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Originally released as a 12” single in 1982, ‘Every Brother Ain’t A Brother’ was the final record from Brooklyn multi-instrumentalist and producer Freddie Thompson’s Panaché band. Built around a fully cleared sampled bassline from ‘The Message’ by Grandmaster Flash & The Furious Five, ‘Every Brother Ain’t A Brother’ plays out like a summertime stroll through New York in the early 80s. The streets are full of excitement, but as the lyrics, written by vocalist Denise Williams (not to be confused with Deniece Williams of ‘Let’s Hear It For The Boy’ fame) make it clear, they’re dangerous as well.

Thirty-nine years later, Isle of Jura is proud to present the first official 12” reissue of ‘Every Brother Ain’t A Brother’. A cult classic from the disco-rap era, the reissue includes the original vocal and instrumental versions of ‘Every Brother Ain’t A Brother’ plus a Jura Soundsystem special version with additional live percussion.

Originally made up of Freddie, his wife, the singer Debra Thompson and keyboardist Douglas Glover, Panaché formed at the behest of a local disco DJ, Carl Nelson. In the wake of Chic’s early singles, Carl felt a French name would give Freddie a competitive edge. “He explained it to us that it was a French word for style and elegance. Panaché, a step above chic,” Freddie reflects.

Business minded, Freddie formed his own label, Roché Records and joined SIRMA - The Small Independent Music Manufacturers Association. “It was very hard for the independent manufacturers to get airplay and distribution at the time, so we all came together,” he remembers. Through SIRMA, Freddie met Joe and Sylvia Robinson from Sugar Hill Records, who several years later, let him sample ‘The Message’ for ‘Every Brother Ain’t A Brother’.

In 1979, Panaché scored some radioplay when they covered ‘Not On The Outside’ by ‘60s D.C R&B group The Moments. Emboldened, they brought onboard backing vocalists and recorded their only album. This Is Panache saw the band blurring the boundaries between soul, jazz-funk and disco and become a sought after collectible.

By 1982, Debra had stepped back, and one of Panaché’s backing singers was center stage, Denise Williams. “Denise was good with writing poetry,” says Freddie. "She had one called ‘Every Brother Ain’t A Brother’. It was about the unrest that was going on in the city at the time. I thought I could do something with that.”

After releasing ‘Every Brother Ain’t A Brother’ in 1982, Panaché quietly moved from center stage to behind the scenes. Over the last thirty-nine years, Freddie has continued to work in the music industry as a session musician and producer. “As soon as we stopped trying to become stars as Panaché, we became busy working in the industry,” Freddie laughs.

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Columbia, South Carolina’s Chaz Bundick (aka Toro y Moi) rose to the fore of the music blogosphere in summer 2009 when he and a few peers made their hazy bedroom recordings the most talked-about sound of the season. Critics across the board took notice of the range of his compositions, and his debut album, Causers of This, showcased his ability to make elements of Brian Wilson’s pop, 80s R&B, and Stone’s Throw hip hop coalesce into a distinct sound that’s as suitable for a dancefloor as it is a pair of headphones.

When Chaz first signed to Carpark Records, the plan was to release two records in 2010 — one electronic and one with live instrumentation — and although it didn’t quite fit into the same calendar year as his debut, Underneath the Pine is that latter offering. This release sees him following the same creative urges to completely different ends. Having spent the year listening to film composers like Ennio Morricone and François de Roubaix, Bundick returned to his home in Columbia, the birthplace of many Toro tracks of yore, to bring his new ideas to fruition. The result of these sessions is an album evocative of R. Stevie Moore’s homespun ruminations, David Axelrod’s sonic scope, Steve Reich-ian piano phrasing, and the pervasive funk of his first record. Underneath the Pine announces a new phase for an artist whose talent defies classification.

Mother Freedom Band’s Cutting The Chord is a funky modern soul classic. It’s both a criminally under-appreciated album and a hard-to-find record so we’re delighted to be giving this sweet disco-funk groover the reissue treatment it deserves.

Produced by the great Al Goodman from The Moments and originally released in 1977, Cutting The Chord seems to be one of the lesser known releases on the curious, and often great “All Platinum” label. Other than a 7" of a couple of these tracks, the only thing that the band seem to have released is this album, and what an album it is. Unbeatable soul-funk of the highest quality.

The album bursts open with “Love Will Stay In Your Corner”. It’s a soulful dancer that reliably slays any funk set you care to drop it in. It’s followed by the lithe disco funk “Flick Of The Wrist” that’s all bubbling baselines and elegant horns. The groovy, horn-enhanced sweet soul of “Gotta Get It Back” is equal parts heartbreaker/hip-shaker and the acidic organs on “Mr Brother” are an experiment in synth soul.

Perhaps the group’s best known track, “Beautiful Summer’s Day” might well be worth the price of an original copy alone. It’s pure piano-driven paradise soul. A tropical birdsong intro sets the scene of a warm, perfect sunshine day and the lead vocal soars over the lush, clean production. The tempo oscillates between contemplative and stomping. Essential.

The brilliantly-named “(Assistants Rag) When You’re Hot, You’re Hot” opens side two. Another huge highlight, its title refrain repeated over this laid-back, power-funk workout. It still sounds incredibly modern, like something off the last D’Angelo record, and if Public Enemy and Diamond D both sampled it you know it knocks hard.

The horn-heavy, clav-stabbing-stomper “We Like To Boogie” keeps things fast and funky before the airy, heavenly harmony soul of “Come On Home” mellows us all out. Things pick up again with “Touch Me”, and you might recognise its addictive elements sampled in Jay-Z’s Kanye West-produced “A Star Was Born”. The magical, reggae-tinged, gospel-influenced “Sweet Love” closes out this assured, classy set.

We dare to say that Cutting The Chord is a rare example of a funk-soul LP which is killer from start-to-finish. Sure, there are the stand-out bombs, but the whole thing is a complete and varied album of feel-good vibes held together by its fluid horns, tight, tight rhythm section and beautiful vocals.

Mastered for vinyl from the original analogue tapes by Simon Francis, cut by Pete Norman and artwork restored at Be With HQ, this new edition should hopefully stop this album slipping any further into obscurity. It’s just too good to be forgotten.

The demo take of “That’s Why I Love You” was recorded within the Detroit - Memphis workflow of award winning producer Don Davis alongside several other cuts which never saw the light of the day. In pursue of our label main commitment, we have tried hard in the completion of the vocal take to preserve the original southern feel of the demo and at the same time we are offering it to you on the flip side exactly as it came out of the magnetic tape. Hope you like the whole Detroit project as it unfolds. Many stoiries about the people behind the shades of our beautiful music in our book FUNK INVESTIGATORS

It is with great joy that we present the Mr Bongo edition of Marcos Valle's 1983 self-titled masterpiece. A pure vintage that features the ultimate Brazilian-boogie cult-classic ‘Estrelar’ and iconic 80s cover art that sees a gloriously sun-drenched Marcos dressed in a pink v-neck t-shirt surrounded by a generous selection of deadly-looking neon cocktails.

The album was produced by the legendary Lincoln Olivetti and Marcos' brother Paulo Sérgio Valle. It showcases a real who's who of Brazilian music at the time, with stellar performances from vocalists and musicians such as Rosana, Serginho Do Trombone, Robson Jorge and Oberdan Magalhães to name but a few. This was Marcos’ second album, after having moved back to Brazil from his time living in Los Angeles, and that US influence is evident through its prominent boogie, soul and funk sounds. It also features collaborations with the US singer-songwriter, composer, pianist, keyboardist, and record producer, Leon Ware, who co-penned three tracks including 'Estrelar'. To complete the album there are tracks such as 'Fogo Do Sol', which is pure AOR / Balaeric vibes, and tracks that are more MPB and pop-inspired, making a well-balanced track list for both home-listening pleasure and dancefloor business.

What could we do to give one of Marcos' most celebrated albums the treatment it deserved and produce the most definitive re-issue possible? The answer was to enlist the services of Miles Showell, Abbey Road Studios Mastering and lacquer-cutting engineer and all-around audio-magician, to cut a special half-speed master edition. Miles had previously worked his half-speed magic on our Arthur Verocai album re-issue, and once again we are totally blown away by the richness which Miles has brought out in his mastering technique. He has enhanced the listening experience and taken this wonderful album to another level.

To celebrate the release we have pressed up several vinyl versions; both standard master, and Miles' half-speed mastering editions on Black vinyl, alongside special limited edition Rose and Mint-Green coloured vinyl variants that were inspired by the audacious-looking cocktails on the cover - sheer 80s excess!

Dynamite Cuts are proud to have the opportunity of presenting this amazing Dj dance floor diamond, by the legendary funk n soul band S.O.U.L. “Burning Spear” is an upbeat Drum and Bass groove with a super funky flute and all time classic sample. Sampled by hip greats like Pete rock & C.L Smooth & Organized Konfusion to name a few, a pure rare-groove club anthem, I remember those nights, funky-ing down to this awesome rhythm.
Dynamite Cuts’ issue of this monster, is a double-sider of the ultimate versions of “Burning Spear”. The A side cut is taken from the superb “What it is?” LP. On the B-side is the rare and more collectable version; slightly different, more percussive recording which was released on 7” in 1971 on the Musicor record label, but sadly on the hissing, breakable styrene, and not on the lovely VINYL. You’d be lucky to find a copy that doesn’t hiss, pop and crackle. But with thanks to; Mr Simon Watson, who had a mint stock copy almost un-played; and to the A-Lister Dynamite Cuts’ mastering magicians - Andy Pearce (de-noises) and Stuart Hawkes (remastering to get that full-on funk effect). Now what are the chances of that!!!
The name S.O.U.L means Sounds Of Unity and Love, consists of four men from Cleveland, Ohio USA, the band was formed around 1970.
Lee Lovett, a Libra - Lead singer, Bass and Baritone;
Gus Hawkins, a Scorpio - Vocals, Saxophone, Flute
Paul Stubblefield, an Aquarius - Vocals, Drums
Walter Winston, a Pisces - Guitar.

Wah Wah 45s make a welcome return to the world of re-issues. Having started out over two decades ago releasing dance floor funk from Benny Poole, Cheyenne Fowler and The Googie Rene Combo, and later re-releasing obscure Kompa-funk from Haitian pianist Henri Pierre Noel, they now turn their attention to an overlooked early 90s acoustic soul gem.

About thirty years ago, music teacher and budding producer Alex Boyesen found himself working as part of the Haringey Music Workshop - a community programme and outreach project funded by the local council in Haringey, North London (coincidentally the area in which the Wah Wah head office is now based!).

"Anyone could come and get lessons for free - ranging from piano, sax, guitar, drums, bass, singing and workshops including choral, jazz band and more." Alex Boyesen

It was during that time that Alex came across a young Sam Edwards.

"One day I went into one of the rehearsal rooms and there, by herself, was this girl playing a piano and singing. It was the most incredible voice I had ever heard."

Before long, the pair were playing all over London as a duo with Alex on guitar and Sam on vocals.

"Sam had never had professional training, she was simply an utter natural."

The Haringey Music workshop was connected with other projects in the borough, in particular a community project called the Selby Centre. Here they ran training programs for young people and one of these was a music business course. The idea was that they found an artist, recorded them and then promoted them. One way or the other they ended up picking Alex and Sam to be on their roster.

"My good friend Nixon Rosembert was brought in to oversee the recordings and they hired the Islington Music Workshop to do the recording. We got musicians from the Haringey Music Workshop to play on the sessions and spent a day recording two songs -American CarsandLife. The training workshop had created a label called Progression Music and out the record went."

Three decades later and out of the blue Alex started to get interest again in the record he'd almost forgotten about all those years ago. It had become something of a sought after gem on Discogs, and there seemed to be an interest in that 'acoustic soul' sound once again.

"I got three people asking if they could re-release it and finally here we are with Wah Wah 45s doing the business after all these years."

It was Hospital Records and Wah Wah 45s founder, Chris Goss, who first brought the idea of releasing this record to the table.

"This is a really special record for me, picked up 30 years ago, from a young James Lavelle at Honest Jon's in Ladbroke Grove. Sam Edwards would go on to perform and write songs with North London's Izit, the acid jazz collective fronted by Tony Colman - with whom I have built a music company, these past 25 years. Alex Boyeson worked with Tony at the Haringey Arts Project, who produced a one-off vinyl release of Alex's two compositions back in 1991. Thanks to Alex and Tony, we have been able to clean-up the original audio, uncover photos and lyric sheets to present, with real love and affection, these two lost gems from a bygone era." Chris Goss, Feb 2021.

The project was then expanded by Dom Servini, who got heavy disco legend Ashley Beedle and co-label owner and erstwhile producer Adam Scrimshire in to take on remix duties.

"When approached by Dom Servini to reworkAmerican CarsI had no idea about the history of the original song. After a good listen myself and studio partner Darren Morris set to work and all I can say that it was a lovely experience keeping the vibe of the original but giving it a spaced out feel in true Afrikanz On Marz fashion." Ashley Beedle, Feb 2021.

"Remixing without multi-tracks always brings a bunch of challenges, getting the balance between the bass and drums in the original and what you want to do with your own version. The song really dictates certain things to you.

But it was such a pleasure to explore that with this beautiful song and vocal performance. So many ways to approach it. I just wanted to draw out more of the melancholy in the original and make it an absorbing experience." Adam Scrimshire, Feb 2021.

Perhaps the last word should be given to Alex himself, who's very much enjoying the new lease of life that his music with Sam is getting.

"As I write this we are trying to locate her, she's somewhere singing something, that's all she ever did. Thanks for being part of my life Sam and I am so glad that this small bit of that time is being remembered." Alex Boyesen, Feb 2021.

Recorded sporadically over five years from 2015 to 2019, Sixty Summers was shaped profoundly by Stone’s key collaborators on the album: Thomas Bartlett, aka Doveman, and Annie Clark, the Grammy-winning singer, songwriter and producer known as St. Vincent. Bartlett and Clark were the symbiotic pair Stone needed to realise her first pop vision. A wizard of production and songwriting, Bartlett helped coax Sixty Summers’ independent, elemental spirit from Stone, writing and recording over 50 demos with her at his studio in New York. Itself a thoroughfare for indie rock luminaries, some of whom, such as The National’s Matt Berninger and Bryce Dessner, ended up on the album, Bartlett’s studio was perfect fertile ground for Stone’s growth.
Clark was the incisive yang to Bartlett’s yin, a sharp musical polymath who, when presented with the work Bartlett and Stone had made together, quickly helped fashion Sixty Summers into the album it was destined to be. Contributing vocals and guitar in addition to production, Clark’s revered acidic touch ignited the sparks of Stone’s creations.
The scope of Sixty Summers is dizzyingly vast; miles away from Stone’s past work, it is a world unto itself, a surreal and breathtaking new landscape. Where Stone’s previous solo records, 2010’s The Memory Machine and 2014’s By The Horns, found her grappling with the natural darkness that comes with loving too much, Sixty Summers finds Stone claiming every part of herself: fire, fury, love, lust, longing. Touching on reference points as disparate as the avant-funk of Talking Heads (on ‘Break’) the romantic 2am musings of Serge Gainsbourg (‘Free’, ‘Dance’) and the sleek, ecstatic synth work of Lorde’s Melodrama (‘Substance’), Sixty Summers is an album you can dance to and one you can lose yourself in completely.

Released in 1983, Sandra Sá's 'Vale Tudo' is one of the essential Brazilian-boogie-funk records of the era. Pure class throughout, with a dream team of incredible musicians and producers behind the scenes. For some, this album is regarded as Sandra's magnum opus.

It is drenched in the essence of the Brazilian 80s boogie and funk sound. A driving force behind this is the writing, arrangement, and musicianship of Lincoln Olivetti, who was instrumental in forging this unique sound within Brazilian production at the time. It is heightened even further by the astonishing team that feature on the record. Brazilian icon and heavyweight Tim Maia, Robson Jorge, Serginho Trombone, Oberdan Magalhães, Claudio Stevenson and Jamil Joanes (of Banda Black Rio fame), Junior Mendes, the list goes on. This crew of musicians synergised perfectly with Sandra's vocal style, all complementing each other to create a classic.

One of our favourites from the album is the opening track 'Trem Da Central', an infectious groove that when paired with Sandra's cool and relaxed swaggering vocal resulted in an essential dancefloor jam! Equally delightful and dancefloor summoners are the catchy boogie funk of ‘Candura’, and the Earth, Wind & Fire sounding 'Pela Cidade'. Tim Maia features on the fast-paced duet 'Vale Tudo', which was written especially for Sandra to sing with Tim, who at the time was one of the biggest stars in Brazilian music. These boogie and funk compositions are balanced by fine slow jams giving the album a satisfyingly well-rounded feel.

Sandra had been working in music since the 70s and continues to do so to this day, but this period of the early 80s was a rich and prolific time for her. If you are a fan of Robson Jorge & Lincoln Olivetti's self-titled album from 1982 or Marcos Valle's 1983 album featuring the song 'Estrelar', then this one is definitely for you. 'Vale Tudo' is a must-have record from a talented artist at the top of her game and Sandra makes it all sound so effortless.

"Where Do We Go From Here" is Dumpstaphunk's first album in seven years. It will be released on April 23, 2021 on The Funk Garage, an imprint of Mascot Label Group.
Over its past 17 years, Dumpstaphunk has earned its reputation as the most well-regarded next-generation New Orleans live powerhouse, the type of band whose live shows attract sit-ins from legends like Carlos Santana, Bob Weir and Trombone Shorty. Alongside Hall, Daniels, Alex Wasily, Ryan Nyther and drummer Devin Trusclair, cousins Ivan and Ian Neville have built upon their family’s iconic NOLA legacy as they’ve transformed Dumpstaphunk into the city’s pre-eminent 21st-century funk-fusion export.
The band’s mix of classic and modern influences can be heard throughout the party-friendly mix of R&B, funk, rock, swamp-pop and blues of "Where Do We Go From Here," from the slap-bass rave "Make It After All" to the band's contemporary renderings of NOLA R&B rarities (the 1975 Blackmail gem "Let’s Get At It") and early Seventies classics (Sly and the Family Stone's "In Time”).
‘Where Do We Go From Here’ is perhaps the best evidence yet of Dumpstaphunk’s ability to strengthen and transform their singular NOLA roots in combination with the deeper outside musical and philosophical influences on which the band is founded.

Favorite Recordings and Charles Maurice proudly present the 5th edition of the AOR Global Sounds compilations series: 8 rare and hidden tracks, produced between 1977 and 1984 in various parts of the world. Started in 2015, the AOR Global Sounds series was born from the will of Charles Maurice (aka Pascal Rioux) to share his longtime love for the AOR and WestCoast movement and highlight its influence for many artists in the late 70s and early 80s. In this 5th volume, he selected again highly forgotten productions, deeply infused with Disco and Soul flavors.

Half of the compilation’s tracklist is naturally coming from the US, homeland of this music style, while the other half is made of productions from all over the globe, from France or United Kingdom to Venezuela. And for most of these beautiful songs, it came from artists and bands rather unknown and often released as private press.

Often, these records will have a special story, sometimes they’re just part of the universal quest of finding true love. Nonetheless, they all carry a wide range of emotions magnified by the music.

For example, “Don’t Take It Away” by Westside is as a love song about a new relationship, recorded in Minnesota and mastered on Sunset Bld. (Hollywood) by Bernie Grundman, who worked on Thriller – funny thing, the original LP is a picture-disc, which was still quite rare back in the days because the singer saw one from Mickael Jackson when visiting the studio. “Til’ Mornin’ Comes”, the only release by The Ferry Brothers, is also a love song, recorded in NYC with notably Gwen Guthrie, Vivian Cherry & Patti Austin singing as backup vocalists. On “What Its Meant To Me”, Jonathon Hansen remembers with emotion the good times spent with the members of his band including the vocalist he was in love with. On “J’Irai Squatter Ton Cœur”, Didier Makaga better-known as a French Boogie & Pop singer, arranger & composer, sings a charming declaration of love on a heavy and groovy eighties production. “You Never Know” by Rhapsody, recorded in Connecticut, sounds more like an East coast fusion of Soul and Jazz-Funk à la James Mason. “What You Do To Me” by Sugar Cane was highlighted on a Pittsburgh Rock Radio compilation: listening to this smooth ballad with its amazing Moog synth break will lift your soul. “Kailua” by Venezuelan Jazz-Funk band Esperanto, is a song about Hawaii which evocates bucolic dreamy nights facing the ocean, a typical AOR vibe. Finally, “I Need You” from Mark Williamson is a blue-eyed soul UK groover ending on a four-on-the-floor climax!

And we could detail stories but our guessing is the best way to learn more about all these gems is to listen to the compilation, fully remastered from originals, and whether your preference is for vinyl or CD formats.

One Up, DJ & Beatmaker from Nantes, France, has a passionate love for Soul, Funk and Hip Hop, releases his first album Heritage, which represents a musical heritage from all the meetings and travelling experiences who built him artisticly.
This album results of the collaboration with Slapback group, with 10 banging tracks which feet perfectly for dancing background and also if you do stunts with your car !
One Up has performed all over the world, in the biggest breakdance battles, like Adikal Force Jam
in Singapour, Floor Wars in Danemark, Evolution in New York, Arka Battle in Mexique et in France
with the classic Hip Opsession from Nantes or Battle of The Year in Montpellier.

Denn leichtfertig würde die amerikanische Rocksängerin solche Superlative wohl kaum in den Mund nehmen. Suzis Begeisterung für ihr neuestes Werk hat viele Gründe, genau genommen 12. Denn exakt ein Dutzend Songs befinden sich auf The Devil In Me, auf dem vom Opener/Titelsong bis zum finalen ‚Motor City Riders‘ jede Nummer ein echtes Highlight ist. Die Gründe für Suzis bemerkenswerte Kreativexplosion: einerseits der Lockdown, der sie ab Frühjahr 2020 von ihrem gewohnten Tourleben abhielt, andererseits die erneute Kooperation mit ihrem Sohn Richard Tuckey, die bereits auf dem Vorgänger No Control glänzend funktioniert hat. Suzi: „Ab Frühjahr 2020 wurden fast 100 meiner Shows gecancelt, und auch Richard wäre eigentlich mit seiner Band unterwegs gewesen, wenn nicht alle Konzerte abgesagt oder verschoben worden wären. Also sagte ich zu ihm: ‚Wir sollten die freie Zeit nutzen, um neue Songs zu schreiben und uns von dem inspirieren lassen, was sich in der Welt derzeit abspielt.‘ Ich wusste, dass Richard und ich ein tolles Team sind, denn No Control war ein riesiger Erfolg und eine für uns ganz besondere
Scheibe. Allerdings hatte ich nicht damit gerechnet, dass wir sie sogar noch übertreffen könnten. Doch alle, die The Devil In Me gehört haben, und diejenigen, die am Vorgängeralbum beteiligt waren, sagten uns: ‚Diese Scheibe ist noch stärker!‘“

- Rare 1987 Detroit experimental Funk/Soul album - Solo album by Tony Newton (Motown, Funk Brothers) - First ever vinyl reissue - 180g Black Vinyl Edition - Limited to 500 copies // Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European 'Motown Review' tour. Within two years, Newton became the Miracles' musical director. Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5_and countless others. Earning the nickname "the Baby Funk Brother" he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as "Where Did Our Love Go," "Baby Love," "Stop In The Name Of Love," "Nowhere to Run," "ABC," "Never Can Say Goodbye," "Don't Leave Me This Way," and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis' drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore). Tony Newton also recorded several solo albums during his impressive career, including the two total classics: 'Mysticism & Romance' (1978) and 'Novaphonia' (1987). On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the 'multi' into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton's impressive musical past and his vision for the future. Spacious synths, unusual instruments and an all-around cosmic approach make this an 'out of this world' and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia_but his biggest legacy is without a doubt him being the singer and bandleader of Ofege. Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band! Melvin Ukachi recorded four milestone albums with Ofege: 'Try and Love' (1973) 'The Last of The Origins' (1976), 'Higher Plane Breeze' (1977) and 'How Do You Feel' (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: 'Evolution-Bring Back The Ofege Beat' (1981) and 'I am Ok' (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike. On the album, we are presenting you today (Evolution-Bring Back The Ofege Beat) the listener is treated to the trademark Ofege sound (as the title of the record obviously suggests). Next to the rootsy and raw Ofege sound, we're shown a perfect glimpse of the late '70s afrobeat works combining soul, jazzy rhythms, William Onyeabor style synths & fluid boogie-danceability Expect some serious 'all-star' guest musicians as well_featured on the album are Chyke Madu (The Funkees) on drums, Berkley Jones (Ofege) on guitar_and many other local legends. To top things off the tracks were recorded and mixed at the legendary Abbey Road Studios in London_all slickly engineered by Rafiu Ayoade (The Apostles) and produced by the president of sound himself Odion Iruoje (known for his work with Manu Dibango, Fela Kuti_and many others). 'Evolution-Bring Back The Ofege Beat' was released on EMI Nigeria in 1981 and is a total Afro-psych-funk classic that begs for a special place in your record collection. It's tight, funky and Melvin's soulful vocals are to die for. This record is a monster! Tidal Waves Music now proudly presents the first-ever reissue (supervised by Melvin Ukachi himself) of this amazing Nigerian Afrobeat album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork made at Grafikad (who were responsible for designing landmark sleeves for renowned artists such as Fela Kuti).

Antonio L. Newton AKA Tony Newton (born 1948) is a multi-instrumentalist from Detroit, MI who began his professional career at the age of thirteen, playing bass guitar with blues legends like John Lee Hooker and T-Bone Walker. Discovered by Motown executive Hank Cosby while playing the Detroit blues circuit at the age of 18, he became the touring bassist with Smokey Robinson and the Miracles on the famed 1965 European ‘Motown Review’ tour. Within two years, Newton became the Miracles’ musical director.

Tony Newton also toured and recorded with other Motown artists such as The Supremes, Marvin Gaye, Stevie Wonder, The Jackson 5…and countless others. Earning the nickname “the Baby Funk Brother” he left his trademark of solid, hard-driving and deftly clever grooves on such timeless hits as “Where Did Our Love Go,” “Baby Love,” “Stop In The Name Of Love,” “Nowhere to Run,” “ABC,” “Never Can Say Goodbye,” “Don’t Leave Me This Way,” and many others. Next to his impressive body of work for Motown, Newton can be heard on several hit singles from labels like Invictus-Hotwax and Stax. Later, Newton gained recognition as a member of both the acclaimed jazz-rock fusion group: The New Tony Williams Lifetime (headed by Miles Davis’ drummer Tony Williams) and the British hard rock group: G-Force (with veteran guitarist Gary Moore).

Tony Newton also recorded several solo albums during his impressive career, including the two total classics: ‘Mysticism & Romance’ (1978) and ‘Novaphonia’ (1987).

On the album, we are presenting you today (Novaphonia from 1987) the listener is treated to something UNIQUE (and this is not an overstatement). Newton really puts the ‘multi’ into multi-instrumentalist, playing the synthesizers, the electric bass and the drum machine. Experimental is the keyword here, sounds vary from psych/trance (almost like a soundtrack from a space movie), to funk, fusion, rock, R&B, soul and jazz. Novaphonia has both elements of Tony Newton’s impressive musical past and his vision for the future.

Spacious synths, unusual instruments and an all-around cosmic approach make this an ‘out of this world’ and VERY intriguing album. Resonant, sonically rich, sonorous, colorful, mind-expanding sounds are what one should expect from the 20th century Novaphonic sound developed to its greatest extent. These harmonies are innately pleasing to the human ear, mind and nervous system.

Explore new musical frontiers intended to catapult the listener towards new dimensions…this is an album that just begs for a special place in your record collection!

Tidal Waves Music now proudly presents the first-ever vinyl reissue of ‘Novaphonia’ since its release in 1987. This rare & private-pressed album (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

Columbia, South Carolina’s Chaz Bundick (aka Toro y Moi) rose to the fore of the music blogosphere in sum- mer 2009 when he and a few peers made their hazy bedroom recordings the most talked-about sound of the season. Critics across the board took notice of the range of his compositions, and his debut album, Causers of This, showcased his ability to make elements of Brian Wilson’s pop, 80s R&B, and Stone’s Throw hip hop coalesce into a distinct sound that’s as suitable for a dancefloor as it is a pair of headphones.
When Chaz first signed to Carpark Records, the plan was to release two records in 2010 — one electronic and one with live instrumentation — and although it didn’t quite fit into the same calendar year as his debut, Underneath the Pine is that latter offering. This release sees him following the same creative urges to com- pletely different ends. Having spent the year listening to film composers like Ennio Morricone and François de Roubaix, Bundick returned to his home in Columbia, the birthplace of many Toro tracks of yore, to bring his new ideas to fruition. The result of these sessions is an album evocative of R. Stevie Moore’s homespun rumi- nations, David Axelrod’s sonic scope, Steve Reich-ian piano phrasing, and the pervasive funk of his first record. Underneath the Pine announces a new phase for an art- ist whose talent defies classification.

Good vs. Evil is the third studio album by American rapper KXNG CROOKED (formerly known as Crooked I). The album was released on November 11, 2016 and features cameo appearances from notable rappers such as Eminem, RZA, Xzibit, Tech N9ne among other guests The album was well received by critics, who praised its direction, dark beats and narrative skills.
After the most controversial Presidential election in this country’s history, one that has not only created further divisiveness amongst the people residing in it, but one that now includes handful of cities across our nation protesting in the streets it has become evident we are living in a complicated and dangerous time. The societal divide widens so deeply with every passing day that it seems as if at any moment the pendulum could shift. KXNG CROOKED's Good Vs Evil could not appear at a more needed time.

Hell Yeah welcomes the Italian musical collective Aura Safari for a debut EP on the label.

The band, who are at the forefront of a new Italian fusion sound that blends jazz-funk, electronic and world sounds, is made up of acclaimed house devotee Nicholas Iammatteo, plus Alessandro Deledda, Lorenzo Lavoratori, Daniele Melloni and Andrea Moretti. They contributed a standout track to the Buena Onda - Balearic Beats compilation last year as well as releasing a full length LP on UK label Church to critical acclaim.

Opener 'Dreams of Music' is a lush, new age groove with rich musicality, wind instruments and live drums all glowing warmly as you roll into sundown. 'Oasis' then sinks into a reflective mood, with lazy drums and sensuous late night chords sounding like Roy Ayers all loved up and super stoned. The noodling keys really melt your heart before the excellent 'Slow Divers' pairs more majestic bass riffs with wet claps and splashing cymbals as a wandering lead drifts up to the heavens. It has a dubby swagger to it that is superbly subtle.

Closing out the EP 'Libra', is a heartwarming, slow motion, jazz-funk fusion packed with detail and life affirming synth playing.

These are gloriously heartfelt tracks that showcase this collective's supreme musical ability as well as their unquestionable understanding of jazz, funk and soul, past, present and future.

‘Cuba: Music and Revolution’ is a new album compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) that explores the many new styles that emerged in Cuba in the 1970s as Jazz, Funk, Brazilian Tropicalia and even Disco mixed together with Latin and Salsa on the island as Cuban artists experimented with new musical forms created in the unique socialist state of Cuba.
The album comes as a deluxe double CD and heavyweight triple vinyl, complete with extensive sleeve notes, jam-packed with heavy basslines, synth and WahWah guitar funk combined with the heavyweight percussion, powerful brass lines and the all-encompassing Latin rhythms of Cuban music known throughout the world.
The album is released to coincide with the massive new deluxe large format book ‘Cuba: Music and Revolution: Original Cover Art of Cuban Music: Record Sleeve Designs of Revolutionary Cuba 1959-90’, which is also compiled by Gilles Peterson and Stuart Baker (Soul Jazz Records) and which features the music and record designs of Cuba, made in the 30-year period following the Cuban Revolution.
The music on this album features legendary Cuban groups such as Irakere, Los Van Van and Pablo Milanés, as well as a host of lesser known artists such as the radical Grupo De Experimentación, Juan Pablo Torres and Algo Nuevo, Grupo Monumental and Orquesta Ritmo Oriental, groups whose names remain largely unknown outside of Cuba owing to the now 60-year old US trade embargo which remains in place today and which prevents trade with Cuba - and thus most Cuban records were only ever available in Cuba or in ex-Soviet Union states.
The music on this album reflects the most cutting-edge of Cuban groups that were recording in Cuba in the 1970s and 1980s - who were all searching for a new Cuban identity and new musical forms that reflected both the Afro-Cuban cultural heritage of a nation that gave birth to Latin music - and its new position as a socialist state. Most of the music featured on this album has never been heard outside of Cuba.
Both Gilles Peterson and Stuart Baker have been involved in Cuban music for more than two decades - Gilles Peterson with his many Havana Cultura projects for his Brownswood label and Stuart Baker with a number of Soul Jazz Records albums recorded in Cuba. This Soul Jazz Records album is released in conjunction with Egrem, the Cuban state record company, and has been put together after the many crate-digging trips that both compilers have made on the streets of Havana and beyond in Cuba stretching over a 20-year period, searching out rare and elusive original Cuban vinyl records.
Press - Reviews & features in Mojo, The Wire, The Guardian, The Times, The Telegraph, Pitchfork, Irish Times, The Observer, Clash, Vice, Metro, Record Collector, Uncut, Independent, Q.

As long-time fans of this sublime four-track compacto 7" by the illustrious Brazilian duo Luli Lucinha e O Bando, we have floated the idea of re-issuing this beauty for several years now. So finally, the time feels right to release this beloved gem back into the world.

Originally issued on Som Livre ‎Records in Brazil in 1972, this rarity has long been lost to only but the most hardened Brazilian record collectors and those lucky few who own an original copy. The four genre-defying compositions blend elements of psychedelic rock, MPB and folk, and are glued together by the synergy of Luli and Lucinha's vocals and the outstanding arrangements by Zé Rodrix. Whether it be the lost Brazilian-psych anthem of 'Flor Lilás’, or the tripped out folk-funk of 'Dourado Da Manhã’, the EP oozes magic and brilliance. The record also features the Brazilian percussionist, Alyrio Lima, who later became a member of the iconic Weather Report.

Luli (Heloisa Orosco Borges da Fonseca) and Lucinha's (Lucia Helena Carvalho e Silva) records have become extremely sought-after in recent years. Their inclusion on John Gómez's superb 2017 'Outro Tempo' compilation helped spread the gospel about their beautiful folky, MPB, private press albums from the late '70s and '80s. Prior to their musical partnership back in 1965, Luli released a heavenly Bossa Nova 7" nugget entailed 'Baleiro' and a self-titled solo album on Philips Records, which are now also highly-prized by collectors.

Here at Mr Bongo we feel Luli and Lucinha's names should be more widely recognised and break out of their cult artist status. They should be rated up there amongst some of the progressive, left-field greats of Brazilian music of their era. Sadly Luli passed away in 2018, but left behind an inspiring musical legacy for us all to savour.

Nicky Night Time and Ali Love have collaborated for a hypnotising new single ‘Ubiquity feat. Breakbot’. Filled with classic disco flair, funk riffs, and infectious vocals the track instantly encapsulates a dreamy dance-floor moment and comes complete with remixes from The Magician, Eric Duncan and Lubelski who all add their signature spark.

With each artist living in a different country, ‘Ubiquity’ has already made its way around the globe, Ali Love explains how the track came together, “‘Ubiquity’ started its life in Australia with Nicky Night Time as a drum and guitar track. Then made its way to London where I added electric bass and vocals very early in the morning. I recall there were about 8 Japanese girls in my flat for some reason, so you could say that really added to the song’s vibe. You can feel there’s a party happening. The tune then travelled to LA where, by chance, Nicky drafted in Breakbot, who wrote the amazing string and horn parts, and sent the song into the stratosphere. The stars have aligned and the vibe is ubiquitous." Nicky Night Time adds “It was a love project really and I think we felt it was a cool thing just to put out into the world between the 3 of us amigos.”

For the remixes, globally renowned producer The Magician adds his signature touch highlighting the original’s funk elements and punchy drums while maintaining the driving bassline from the original. Merging disco with French touch, The Magician accentuates the cut-off and phaser effects for a playful and energetic remix. Next up, Eric Duncan hits with a synth heavy cosmic remix as Lubelski closes out proceedings going for a stripped down, late night shuffler.

Entertainer, DJ and producer Roog is one of The Netherland’s biggest dance exports. With a history in house from the 90’s to today as a solo artist and as part of Hardsoul and Housequake Roog has an enviable CV of hits appearingf on a host of labels from Defected through Altra Moda Music!

‘If Everything Went My Way’ is a funky, filtered vocal house at its finest. Essential floor filling material that will simply stand the test of time. The remix comes courtesy of Earth n Days who have spent the last few years paving their way in the scene, forging a sound that blends energetic beats, heavy bass and more than a sprinkle of disco. 2020 saw then rise to the #2 best selling artist on Beatport! Their new remix is quite simply a sonic bomb ready to blow!

It’s hard to believe that it’s been over 30 years since Candy Dulfer rose to fame with her high-profile collaborations with Dave Stewart (the worldwide number 1 smash “Lily was here”) and of course the legendary Prince, whose tongue-in-cheek recommendation (“When I want sax, I call Candy”) in the “Partyman” video made the world sit up and notice the young, glamorous and talented sax player at his side. Candy has been fortunate to work - both in the studio and on stage - with some of the biggest names in music, including Van Morrison, Maceo Parker, Sheila E., Mavis Staples, Lionel Richie, Beyoncé, Pink Floyd, Chaka Khan, Aretha Franklin, and many others. Despite these high-profile collaborations, Candy mainly focused on her solo career, starting her own band at age 13 and touring the world ever since.

The shadow that Gary Bartz casts over the last six decades of progressive Black music, and his continued dedication to same, makes him a logical and very welcome contributor to the Jazz Is Dead label. An alto saxophonist steeped in the history and tradition of his instrument who is also restlessly experimental and not prone to purism of any kind, he enjoys both the respect and admiration of his peers and the hero worship of several generations after him - including Adrian Younge and Ali Shaheed Muhammad, which inevitably led to Gary Bartz JID 006. A look at his body of work reveals dalliances with bebop, hard bop, free jazz, spiritual jazz, soul jazz, jazz-funk, fusion and acid jazz, all while resolutely remaining unmistakably Gary Bartz. There's early work with Eric Dolphy and McCoy Tyner in Charles Mingus' Jazz Workshop, work with Max Roach and Abbey Lincoln, a stint in Art Blakey's Jazz Messengers, and also one with Miles. There's his groundbreaking and highly influential Ntu Troop albums of the early '70s and his jazz-funk work including two classic albums with the Mizell Brothers, one of which supplied A Tribe Called Quest with a sample that was smooth like butter. And while on the subject of samples, the Bartz catalog has provided hip-hop and other genres with a rich source of them, and artists who have gone to his well when producing beats also include Black Sheep, Jurassic 5, Casual, RPM, Warren G, Photek, Statik Selektah, Chi-Ali, 3rd Bass, Showbiz, ZTrip, Young Disciples, and many others.

Bad Colours is the moniker of London-born, Maryland-raised, Brooklyn-based DJ and producer Ibe Soliman. With influences of garage from both sides of the Atlantic as well as funk, post-disco, proto-house and rap samples; his debut album 'PINK' is set for release by Bastard Jazz on 26th February 2021.

The drive to record an album came about while isolating at home in Flatbush during the COVID-19 pandemic. Inspired by some rough ideas and samples that friends sent him, Ibe focussed his attention on making music. From time well spent soaking up and storing sounds from clubs around the world, Ibe found, now with the time to dedicate towards it, the tracks flooding out. Taking cues from early Trax records and Larry Heard, the UKG musicality of MJ Cole, Todd Edwards' vocal sampling techniques, the brashness of Bmore, and an encyclopedia of disco, funk and soul knowledge; Ibe got to work and quickly compiled more than enough tracks for a full-length release.

Flowing from the album intro 'PINK!', first single 'Cookin' vibes over a Chris Faust sample and saxophone from south California virtuoso Carras Paton. 'Feelin' Like' was originally built around a short vocal sample by Jarv Dee, but grew to include additional lyrics on black power from the Seattle rapper after he heard it: "Dancey stuff with a message" says Ibe.

Slow jam 'Heyyy', with its preemptive lyrical synths, bridges to the album's next single 'Get You Off'. Ibe had been listening to a lot of Marvin Gaye - particularly 'I Want You' - during lockdown, getting into the production and vocals. After writing the "I just wanna get you off" hooks, he handed the track over to talented singer, actor and playwright Marcus Harmon who wrote the verses and provided the stunning vocal performance.

Keeping the sensual vibe, 'Skin To Skin' samples vocals from 'Private Play' by Wash 'N' Set, also produced by Ibe, with the Chris Isaak-esque guitar lines by Lex from Foreign Tapes. Made late at night, CMYK reminded Ibe of driving at night in the rain in NYC, where the colors bleed together on the wet road while 'Boss', the first track made for the album, is based around a Sunny Jones sample. The closing track 'Feel' was made at the peak of Black Lives Matter protests. "I just wanted something hard sounding," says Ibe.

Known for his residencies at some of New York's top venues, Ibe has been rocking crowds as a DJ for over a decade, and has shared the decks with the likes of James Murphy, Mark Ronson, and Q-Tip. He's performed alongside Wiz Khalifa, Snoop Dogg, Pusha T, and Young Thug, to name a few. In high demand as a private party curator, he's helped set the tone for Jeff Koons, FKA Twigs, Justin Timberlake, Travis Scott, and Usher. When Ibe's not behind the decks, he's in the lab, where he's produced for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others.

Former member of Rodolfo Alchourrón and Gato Barbieri's bands, Cevasco's first solo effort is a combination of fusion jazz with a pinch of unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, still evoke a refreshing feel of modernity in the same vein as many other experimental Argentine and Uruguayan artists from the same era. Includes guest appearances from artists such as Litto Nebbia or Ruben Rada. Reissued on vinyl for the first time, including insert with liner notes and previously unseen photos. Details: Few musicians can boast of having played with "the greatest" without some eyebrows to be raised. The bass of Adalberto Cevasco has been heard in multiple concerts and recording sessions of artists as diverse as the Spanish divas Rocío Jurado and Isabel Pantoja, tango genius Astor Piazzolla or the cream of the Argentine jazz scene -from Pocho Lapouble, Gustavo Kerestezachi, Rubén López Furst or Andrés Boiarsky to the great Gato Barbieri- With the latter, as part of a dream band that included artists like Nana Vasconcelos as well as other Argentines such as Lapouble or Domingo Cura, he recorded two fundamental pieces in the Impulse! label catalogue in sessions held in Argentina and Los Angeles and also toured across various countries. The daily sold-out shows at the Regina Theater in Buenos Aires and their overwhelming performance at Montreux Festival are still well remembered. It is therefore out of question that Adalberto Cevasco belongs to that top-level league of musicians whose talent has also contributed to enhance those who accompany them. The history of this album begins with an encounter. Adalberto Cevasco joins Rodolfo Alchurrón's jazz-funk project Sanata y Clarificación as bassist and meets Litto Nebbia, who is invited to sing along. Some years on, when Nebbia's Melopea record company was developing, he would receive a cassette with a collection of demos recorded by Cevasco over the years. Some of the songs dated back to 1981 while others were made well into the decade and included such outstanding collaborations as that of the Uruguayan Rubén Rada, whom Adalberto Cevasco had met playing in a group of fusion candombe called Candonga. In addition to producing the complete album, Nebbia would also collaborate in a special way in one of the most outstanding tracks (Reencuentros Nº2) by adding to Cevasco's fusion jazz some unexpected Brazilian flavours and electronic sounds that now, more than 30 years after the original release of the album, they still evoke a refreshing feel of modernity. As the Argentine press of the moment highlighted, it'd seem as if the influences received and developed by the bassist during his career as a freelance musician - from post-Piazzolla tango to proyección folclórica (a movement of revision and modernization of the Argentinian musical roots) - had been added to their superb rhythmic work in this album. "Pájaros Eléctricos" was never presented live and has remained as the only published work by Cevasco as a soloist since the date of its release.

• In 1970 Miles Davis released “Bitches Brew”, which crystalised the trumpeter and bandleader’s experiments in rhythm, electronics and musical structure which he had been building on over the previous three years. The album has since become one of the most influential in musical history and was joined over the next couple of years by “Jack Johnson” and “On The Corner” in defining the future of music.

• Miles was the master bandleader and his LPs at the time declared that these were his ‘Directions In Music’, but he forged them with the help of a hand-picked group of musicians who proved themselves good enough to share his space on stage and in the studio. These players would all become central to jazz’s continued relevance and many would go on the record best-selling jazz records of their own. This compilation looks at the records that they made around the time they played with Miles and how they fed into or were fed by their time in his group.

• So we have Wayne Shorter and Joe Zawinul with versions of tracks they cut with Miles. Herbie Hancock’s journey into the electronic instruments that Miles convinced him to play, and Keith Jarrett’s firm rejection of them. Lonnie Liston Smith borrows the Indian percussion from “On The Corner” for his take on electronic funk. Chick Corea, John McLaughlin and Gary Bartz all show their distinctive talents that were allowed to shine in Miles’ band. As a bonus, we have Miles’ musicians alongside Betty Davis (his wife at the time) on a take of Cream’s ‘Politician Man’ and Miles’ 1970 group live at The Cellar Door on Joe Zawinul’s ‘Directions’.

• Available on CD and double vinyl with in-depth sleeve notes. The Miles Davis track is available on vinyl for the first time.

This one is a double first for Shall Not Fade - the launch of the new Killer Cuts series focused on groove-heavy dancefloor fillers, and Marc Brauner’s debut on the Bristol label. The born-and-raised Berliner has previously released on German labels Midnight Snacks and Pentagonik, and joins the Shall Not Fade roster with a collection of classic house tracks to make you miss the clubs. Brauner covers a breadth of moods on the record, the A-side filling you up with euphoria; opener ‘Too Real’ is a gorgeous bit of lofi house tinged with funky guitar inflections and a retro feel that sweeps across the whole release. ‘Things I Did’ and ‘Tool For Lovers’ drag you out of winter and into a 90s Ibiza summer, utilising a 303 bassline and classic house stabs to warm up your dancing feet. In comparison to the warmth of the first half of the record, the B-side gets more haunting in tone, first by introducing rolling breaks in ‘I Know You Would’ and especially in ‘Tears of a Fallen Angel’. This is the emotional core of Brauner’s offering, euphoria tinged with sadness over a punchy rhythm that juxtaposes the subtle vocals woven throughout. The record closes with a hint of post-disco; ‘Neptun’ is a real groover of squelchy electro synths that is reminiscent of Patrick Cowley and the early, smoky nightclubs of New York. The bonus digital track ‘Out of Time’ carries on a similar energy - it’s a piece that doesn’t keep still, glittering with playful synth melodies and a surging cacophony of vocal samples.

Denn leichtfertig würde die amerikanische Rocksängerin solche Superlative wohl kaum in den Mund nehmen. Suzis Begeisterung für ihr neuestes Werk hat viele Gründe, genau genommen 12. Denn exakt ein Dutzend Songs befinden sich auf The Devil In Me, auf dem vom Opener/Titelsong bis zum finalen ‚Motor City Riders‘ jede Nummer ein echtes Highlight ist. Die Gründe für Suzis bemerkenswerte Kreativexplosion: einerseits der Lockdown, der sie ab Frühjahr 2020 von ihrem gewohnten Tourleben abhielt, andererseits die erneute Kooperation mit ihrem Sohn Richard Tuckey, die bereits auf dem Vorgänger No Control glänzend funktioniert hat. Suzi: „Ab Frühjahr 2020 wurden fast 100 meiner Shows gecancelt, und auch Richard wäre eigentlich mit seiner Band unterwegs gewesen, wenn nicht alle Konzerte abgesagt oder verschoben worden wären. Also sagte ich zu ihm: ‚Wir sollten die freie Zeit nutzen, um neue Songs zu schreiben und uns von dem inspirieren lassen, was sich in der Welt derzeit abspielt.‘ Ich wusste, dass Richard und ich ein tolles Team sind, denn No Control war ein riesiger Erfolg und eine für uns ganz besondere
Scheibe. Allerdings hatte ich nicht damit gerechnet, dass wir sie sogar noch übertreffen könnten. Doch alle, die The Devil In Me gehört haben, und diejenigen, die am Vorgängeralbum beteiligt waren, sagten uns: ‚Diese Scheibe ist noch stärker!‘“

This deep soul-jazz double-sider, recorded on October 3rd 1972, was released as a seven-inch single on Motella, one of the many labels of the Mavuthela Music division of Gallo Africa (now Gallo Record Company). Mavuthela was founded by the talent scout and producer Rupert Bopape in 1964. This recording of 'The Toreadors', a one-off session group, was produced by Ray Nkwe who worked as an independent producer for several different companies and was responsible for organising many African jazz-oriented sessions in the 1970s and early 80s.

On first hearing the A-side ‘Thembi’ (written by Ray Nkwe) ‎you’ll wonder why you haven't heard this song before, but simultaneously be struck with a sense of instant familiarity. It has a loose floating jazz vibe with echoes of 60's hippy, psychedelic soul-jazz qualities, and elements that remind us of acts such as The Deirdre Wilson Tabac. The vocal deliveries are stunning, hauntingly beautiful, and from a place where it is hard to pinpoint just where this song originates.

The B-side, ‘Gwinyitshe', is also absolute fire. This song has gained more coverage and notoriety among South African music fans / collectors and DJ's over the years. It is a deep, pulsing soul-jazz-funk groove with another exceptional vocal performance that is relaxed yet engaging and spiritual, whilst managing to surf the instrumentation to perfection. 'Gwinyitshe' was written by one of the sleeping giants of South African music, Teaspoon Ndelu, who also plays on the record and whose material we can't get enough of here at Mr Bongo.

When you think you have all the records you need a gem like this resurfaces from the past, reminds you that you've only scratched the surface and there is still a wonderful treasure trove out there to enrich you and your music collection. So dive into The Toreadors world briefly, your day will be the better off for it.

• Official vinyl replica
• South African soul-jazz obscurity
• 'Gwinyitshe' written by Teaspoon Ndelu

Re-issue of a soul masterpiece from 1974, 'I Love You More and More' by Tom Brock was Tom's only solo album release, but what a beautiful classic it is. For some, it is up there in the pantheon alongside their all-time treasured soul favourites such as Marvin Gaye's 'What's Going On'.

Produced by the legend Barry White and released on 20th Century Records in 1974, it features the lush hallmark orchestration, heartfelt songs, and funky yet slick playing you’d expect from a White production. Like a dusting of sugar onto the top of the cake, the record also features the stunning arrangements of the great pianist, arranger, composer, and producer Gene Page, whose musical career left an impressive and prolific legacy.

'I Love You More and More' received another lease of life when it was resurrected for a new audience after having been sampled by Jay-Z, Mos Def, C.L. Smooth, and others. The record is solid throughout, but the song 'There's Nothing in This World That Can Stop Me From Loving You’ proved to be an extra-bright star in the sky and it formed the base to Jay-Z's 2001 hit 'Girls, Girls, Girls'. The sampling of Tom’s work triggered the collectors, diggers and DJs to explore his record and to transfer their passion for it onto their followers too.

Tom Brock passed away in 2002, but left behind his sensational soulful voice on a handful of amazing dusty 7" singles, several assorted productions recorded by other artists, and this absolute winner of an album, which will be cherished for years to come.

• Half-speed vinyl cut at Abbey Road Studios

• Sampled by Jay-Z, Mos Def, C.L. Smooth…

• Produced by Barry White, arranged by Gene Page.

"Essential techno, essentially militant. A collection of pioneering electronic club hits and classic tech funk cuts with highly eco-political lyrics, produced by Michelle Grinser, DJ Naughty and featuring by Chicks On Speed. Chris Korda, is a transgender artist and tireless environmental activist who denounced 21 years ago the excess of capitalism and consumerism ("Buy", "Buy More"), exposed social inequalities and warned of the dangers of climate change".

∙ Live they were a revelation. The only group from
the UK scene who could do tight and slick, without
slipping into ‘lift music’ blandness. The core
membership of Andrew Levy, Simon Bartholomew
and Jan Kincaid had been playing together since
college and knew where the other was going. Their
ability to write classic soul songs lifted them above
their contemporaries.
∙ Shibuya 357 is the quintessential (and only live)
document of an era that quickly passed. The hits –
‘Never Stop’ , ‘Dream Come True’, ‘Stay This Way’
and ‘Don’t Let It Go To Your Head’ are all here – as
are some compelling funk jams. This recording
captures the ecstatic rush of joy; when you go from
youthful dream to accomplishment in such a short
period.
∙ The album was only ever released in Japan in the
late 90s and then only for a very short time. Acid
Jazz is pleased to release this new version
remastered from the source tape, and the album
appears on vinyl and on streaming services for the
very first time.
∙ 1991 was a momentous year for The Brand New Heavies.
They started it without a singer second on the bill to
The James Taylor Quartet and by the end they were
had a Top 3 US hit and were about to embark on a
run of 16 Top 40 hits in the UK. N’Dea Davenport
was by this point fronting the group as their guest
singer, and the brilliant string of singles from their
debut album were becoming locked in the minds of
an ever growing fan base.

They Say: “Exploring the wide range of moods and sounds produced by percussion”.

We say: MPCs at the ready because this does exactly what it says on the tin, to devastating effect. Oh, and the sleeve is stunning.

Originally released in 1979, Percussion Spectrum was produced by the legendary percussionists Barry Morgan and Ray Cooper. With dope beats taking in diverse styles, from funk and soul and jazz through to Latin, Brazilian, samba and Afro-Cuban, this is an amazing sample source filled with killer drum-breaks and percussion flares. Unsurprisingly it’s one of the most sought-after records from the Themes catalogue.

This library LP is a library in itself, with its mix of short themes of single beats, short breaks and some longer, more fully-formed DJ-friendly tracks. Trust us when we say that this is a box full of percussion firework ready to be thrown onto the dancefloor at the just right moment. We don’t have anywhere near enough space to describe all 34 tracks (there isn’t even enough room on the labels to list them all!) so we’ll pick out some favourites.

Favourites like opener “Impulsion”, a percussive masterclass with drum upon drum upon drum making it feel like a neat prototype to the percussive underscores of Peter Lüdemann and Pit Troja’s eternal The Now Generation LP. And the dramatic “Fast Action” is exactly that, racing along on a rapid roll of congas, cymbal crashes and throbbing kicks. “The Chaser” is classic library cop-funk with dilapidated drum figures, and the outrageously funky “Heat On” is the perfect accompaniment to your wild action sequences.

A real highlight is “Runaway”, and not just because it sounds like nothing else on the record. Here are drums and percussion in that tight funk style that just cries out to be sampled. “Percussion Power” is an extended, near-three minute suite of funky drum solo after funky drum solo that just aches to be looped: open drums to die for people! “Shivers” is a tense, apprehensive underscore with shock stabs that builds to a climax whilst “Drums On Parade” is a showcase of head-nod drums and cymbals in march time. Did someone say “funky”?

Side B starts with a stroll down “Samba Street”. With the noise of the crowd in the background, this is riotous, authentically drawn samba that sounds like it’s been beamed straight in from Rio in full flow. Drop this at midnight and watch the cobwebs fly off any dancefloor. Prefer it without the fake crowd? “Samba Street (b)” has you covered.

The simple, innocent “Child’s Themes” (all five of them) provide a nice, sweet respite from all the funk. Nursery sounds tinged with only a touch of melancholy. The gentle marimba solo of “Tropical Peace” only adds to the sense of serenity we get from the relatively calm second side. The album closes out with a veritable toolkit of tom toms, snare drum rolls, timpani, vibraphones and chiming bells.

Percussion Spectrum is a joyous collection of sounds, as bright, beaming and downright funky as the vibrant cover. The Themes series is known for each record having its own particularly striking sleeve, which was unusual for library records at the time, and Percussion Spectrums’s multi-coloured drumsticks make for one of the most eye-catching.

As with all of our other Themes re-issues, the audio for Percussion Spectrum comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. As usual Richard Robinson has taken the same care with restoring the original sleeve from archive scans. This is another one ticked off the list of library records that should be out there for anyone who wants a copy.

Originally founded in Spain and now based out of Berlin, Golden Soul Records, the brainchild of James Rod, Aleito and Azaria has been releasing synth-heavy, mind melters and brain busters that traverse the galaxies of Italo, nu disco, synth pop and new beat since 2015. The best remixes from the label have now been perfectly packaged onto this new 2021 EP.

Kicking things off, a slice of futuristic machine funk from James Rod who puts a cosmic twist on Javier Busto - Robot in Mars, before Aleito works up a arpeggiated whirlwind with From Beyond - Body Resonance.

On the B side Azaria lets loose a new beat monster remix of Tiempo de Maldad - Disco Gold with Jarle B providing an Italo stomper of a rework for Aleito’s - Always Here to close out proceedings.

We can’t think of many artists that have had as diverse a career and who have been involved in as many different genres of music as Asha Puthli. A musical pioneer who forged a path through 60's psych, free-jazz, pop, rock, disco, and more.

Asha's 1976 album 'The Devil Is Loose' is maybe her most well-known record. Featuring the beautiful disco-funk-classic 'Space Talk’, Asha's ethereal soaring vocals take us on a journey that almost mirrors Asha's eclectic career. The track was championed by a wide-range of musical scenes and movements, and over space and time it has been commandeered as their own. You would hear it played by David Mancuso at the now ‘mythical’ underground New York party 'The Loft’, in the most discerning disco nightclubs across the globe, in the Rare Groove scene, and also being sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde. The appeal and lifespan of ’Space Talk’ keeps on extending and morphing as new audiences gleefully discover it for the first time - it still sounds as relevant and fresh on the dancefloor today - a sign of a true classic.

Here at Mr Bongo we are thrilled to be releasing records by such an iconic musical maverick as Asha, from her roots in India to becoming a globe-trotting artist with a celebrated career in music and acting, whilst always staying true to her art. She has blazed a trail so that others could follow. Whether you are buying this album as a replacement for your worn-out original copy or it's the first time you've heard of Asha Puthli and you're just intrigued and drawn in by the cover, we hope you enjoy this quintessential slice of Asha's world.

• Featuring the legendary ’Space Talk’.
• Played by David Mancuso at the ‘mythical’ underground New York party 'The Loft’.
• Sampled by hip-hop heavyweights such as The Notorious B.I.G / P Diddy, and The Pharcyde.
• Also available on Limited Edition Pink Vinyl

The first EP from Nottingham’s like-minded music collective, Plates.
Originally established as a record shop and now a record cutting studio and music community, this EP showcases sounds close to its core and original supporters.

A1 is a track salvaged from a box of long-lost cassette tapes dating back to the mid-90s, bursting with raw and uplifting grooves, a soundtrack to moody city nights in Nottingham. Facehugger a long-time friend and supporter of Plates, alongside musical partner, Mark Warden aka DeviantRIP brings a tearing live analogue jam mashed together on a Roland 202, 808, 909 and JD800 - ave it!

A2 offers a completely different take on the typical ‘jungle’ style. Citizen Griot, an already prolific local beatmaker, better known for his hip-hop grooves and collaborations with local rappers, brings moody and enchanting jazz club vibes over subtle but constantly moving breakbeats.

B1 is the first ever ‘finished’ track from Plates founder, DJ Squid who has spent the last 10 years focusing on DJing and wasting precious time. This tune dedicates his love for early 90s jungle, and hardcore with the roots of soul, rare groove, weird library music and the simplicity of hand-picked samples, an MPC 2000XL and a dust-covered Mackie mixing desk.

B2 brings you back down to earth in a smoky spaced-out back room courtesy of long-time crate digger and local hero Mr Wilson. Head-nodding beats cushioned by a soothing bassline and hypnotic chords that surround you and carry you away to another dimension that is neither new or funky.

This record is dedicated in memory of Rita, Philpotts, Pete Woosh, Adam XTC and Harry McCormick.

The strange and majestic musical beast that is Africadelic was Dibango’s follow-up to Soul Makossa, but it was initially released on Louis Delacour’s library music label, Mondiaphone, before “Soul Makossa” became an international phenomenon. As a
Mondiaphone release, it was aimed at television and film producers seeking atmospheric background music, so the original titles are simply “Theme No 1,” “Theme No 2,” etc, with corresponding rhythmic notations such as “3/4 Africain,” “Afro Beat 12/8” and “Medium Soul Beat,” though once “Soul Makossa” hit the stratosphere, subsequent reissues bore actual song titles. In any case, the album is simply wonderful, a driving mix of Afro soul, funk and jazz, with an undercurrent of Latin percussion throughout, given further shades by rock guitar and soul organ, as heard on “African Battle” and the title track; opener “Soul Fiesta” builds
dramatic percussive tension before Dibango drops a killer vibraphone riff, while “African Carnival” makes the most of the full horn section, Dibango’s sax soloing giving room for complex polyrhythmic percussion breaks. “Oriental Sunset” has beautiful vibraphone from
Dibango too, as well as a thrilling flute melody, “Monkey Beat” and “Wa Wa” are funky soul struts and “Percussion Storm” has the band marching off into the African sunset as Dibango unleashes another killer vibraphone melody. Listening back to the album now, it is hard to believe that the whole shebang was written in a couple of days and committed to tape within the space of a week, but that is all more testimony to the greatness of Manu Dibango, one of African music’s true pioneers. Play loud and often for best effect!

2x12" + DL Repress

NOTE: ALL FORMATS CONTAIN THE FULL VERSION OF "RAUSCH". THE ALBUM IS MEANT TO BE HEARD FROM BEGINNING TO END AS A WHOLE. IT HAS BEEN TRACK MARKED OR SEPARATED DUE TO FORMAT RESTRICTIONS

Rausch with no name / My beautiful shine / You are the sun / This is where I want to be / Rausch with no morning / This is where we burn / The Stars sparkle / In a sea of flames / Horns and fanfares / Fanfares of joy / Fanfares of fear / The wine we drink through the eyes / The moon pours down at night in waves / Careful with that axe Eugene / Personal Jesus / No beginning no end / Eighteenth of Oktember / The night falls / The king comes / The hunt starts / Freude schöner Götterfunken / The long march through the underwood / Trust me there's nothing / Once upon a time there was a bandit / Who loved a prince / That was long ago / Spring Summer Fall and Gas / There is a train heading to Nowhere / Drums and Trumpets / Future without mankind / Warm snow / Alles ist gut / The bells toll / You are not alone / The murmur in the forest / The murmur in the head / Light as mist / Heavy as lead / Music happens / To flow like gas / A clearing / Heavy baggage / Debut in the afterlife / Death has seven cats / World heritage Rausch / Finally infinite

Wolfgang Voigt 2018

Rausch ohne Namen / Mein schöner Schein / Du bist die Sonne / Hier will ich sein / Rausch ohne Morgen / Wir brennen hier / Die Sterne funkeln / Im Flammenmeer / Hörner und Fanfaren / Fanfaren der Freude / Fanfaren der Angst / Den Wein den man mit Augen trinkt / Gießt Nachts der Mond in Wogen nieder / Vorsicht mit der Axt Eugene / Personal Jesus / Kein Anfang Kein Ende / Achtzehnter Oktember / Die Nacht bricht an / Der König kommt / Die Jagd beginnt / Freude schöner Götterfunken / Der lange Marsch durchs Unterholz / Glaub mir da ist nichts / Es war einmal ein Räuber / Der liebte einen Prinzen / Das ist lange her / Frühling Sommer Herbst und Gas / Es fährt ein Zug nach Nirgendwo / Pauken und Trompeten / Zukunft ohne Menschen / Warmer Schnee / Alles ist gut / Die Glocken läuten / Du bist nicht allein / Das Rauschen im Wald / Das Rauschen im Kopf / Leicht wie Nebel / Schwer wie Blei / Musik ergibt sich / Strömt wie Gas / Eine Lichtung / Schweres Gepäck / Einstand im Jenseits / Der Tod hat sieben Katzen / Weltkulturerbe Rausch / Endlich Unendlich

Wolfgang Voigt 2018