsohn. The result was a polished, pop-funk breakthrough led by the hit single 'Something About You' which of course became a Top 10 hit worldwide, including in the U.S. Follow-up singles like the emotive 'Leaving Me Now' and the infectious "'World Machine' cemented the album's success and helped mark a major turning point in the band's career and 80s pop history.
Review: This brand new 2xCD set celebrates Level 42's 1985 top three album World Machine, which was produced with Wally Badarou. The album reached #3 in early 1986 and features the hit singles 'Something About You' which peaked at #6, and 'Leaving Me Now' which went on to reach #15. In the U.S., a Shep Pettibone remix of 'Something About You' became their highest-charting single by hitting #7 on the Billboard Hot 100. CD1 includes the original album, while CD2 offers some fresh 7" edits, 12" extended versions, remixes and B-sides. The set also features a booklet with lyrics, photos and a foreword by Simon Carson and Paul Waller.
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