Review: Camarao Orkestra may be based in Paris, but their hearts are always in Sao Paolo and Rio de Janeiro. The incendiary live band has a new album on the way (their last dropped three years ago) so to get us in the mood Favorite Recordings has served up this suitably steamy workout. In its' A-side original mix form, "Nacao Africa" is a mid-tempo chunk of low-slung Latin boogie rich in drunken trumpet lines, sweet female vocals, Marcos Valle guitar riffs and weighty dub disco bass. Patchworks man Bruno Hovart handles remix duties, first offering up a sweet two-step soul/laidback boogie revision before slamming down a hypnotic, stripped-back and delay-laden "Late Night Dub".
Review: Brazil 45s hit the quarter century in their run and show no sign of stopping. It's an all-girl affair on this one as two hugely popular and prolific singers take a spin under Mr Bongo's spotlight. Elizabeth (often known as Elizete) lays down a steamy samba flavour that gets raunchier as the track develops. Elza, meanwhile, gets busy on a Bossa tip as a carnival of percussion and horns go toe-to-toe with her sharp, sexy staccato vocals. Powerful.
Review: The well regarded Whities label invites you deep into a darkened world of coldwave soundscapes on its next 12". There are Arabic overtones to Carl Gari's music here, both explicitly in the meditative vocals from Abdullah Miniawy, but also in the exotic synth drones that hang heavy in the air. It makes for a spiritual eight track affair that has a beautifully bleak and spiritual feeling: tracks are largely empty, absorbing affairs with only suggested rhythms moving you forward. Part organic and human, part mechanical and synthetic, Whities 023 is a bewitching and otherworldly listen of the highest order.
Review: Moving further into the '70s Brazilian scene, Mr Bongo delivers two supreme pop scorchers by Celia, the sweet-faced artiste who released so much great music back in the day. Her "Na Boca Do Sol" is a gentle soul journey that brings out the best in her own voice, and in the Brazilian style of that era. "A Hora E Essa" is more of a dancefloor tune, more uptempo and less reliant on the sensuality and sexiness of the A-side. Excellent, as per usual.
Review: Two more rare grooves purloined from Cultures Of Soul's Brasileiro Treasure Box Of Funk & Soul and delivered on a sweet 45: Celia's "A Hora E Essa" is a steamy Latin funk workout from 72; all horns, cuicas and soft, honeyed vocals. Franco's "Ei, Voce, Psiu!" takes a more US funk idea with Franco's spoken vocals giving off a strong air of bandleader as the band lock down a tight groove beneath. Watch out for samba flip towards the end. Blink and you'll miss it.
Review: Supreme musica popular Brasileira and bossa-nova vibes here on two tracks from Mr Bongo's leading Brazilian 45's lady, Claudia. "Deixa o Morro Cantar" features on Claudia's very first 7", released in 1965 by RGE Brazil. Her version of "Mas Que Nada" is said to be more of a jazzy/folk-funk take on the Ben classic. A relatively recent discovery made during the label's last trip to Brazil, Maria das Gracas Rallo was born in 1946 in Rio de Janeiro. She has become the most awarded singer outside of her home country and was most popular internationally in 1982 with the song "Don't Cry for Me Argentina" from the musical Evita. Moreover, she has recorded over twenty albums and has amassed huge record sales throughout her successful career.
Review: Jane, Roberto, and Sidey Morais - Brazil's Os Tres Morais - are placed alongside the wonderful Claudia for the latest all Brazilian showdown courtesy of the always point-side Brazil45 series from the Mr. Bongo label. The latter gives us the mythical "Garra", a tune that sits very nicely next to the likes of Marcos Valle and co, and the singing trio get a reissue of 2006's "Freio Aerodinamico", a gorgeous blend of samba, disco, and something perfectly exotic and vintage. Heart-warmers.
Review: Whereas the first volume in Joaquin "Joe" Claussell's "Cosmicdelic Africa" series focused on sneaky re-edits by the Sacred Rhythm founder, this second instalment focuses on original productions "for the dancefloor and the head". In other words, Clausell has offered up DJ-friendly extended versions of some of his most cosmic, Afro-centric creations. There's much to enjoy throughout, from the psychedelic rock guitar solos, restless bass, layered Latin house rhythms and rainforest sounds of Cosmic Ritual's "Abraxas (Demo Sketch Mix)", to the piano sporting cosmic house positivity of Mampo's "Emarofo Tech (Extended Sketch Mix)", via the spaced-out electronics, hallucinatory synth lines and sparse drums of intoxicating downtempo workout "Mundo De Agua (Psyxchdelic Transfusion Mix)".
Review: Not to be confused with the sports commentator, David Coleman was behind the scorching boardwalk vocals that graced Hector Rivera's debut 1966 album At The Party. The right levels of swoon and croons over vital Latin orchestration - led by the renowned pianist and regular Tito Puenta collaborator - David exudes some serious emotion. "Drown My Heart" lilts with a soft samba while Coleman scatters powerful heartbreak tales, "My Foolish Heart" takes a much more stripped back rhythmic arrangement with yearning, soaring strings that break out into the full orchestra on the chorus. Both cult attractions on the northern soul and popcorn scenes, it's another hearty reissue from them up north.
Review: Colonel Faat aka Rocky Dawuni is one of Ghana's few reggae artists to have made a name for themselves since the 90s. He is particularly hard to come by these days, but Austria's Agogo imprint clearly know how to get their links form around the globe, and this new tune is a peaceful ballad for purely positive vibes. "Balantije" is one of those tunes you can slap on in just about any scenario, spreading love and good will wherever and whenever, guided by a subtle ska off-beat; Mankoora's remix takes it to more danceable territories, adding in a layer of percussion and just the right amount of funk. Yes.
Review: Last spotted on wax together 16 years ago on New Standards, Italian kindred spirits and diggers Conte and Petrella collide once again. A culmination of many records savoured and ideas shared between the two friends, this 12" is long overdue and fizzes with fusion. "African Spirit" is focused on a rolling tribal MAW style house rhythm with Gianluca adding his signature trombone with staccato finesse while "New World Shuffle" is a much dreamier, smoky affair that sounds perfect any time between sunset and sunrise. Spiritual.
Review: Nicola Conte and Gianluca Petrella follow up last year's beautiful "African Spirits / New World Shuffle" with two more lavish instrumentals. "Sun Song" lives up to its name with wave after wave of heated musicianship from the belting harmonies to the light-touch keys. "Nigeria" taps deep into the source too as it drives us through the heart of Lagos with full horns and sweeping keys. Spiritual, sun-splashed and vital.
Review: First released last summer, Cotonete and Roberto Di Melo's "AEIOU" is a deliciously warm and woozy chunk of jazz-funk/revivalist Latin disco fusion that sounds like it was recorded in 1978 rather than 2018. This time round, Dimitri From Paris is at the controls, offering up two arguably superior "Special Disco Mixes" that not only boasts more audio clarity around key instrumental parts (particularly the horns, walking bassline and previously buried Clavinet lines) but also add some fizzing new electrofunk synths. As a result, the A-side vocal version sounds like a disco scene anthem in waiting, while the high-octane flipside dub is percussive, sweaty and full throttle in the best possible way.
Review: Together, Cyril Yeterian and Cyril Bondi is Cyril Cyril, a Geneva-based duo with their own unique brand of mind-altering global fusion. That much is clear from this debut 7", which delivers thrills and spills in spades. Check first "Colosse De Rhodes", where spoken and improvised vocals rise above a psychedelic backing track rich in meandering Bontempi organ solos, restless banjo chords, and incessant, off-kilter African percussion. The flipside cut, "Sayyara", is equally inspired, with the two Cyrils brilliantly layering up swamp funk guitar solos, held-note organ chords, gentle Turkish rhythms and woozy atmospherics.
Review: The love of all things Soviet and disco has been established by French/German duo Fulgeance and Scientist for several years now, having reached a peak last year with their album The Soviet Tape on First Word. Now they return with their own edit series on brand new label Excursions. With eyes squared fully on the floor, each obscurity is given some serious groove muscle for the floor... Charaunitsy's soulful croons and yearning horns are given an additional kick/snare swing, Latvia's Mirdza gets a deliciously camp turbo charge while Ukraine's Tatyana Kochergina gets a full-on Philly treatment with lavish strings and a bassline that won't say nyet.
Review: DJ Gandharva and Von Yodi's long serving Budabeats label is always a trusted source for razor sharp disco digs and more esoteric sounds from the four corners of the earth, and they continue their recent leap to vinyl with this stunning selection of jams from the southern hemisphere. Letta Mbulu's Soweto funk gets a little edit treatment from Petko Turner, while BeTe takes on Camila Costa's gorgeous Ponto Das Caboclas for a perfect sundown reflection led by tender acoustic strumming. Chillum Trio work up a sweat over Ebo Taylor's "Odofo Nyi Akyiri Biara", creating a certifiable party burner in the process, and then Birdhouse completes the package with the irrepressibly funky "Berimbao".
Tecumsay Roberts - "It Makes Me Dance & Sing" (5:44)
Commy Bassey - "We Want Togetherness" (4:37)
Review: Triassic Tusk's "Screamers, Bangers & Cosmic Synths" series of crate digging comps has seen the Scottish crew showcase some seriously hot, little-known music. Mukatsuku have joined forces with the imprint to give a 12" release to two potent Afro-disco smashers that recently featured on volume two of the ongoing compilation series ,now remastered and sounding better than ever. On side A you'll find Liberian artist Tecumsay Roberts' bouncy 1979 Afro-soul/Afro-boogie number "It Makes Me Dance & Sing", where spacey Moog solos rice above a funk-influenced dancefloor groove. On the flip, the fun continues via Commy Bassey's Clav-happy, Nigerian sounding Afro-boogie roller "We Want Togetherness", a positive plea for unity that's as relevant now as it was way back in 1980.Juno copies come in an exclusive branded card sleeve with an additional obi strip not available at other retailers .As played/charted by Red Greg,Joe Claussell,Marcel Vogel, Craig Charles,Faze Action,Kalita,Cedric Woo,JKriv,Prins Thomas,Floating Points and Dom Servini so far.
Review: Beating Heart has shared the late Hugh Tracey's archive at the International Library of African Music (ILAM) with contemporary producers and keeping in line with Tracey's vision, all proceeds will be used to assist people in the areas where the music was originally recorded. This time, Warp Records and all round UK electronica legend Luke Vibert gives us the delightful oddball groove that is "Africable", Italian DJ Clap! Clap! Gives us the African polyrhythms via Detroit high-tech soul on "Kulira" while Los Angeles duo With You give us the sublime "No Resistance". Each 1500 albums sold will feed a school of 500 forever! Support a great cause and feed your ears with some wonderful music while you're at it.
Review: During the 1960s and '70s, there were few greater exponents of "Forro" - a North-Eastern Brazilian style with some similarities to traditional styles of Colombian dance music - than Camarao. The talented accordionist, composer and band-leader recorded a string of fine albums between 1964 and '74, and it's tracks from these that make up The Imaginary Soundtrack to a Brazilian Western Movie, Analog Africa's fine retrospective of the Camarao's work. Musically, it's a blast - a real melting pot of jaunty, grab-a-partner styles and sounds, rich in memorable horn lines, dazzling solos and fast-past accordion motifs - while the accompanying 12-page, LP-sized booklet tells the Accordionist's story in impressive detail.
Review: During the 1960s and '70s, there were few greater exponents of "Forro" - a North-Eastern Brazilian style with some similarities to traditional styles of Colombian dance music - than Camarao. The talented accordionist, composer and band-leader recorded a string of fine albums between 1964 and '74, and it's tracks from these that make up The Imaginary Soundtrack to a Brazilian Western Movie, Analog Africa's fine retrospective of the Camarao's work. Musically, it's a blast - a real melting pot of jaunty, grab-a-partner styles and sounds, rich in memorable horn lines, dazzling solos and fast-past accordion motifs - while the accompanying 28-page booklet tells the accordionist's story in impressive detail.
Review: You might recognize Erasmo Carlos from the infamous Roberto E Erasmo Carlos outfit, the two-piece band that he was part of with his long-time collaborator, Roberto Carlos. Known as one of Rio De Janeiro's musical legends, Erasmo has put out an innumerable amount of music throughout his career, the majority of which has come out for titanic labels such as Polydor. To that point, Erasmo's music is is also part of the much coveted 'latin jazz' sound from collectors like Joe Davis or Gilles Peterson, who have contributed to the diffusion of the genre's popularity in the UK. Carlos, Erasmo is his 1971 LP, and it's every bit as fresh and zesty as we'd left it. If you're into the sounds of other aritsts like Marcos Valle, then this will undoubtedly please your every sense, thanks to a sweet combination of placid funk, psyched-out pop, and gentle swarms of jazzy instrumentation. Excellent.