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: Jonathan Richman's 'Egyptian Reggae' has been setting discerning dancefloors alight since its release in 1977, during the golden era of punk. Known for its infectious rhythm, the track has seen a few reggae remixes over the years. However, it was time for something freshia playful yet respectful cumbia twist. Both genres share a certain groove, making them a perfect match, and it's easy to imagine DJs weaving these sounds together in their sets. This new take on 'Egyptian Reggae' has been recorded in Lima by Pancho Acosta, the founder and guitarist of Company Quinto, and one of Peru's finest cumbia guitarists. Acosta brings his expert touch to the track, transforming it into an upbeat cumbia gem. On the flip side, we're treated to one of Acosta's own originals, 'Carnaval de Jujuy', recorded by Austin-based future cumbia outfit Money Chicha. The song blends Peru's fuzzed-out early chicha sound with Money Chicha's unique, modern interpretation of the genre, delivering a fresh, captivating cumbia vibe.
Review: Afrosynth Records has become renowned for its deep dives into the colourful, synth-heavy world of original South African disco, boogie and bubblegum. They're at it again here, offering up a fresh pressing of "Turn It Up" by Adaye, a one-off studio project featuring members of legendary South African 'supergroup' Stimela. This edition replicates the track listing of the original 1983 release, beginning with the A-side vocal version - a driving slab of bubblegum boogie laden with James Brown style lead vocals, colourful synth sounds and delay-laden drum machine beats. The flipside "Instrumental Disco Mix" naturally strips out all but the backing vocals, instead showcasing the intricacy of the studio outfit's Prince-style guitar riffs, jaunty bass and kaleidoscopic synthesizer flourishes.
Review: A hugely exciting and thoroughly danceable new 7" from Florence Adooni, blowing any other artist who could even remotely hope to stake a worthy claim to contemporary highlife out of the park. Following up her debut single 'Fo Yelle' on Philophon, the Ghanaian Frafra Soul singer returns backed by an eight-member troupe, made up of young talents from the highlife scene of Kumasi, Ghana. 'Uh Ah Song' and its inverse counterpart 'Otoma Da Naba' are slick, clean and joyous daytime jaunts, with the former track lyrically meditating on familial and childhood themes while effortlessly pinning down a difficult-to-maintain-for-most uptempo highlife backbeat and improv. The B-side, meanwhile, pays tribute to the supreme terrestrial creator central to Adooni's native Frafra community, and centres on a heptatonic electronic, nigh acid riff and lo-fi texture with a "je ne sais qoui" that, in our view, renders it the tune of the year so far.
Review: Seriously good modern high-life action here, as Philophon regular Florence Adooni joins forces with some exceptional musicians to lay down two high-quality musical treats. Our pick of the pair is superb A-side 'Mam Pe'ela Su're', a "typical Frafra-Gospel hymn" that Adooni and her accomplices have turned into a deliciously soulful and groovy slab of highlife (think glistening, Ebo Taylor style guitars, shuffling drums and righteous horns). Turn to the flip for 'Naba Aferda', a homage to the chief of her home village that offers a slightly heavier and more raw-sounding take on the highlife sound that's so jaunty and carnival-friendly that it could pass as an obscure Brazilian recording from the late 1970s.
Mahmoud Ahmed - "Aynotche Terabu" (with Equators Band) (4:02)
Girma Beyene - "Ene Negn Bay Manesh" (2:24)
Review: The Afro 45's / Mr Bongo lineage has produced some of the hottest, most sizzling funk reissues from around the globe, and this tasty two-header from Mahmoud Ahmed - who has appeared heavily on Portland's monumental Mississippi label - and Girma Beyene, two greats of the African soul / funk heritage. Ahmed's "Aynotche Terabu" is backed by the Equators Band, and the man's voice rides like crispy waves over the dusty percussion and charging trumpets of the outfit; Beyene appears with a less moody but equally brilliant jazz-leaning piece named "Ene Negn Bay Manesh", bringing through the spirot of greats such as Mulatu and the rest of the African luminaries.
Review: Excursions in Gwoka vol. 2 is another adventurous outing for the Beauty & the Beat label that takes them ever deeper into the gwoka scene of Guadeloupe. it is the celebrated carnival outfit Akiyo who are in focus here with two tracks taken from second and supremely hard-to-find long player, Mouvman, in 1993. 'Deboule' is a real heater with bustling drum funk and chatting tribal vocals all run through with synth wizardry from Marie-Galante Jacques-Marie Basses. 'Blo' is just as steamy and intern with percussion, whistles and big beats all making quite the impact. Breakplus adds a London twist to 'Deboule' while CW adds a cosmic air to 'Blo.'
Review: AkizzBeatzz and Lego Edit join forces to mutually reinforce what they both do best: making disco edits and reworks of classic funk, soul and Afrobeat, and occassionally offering up the odd original track. The 12" 'African Groove' is a downtempo and weighty meditation on what it means to hail from the continent, with Akizz' A-side 'I'm An African' playfully laying down a diasporic big beat excursion, replete with regional instrumentation and defiant political vocal samples. Lego Edit's 'Sahara Adventures', meanwhile, works a chugging beat around a central algaita line.
Review: Back in 2017, Four Flies Records unearthed and released a previously unheard "Afro-cosmic funk" EP from Italian soundtrack and library music legend Alessandro Alessandroni. Three years on, they've decided to give the 1978 recording the remix treatment. Bolissa and guests Calibra 35 kick things off with a densely percussive, out-of-this-world take on "Afro-Voodoo", before Pad re-imagines "Afro Darkness" as a chugging chunk of beatdown-disco laden with colossal chords, arpeggio bass and intergalactic electronics. Over on side B the "Jolly Mare Lifting" version of "Afro Discoteca" is a veritable leftfield disco stomper notable for its low-slung bass and spacey Moog lines, while Luca's "Quirky Version" of "Afro Darkness" is the kind of hallucinogenic, Marimba-tinged number that you can imagine Daniele Baldelli playing at the Cosmic Club circa 1981.
Review: Original Gravity's very own identity-invention Nestor Alvarez returns with yet another two new and hot Latin funk productions. 'Plata O Plomo' takes its namesake from an old Spanish adage, literally translating to English to mean "silver or lead", implying that the recipient of the phrase must either accept a bribe or lose their life. In keeping with this heavy-handed theme, the track is punchy and surface-tense as a bullet yet to exit the barrel. Meanwhile, 'Reality For Nuttin' gets at an equally nihilistic and existential theme, all while finding joy in the conundrum of life with huge rhythm guitars and pop-out pianos and brasses.
Review: Nestor Alvarez's Midnight in Havana on Original Gravity delivers an electrifying Afro-Cuban instrumental jam that transports listeners to the vibrant streets of Havana. With a mesmerising flute lead and dynamic jam sessions, the track exudes a captivating energy that feels like a theme song for the city's bustling nightlife. The infusion of Cuban soul adds depth and authenticity to the music, immersing listeners in its rich cultural heritage. On the B-side, Alvarez offers a creative cover version of the Happy Mondays' 'Kinky Afro,' reimagined with a Cuban twist. The fusion of Afro-Cuban rhythms and the iconic melody of the original song results in a fresh and exciting interpretation that showcases Alvarez's versatility as a musician. Fans of Latin and Cuban dance music are sure to eat this up.
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.
Review: Mr Bongo kickstarts a new Afro 45s series with serious intention; all-girl troupe from Guinea Amazones De Guinee take the lead with a live recording from Paris, 1983. Taken from their Au Coeur De Paris album, it's the perfect example of a live recording with the balance of musicianship and crowd participation precision tuned. Flip for the previously rare 1980 recording by Ivory Coast's Moussa Doumbia whose smoky vocals and JB-level shrieks hit hard over a clam-tight Afrofunk rhythm. What a way to start a new series.
Review: Destination '77: Nigerian troupe The Apostles lay down their third album Banko Woman. And, with it, this widescreen vibe excursion that's been a go-to for Afrobeat diggers since it was released on Love Day 40 years ago. "Banko Woman" is a firing, energetic funk jam layered with vibrant levels of instrumentation that gradually strip back at points to let you feel the raw tempo of the groove. "Faith Luck & Music" is at once both more bluesy, thanks to the sliding, melting guitars, and spiritual, thanks to the traditional rhythm and chords. A rare and long-awaited reissue.
Osmar Milito E Quarteto Forma - "America Latina" (2:46)
Review: A tale of two sides, Azimuth's classic "Manha" should be recognisable to many; taken from their self-titled LP in 1975, its golden harmonies and lavish, lolloping Bob James style jazz are as timeless as they were 40 years ago. Flip for "America Latina". Conjured by prolific collaborator Osmar Milito (whose discography features the likes of Sammy Davis Jr, Spanky Wilson and Liza Minelli), its striking, sing-along charms are no accident... It was actually created for 70s Brazilian soap opera Selva De Pedra.
Review: Indonesia-based Babon was founded in 2023 by longtime friends Wahyudi T. Raupp and Rayi Raditia and craft instrumentals addressing environmental issues. Their sound fuses Melbourne's vibrant music energy with dangdut rhythms, gamelan percussion, and melodic keroncong folk styles. Here they debut on Batov Records with the wonderful 'Tropical Desert Music' which blends Indonesian traditions with Afro-Latin funk, Morricone-inspired grooves, Bollywood breaks and blues. It's the sort of sound that is perfect for fans of Khruangbin or Sababa 5. The A-side 'Desert Rose' is a spaghetti blues anthem, while the flip 'TNT' tells a miner's tragic tale through cinematic, explosive instrumentation.
Review: The always excellently go slow and tropical sounds of Big Crown now look to Bacao Rhythm and Steel Band for covers of two classics. Up first is Grace Jones' nightclub classic "My Jamaican Guy" while on the flip is Erykah Badu's tribute to the legendary J Dilla, "The Healer". Both retain the essence of the original but come with loose hand claps, shimmering steel drums that bring coastal breezes, sand and sun into the equation and leave you laying horizontal. These are fine interpretations of top notch source material.
Review: Bjorn Wagner's Bacao Rhythm & Steel Band combo recently returned from a two-year hiatus with a killer new album, "The Serpent's Mouth". It's that set - a glorious fusion of funk, soul, disco, jazz and Trinidadian steel band music - from which these two top tracks are taken from. A-side "1 Thing" is particularly glorious. As one quick listen to the clips will confirm, it's a riotous instrumental cover of the Amerie R&B classic of the same name, which replaces the singer's vocals with ear-catching steel drums. The same killer combination of flash-friend funk guitars, bustling drums and tropical steel drum sounds can also be heard on B-side "Hoopla Hoop", which also boasts some suitably fuzzy horns.
Review: Afro 45's / Mr Bongo show no signs of stopping their tireless run of form and, 7" after 7", they just keep on producing the goods. There's yet more '70s goodness with this new little scorcher: the A-side is 1973's "Tessassategn Eko" by Bahta Gebre Hiwot, a pensive Ethiopian pop hit for all sorts of music fans to enjoy, but "Ayalqem Tedqem" by Alemayehu Eshete on the B-side is where it's at... just listen to that bass and you'll instantly recognize this wonderful little cover.
Review: Cheb Bakr's latest release reflects the rich interplay of North African tradition and modernity. Rooted in rhythmic Arabic melodies, the tracks blend warm, soulful instrumentation with a contemporary edge. The production draws from Libyan pop's energetic pulse, merging traditional sounds with subtle nods to r&b and hip-hop. This is a striking example of how regional influences can be reinterpreted for new audiences while retaining their cultural depth and vibrancy.
Baile De Mascaras (Jamz Supernova & Sam Interface edit) (5:35)
Baile De Mascaras (Jamz Supernova & Sam Interface remix) (6:12)
Review: This release is a story of serendipitous stars aligning. Having released Bala Desejo's anthemic single, 'Baile De Mascaras', back in May 2023, Mr. Bongo could sense that they had a summer classic on their hands. The label always thought that it had the potential to find fans in a dance music audience; and in a further twist of fate, the sensational DJ, producer, and radio presenter Jamz Supernova recently graced their Great Escape in-store event with a phenomenal DJ set. After some feverish digging and emailing to her team, Bongo discovered that she was a fan of the original song and had made a personal edit to play in her DJ sets. Gilles had heard Jamz spinning the edit and asked for a copy, and by sheer coincidence and good fortune, it all fell into place. The track is a beast of an edit that gets heavier and deeper as it progresses.
Bar Konon Mousso (Musicien C'est Pas Quelqu'un) (Ben Gomori N'est Pas musicien edit) (8:00)
Massa Kamba (Ben Gomori's Massabbatical edit) (9:11)
Review: This officially licensed 12" sees prolific British disco producer Ben Gomori take a scalpel to two cuts from veteran African musician Amadou Balake's 2015 album, In Conclusion. On side A you'll find a fantastic, eight-minute extension of the breezy shuffler "Bar Konon Mousso (Musicien C'est Pas Quelqu'un)", where snaking saxophone solos and sun-kissed, juju style guitars rise above a hot-stepping, bass-heavy groove. Turn to the flipside for a thrillingly epic take on "Massa Kamba", a deeper and slightly more musically intricate cut blessed with a blissful; Pat Metheny style jazz guitar breakdown, memorable chorus vocals and evocative horn lines.
Review: In 2011, Banda Achilifunk & OJO served up Gitano Real, one of the year's most essential albums. It was caned far and wide by funk lovers, in particular Craig Charles on his 6 Music show. Now, two cover versions taken from the essential album have been pressed to limited edition translucent yellow vinyl. First up, 'I Believe in Miracles' is an overwhelming take on the Jackson Sisters classic with plenty of happy Latin vibes and rumba funk rhythms. Flip it over for a more abstract version of McFadden and Whitehead's seminal 'Ain't No Stoping Us Now' which is a soulful disco number packed with sunshine.
Review: For the latest release on their on-point Brasil 45s sub-label, Mr Bongo takes a trip back to 1977, and the early days of legendary fusion outfit Banda Black Rio. Both the cuts here are taken from the band's brilliant debut album, Maria Fumaca, and see them fusing Brasilian samba and jazz sounds with the righteous, dancefloor-friendly grooves of funk and disco. "Maria Fumaca" itself is a deliciously sunny and sweaty affair, with punchy horns, eyes-closed guitar solos and jazz-funk electic piano lines rising above a carnival-ready samba-funk groove. The U.S funk influence comes to the fore more on flipside "Mr Funky Samba", which sounds like Azymuth jamming with members of the T.K Disco, Philadelphia International and Salsoul house bands. Yep, it's that good.
Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.
Review: An intriguing song is 'Aftershower Funk', the Latin American musician Joe Bataan's curt salsa single from 1974. Fresh, cologned, groomed, and with towel firmly wrapped round hair, Bataan's largely instrumental track is about as lightfooted as the sprightly young man he was, then at 34 years old. With heavy tin drum and cowbell clangings peppered throughout, a toe-tapping mood is sure to beset the listener. B-sider 'Fin' continues the mood, uniting percussion with piano, brass, whistle and rhythm guitar; a much fuller exercise in triumphant finality.
Review: This 2024 edition marks the return of Joe Bataan, via the same track that made his name in 2004. Vampi Soul first welcomed the Latin Soul king to the label two decades back, facilitating the release of his 2005 album Call My Name. The pre-release singles for the album were 'Chick-A-Boom' and 'Cycles Of You', packed onto a single 7"; these quickly became DJs' favourites and have thus since remained long out of print. As it was twenty years ago, 'Chick-A-Boom' is a simultaneously upbeat but ghostly track, with Bataan's vocals quadrupling up in a wall of sound while providing the vibe equivalent of a Jackie Chan flick. 'Call My Name', meanwhile, goes heavy on the clavichord and synth whistle, as Bataan revels in a funereal theme, dancing, thundersticking into the great beyond.
Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.
Review: The Bees were a product of the late 80s South African music scene. They were an unknown band even in their homeland but its hard to see why given their happy kwaito sound. Now, 30 years later, international diggers are bringing the outfit the acclaim they deserve after the band was rather forgotten because they never had a big crossover hit in their early years. Here two of their best tracks are served up by Dutch label La Casa Tropical. They're lit up with pixelated synths and retro-future vibes that European party people love to get down to. "Mamezala" is the more considered of the two, while "Never Give Up" is a strident and rousing proto-house anthem with plenty of boogie in the bass.
Curumin Chama Cunha Ta Que Eu Vou Contar (Todo Dia Era Dia De Indio) (3:43)
Rio Babilonia (4:50)
Review: Number 80 in Mr. Bongo's Brazil.45 series shines a spotlight on two iconic 80s tracks by Brazilian legend Jorge Ben. The A-side features the infectious groove of 'Curumin Chama Cunhata Que Eu Vou Contar (Todo Dia Era Dia De indio)' from the 1981 Dadiva album and paying tribute to Brazil's Indigenous tribes. On the flip, 'Rio Babilonia' delivers a classic Brazilian-boogie vibe that celebrates life in Rio, its beaches and landmarks. Originally released in 1983, the track showcases arrangements by the legendary Lincoln Olivetti.
Review: This limited release offers a rare glimpse into the genius of Jorge Ben, the father of samba rock, with two coveted tracks that any collector would jump at. One track is previously unreleased, while the other is a live performance from 1972 that was originally only available in Japan, making it a cult favourite among a select group of collectors. Featuring the legendary Trio Mocoto as his backing band, Ben's incisive guitar and signature sound shine in two extraordinary live cuts that capture the raw energy and brilliance of samba rock at its peak. Pressed on limited white vinyl, this 7" release is a treasure for anyone seeking rare gems from Brazilian music's golden age.
Review: There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.
Review: Betty & The Code Red is a life and creative partnership between Benin-born Tunde Obazee and his girlfriend Betty. The pair grew up in Nigeria and would play all manner of instruments to entertain people at the local school before staying together as they went on to live in Italy and the US. Obazee performed at colleges and universities despite no formal training and eventually recorded a selection of tunes together including a small album on relatively new bits of gear like the Yamaha RX7. Especial has collated some of their best work across two new EPs, this being one of them.
B-STOCK: No outer sleeve; otherwise in good condition
Wishful Desire (5:26)
Na Wahala (6:36)
Na My Life Be Dis (10:21)
Memories (6:03)
Review: ***B-STOCK: No outer sleeve; otherwise in good condition***
There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.
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