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: 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: 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: Some high-grade re-edit action here, as dusty-fingered Chicagoan crate diggers Sadar Bahar and Marc Davis join forces with pal (and credited mixer) Rahaan on two fine tweaks of suitably obscure tracks. A-side 'Disco' is a groovy, funky, horn-heavy affair; a sumptuously string-laden, orchestrated blend of righteous gospel-soul, Philadelphia International style proto-disco and grooves reminiscent of those frequently employed on Steely Dan's most up-beat moments. 'Beat Down' meanwhile is a jaunty, percussive and sun-soaked slab of dancefloor-ready Latin jazz that speeds up as it goes along. The jazz dancers will love it!
Miele - "Melo Do Tagarela (Rapper's Delight)" (instrumental) (4:10)
Review: Although Brazil's Banda Black Rio remain infamous for the albums that they recorded in the late 1970s, two beautiful LPs that rode that singular wave of samba-ridden jazz dance, 1980's "Miss Cheryl" is an outstanding tune, and we can hear why RCA picked it up back in the day. Mr Bongo provides us with the reissue here and, if you haven't heard it, it's an absolute delight which switches between disco, psych, and something inherently Brazilian - there's even a wacky synth in there, for good measure. Compatriot Miele appears on the flip with "Melo Do Tagarela (Rappers Delight)", a sublime slice of early, electronic boogie that sounds as fresh today as it did back at the tail end of the 70s. A devious little reissue that you should own...
Nuit De Fievre (Pellegrino Nottata Stellata remix) (5:08)
Review: Be Strong Be Free's 7" series is on fire this year and now comes back with a third instalment. It is 'Nuit De Fievre' and it comes from label owner Gratts, aka the "Belgian down under," who revisits disco's golden era by assembling a stellar studio team starring the Moody Mae band in the company of Reinhard Vanbergen on violin and Jaj from Paris on vocals. What they cook up in return is elegant boogie and disco that will chime well with fans of Dimitri From Paris. The B-side features Pellegrino's jazz-funk rendition, adding Mediterranean flair straight from Vesuvius. Both sides promise deliciously uplifting grooves for any disco enthusiast.
Review: London's Original Gravity label is a trusted source for soul, funk and reggae 45s, and they're back with this seriously hot one from Mafumu. The project is a collaboration between Neil Anderson and Max Jere of The Umoza Music Project, based in Senga Bay on Lake Malawi. On the A side track you can hear Jere singing in Malawi's main language of Chichewa, urging listeners to "vina!" which means 'dance'. It's unmistakably Afro funk, with blasts of horns and a rolling, hypnotic groove that suck you in immediately. On the flip Anderson takes over for the instrumental 'Mkondo Wa Moto', which leans in on the talking drum and lays some funk and and Latin touches into the mix.
Review: The charming 'Xango' by Magalhaes from his 1986 album E Sua Guitarra on Gravasom Records is an electrifying Lambada track with haunting vocals and infectious energy that now gets reissued as part of the superb series from Mr Bongo. It is a guaranteed dancefloor rescuer for DJs worldwide and has in fact been building momentum in recent years. It remains a favourite for its driving rhythm and captivating intensity and on the B-side is 'Lambada Pauleira' by Os Panteras, which was released in 1987 on Gravasom. Known for Joutro Mundo's popular re-edit, this original version stands out with its quirky charm and undeniable appeal and is a staple for renowned Brazilian DJs, including Augusto Olivani (aka Trepanado).
Review: Magic In Threes are back with a mind-mending, strings-laden disco masterpiece, 'Liquid Star Duster'. A nimble modern disco cut whose no-more, no-less agility would fail to charm few discothes, we can vouch for this one's function on the dancefloor. Drop it in your next set and neither you nor your crowd will be displeased. Towards its latter end, 'Liquid Star Duster' even comes peppered by sprung electric finger-plucks of the most talented type, an unusual feature for a disco tune of its kind. B-sider 'Sippin' After Midnight' lowers things to a beanbag pace, posing with its hands behind its head as wah-wah exploitation funk licks and a swung peak synth line, dually lead the charge with pomp and panache.
What You Want To Be? (O Que Voce Que Apostar?) (2:09)
These Are The Songs (Esta E A Cancao) (2:59)
Review: Tim Maia's 1968 debut single, "What You Want To Be", has long been a favourite of dusty-fingered Latin music enthusiasts. Original copies, though, have long been out of the price range of most DJs and collectors. Happily, Mr Bongo has struck a deal to reissue it. The title track is something of a scorching dancefloor-treat - a boogaloo-era slab of Latin funk in which Maia and chums sing in English atop a bustling rhythm track and some seriously heavy horns. B-side "These Are The Songs" is a much more relaxed and laidback, samba-soaked affair, closer in tone to early 1960s U.S soul songs of the sort regularly covered by the Beatles early in the career.
Review: Mako & Mr Bristow return with Stank Soul Edits Vol. 7, delivering two soul-infused sister-funk tracks. 'One Sweet Bomb' enhances the original's arrangement with added bass and drum elements, aligning it with the golden age of soul. On the flip side, 'Why Do You Bass Me Up?' transforms an uptempo funk pieceioriginally lacking a basslineiinto a dancefloor-ready banger, thanks to contributions from former Big Boss Man bassist, The Hawk.
This duo really know how to revitalise classic sounds for contemporary audiences.
Review: Two powerful bossa nova workouts from 1972: Brazilian chanteuse Rose Maria delivered two incredible funk jams on Tapecar which escaped her prolific album releases and never enjoyed a repress. Until now... The Afro-Latin soul of "Deixa Nao Deixa" is all about the sudden dynamic from purring verses to emphatic, harmonic chorus while "Avenida Atlantica" takes a more straight-up funk route with its dominant horns and heavy boss break. Instant party material.
Review: The wonderful Brazil 45 series from Mr Bongo is back with its big old torch to shine a beam of deserving attention on two standout funk and bossa nova tracks from Rosa Maria, which originally came in 1972 and have remained in demand ever since. The A-side, 'Deixa Nao Deixa', blends Afro-Latin guitar, wild horns and percussion with infectious vocal harmonies that all coalesce into a Brazilian funk classic. On the B-side, 'Avenida Atlantica' delivers alternating funk and bossa beats beneath layers of vocals, horns and percussion to bring big energy and dancefloor-ready heat. This reissue ensures these timeless tracks become available for your rotation once more.
Review: London based multi-racial 8-piece Maroon Town formed 30 years ago. Their impact was immediate as they were the first collective to mix up ska, reggae, funk, hip hop, rap and Latin music. Their fresh sound came with conscious and uplifting lyrics and came with an extra seal of approval thanks to production by John Bradbury of the Specials. The band played all over the world, had tune synched to major Hollywood films and dined deals with Dr Martens. They still play the festival circuit and now comes a reissue of some of their pre-2000's material with these two high energy steppers primed and ready to make you move.
Review: Just a month after dropping their first 7" in the form of a sweet and funky version of classic hip-hop joint from the 90s, Alloy Cuts is back. Once again, Booty Hall is involved this time facing off against Carla Marshall, a known talent from the roots and reggae world. The resulting sounds start with 'All Night Champion', which has raw and dusty breaks, old school stabs and funky drums topped off with a mix of early hip-hop vocals and soulful coos. 'Champinstrumental' on the flip cuts back the vocals to a more direct dance floor instrumental.
Review: Stix Records is the sub-label of superb French outlet Favorite Recordings, and it is reserved for heavy dub cuts. This one finds label regular Mato reworking a classic reggae roller first written by Kool & The Gang. His gorgeous version is perfect for hot summer nights with its languid Fender Rhodes leads and sun kissed beats. It's loved up and perfectly, frankly. On the flip is a reggae rework of Bill Withers', who is sadly no long with us, 'Use Me,' repackaged with a playful harmonica lead and more grinding chords over the gently tumbling beats.
Review: After two 45s on Les Disques Bongo Joe, Dutch Afrofunk space cadets make their debut on Soundway with their first full EP. Hurling all their roots and inspirations into a heady, bewitching brew of west African, Columbian, Caribbean, Latin and all-round cosmic fusion, the results are four slabs of world funk gold. "Down In The Basement" updates highlife styles with a salubrious big-bottomed disco twist, "The Opposite" ups the tempo with a little more cumbia charm while "Continue The Fun" adds a dub mentality to the mix as we're chugged to oblivion with heads down introspection. Finally "Tuto Bay" closes somewhere on a Cuban beach with rum-warmed harmonies. Beautiful.
Review: The Mayberry Movement's 'I Can See Him Loving You' is a Northern Soul masterpiece that was supposed to be released in 1974 but ultimately never was. Why, no know can work out, because it is such a lovely tune it would have been a real classic. This take on Ray Dahrouge's original song is drenched in heart-aching soul with uplifting grooves helping to ease the pain. It has a grand and steamy finale, too and is backed with a lively B-side balad to swell the heart. A real doozy that finally sees the light of day.
Review: For those of a certain age, Gwen McRae's "All This Love That I'm Givin" will always evoke memories of Cassius' French Touch classic "Feeling For You", which sampled it heavily. It remains a killer record in its' own right, though, as this timely reissue proves. Originally released in 1979, it sees McRae at her powerful best, delivering a potent message to an errant lover over a killer, low-slung disco-funk groove. It's one of the tracks that should really be in any discerning funk, soul or disco DJ's collection. Flip for original B-side "Maybe I'll Find Somebody New", a breezier chunk of laidback soul with a slightly Southern lilt. It's good, but pales into insignificance compared to the brilliant 'A' side.
Review: Medium Wave Band's 'So Tender' is a smooth, late-night jazz slow jam with sultry, soulful vocals that feel oddly familiar. The B-side, 'Games (Instrumental)' delivers a perfect example of Britfunk and UK jazz-funk with a bass-driven groove reminiscent of Elite Records releases. Surprisingly, this 7" was a private press by the band and not released on a label. The lineup featured Elliot Browne, Ron Lyseight, Andrew Proverbs, Tony Peart, Paul Snook, Linton Levy, and the stunning vocals of Jaki Graham, best known for her hit 'Could It Be I'm Falling in Love.' Only 200 copies were pressed, mainly sold in Birmingham, and so this is a cult classic for many and a welcome reissue.
Review: Medline is on a mission to serve up his own fresh cover versions of well known tunes from the movies, library music vaults, jazz funk scenes and worldwide rare grooves. He is one man who plays flute, guitar, keyboard, pads, drums, percussions and violin and lays down each part of the tune and then puts them all together with some extra studio touches at a later date. He mixes the music himself so that it is live sounding and vibrant, and then shares it with the world. These latest two cuts are heavy Afrobeat gems with cosmic synth work, psyched-out melodies and jazz invention that makes them captivating in the extreme.
Review: F Spot kick off their year with a fresh new release from fresh new funk pushers, Mestizo Beat, emanative of the MagaNa Brothers's hillside studio in Topanga, CA.. Coming at the sound with a distinctive Afro-Cuban bent, this 7" flaunts the natural ends of their particular sound: 'She's A Rose' packs a beautiful brass section and charms the listener with it's extended pre-chorus section. 'Lotsapoppa', meanwhile, minimizes the sound with a simple kick, bass, and djembe groove to start with, before launching into a dynamic Afro-disco infection, the collaborative patients zero, one and two being Steve Haney of Jungle Fire on drums, Jason Cressey of the True Loves on trombone, and Jesse Audelo on arrangement.
Review: MIA's latest single, Crime of Passion, picks up where her last hit left off, delivering another dose of sultry funk with producer Gil Masuda. With deep bass and a groovy vibe, MIA's silky voice weaves a tale of compassion and desire over an up-tempo 80s-tinged boogie beat. The track's infectious energy is sure to get listeners on the dance floor, with lyrics like "Am I your shining diamond, baby, kryptonite?" enticing them further. On the flip side, 'Love Bug' offers a chill roller skating jam with lush Rhodes chords and warm synth tones, perfect for anyone who's ever been in love. Released on Love Touch Records, this single hints at the possibility of a long-awaited debut album from MIA in the near future.
Review: There is no rest for the good people at Super Disco Edits - they ended 2021 in fine fashion and kick off 2022 on just as strong a footing. This time out they serve up a superb slice of soul originally recorded in 1971 by The Michicgans, who crafted it in the Don Davis studios and had it engineered by the late great Ed Wolfdrum. 'Look At My Back Wheels' has drums to die for - they're dumpy and well defined yet loose, with unique vocals up top with a raw blue eyed funk. Flip it over and you will find the slower, more romantic soul sounds of 'It's All Coming Back to Me.'
Review: A serious piece of soul sampling history right here. "Evil Vibrations" is instantly recognisable thanks to De La Soul's "A Roller Skating Jam Named Saturdays". Fast-paced boogie blessed with swooping sugar harmonies, it still sounds as smooth as it did when originally released in 78. Touching stargazing ballad "The Star Children" was even more popular with the hip-hop set scoring cameos on cuts by both RZA and Mobb Deep. Both cuts are taken from the album Help Us Spread The Message. Criminally it's their only LP!
Review: Athens of The North delivers once again here with another delightful reissue of a soul classic by Bernetia Miller And The Soul Groovers. An original of this Georgian gem is insanely rare and in fact the Athens boss himself has never actually seen a copy. It was recorded in the studio of Phil Walden's studio in Macon, Georgia and Bernetia herself has said it took many takes and plenty of hard work to get the result they wanted. Backing band The Soul Groovers had their own bus on which they toured plenty and this reissue is from the master tapes owned by Bernetia. 'You Can Tell Me Goodbye' has lo-fi drums and raw horns with a yearning vocal while 'I've Gotta Keep On Lovin' You' is more slow and steady and emotionally moving with a more tender vocal.
Review: Eddie Carmichael started Mirror having left his previous band The Voshays when he caught their manager stealing. He formed it with Derry Shepherd, Sandy Ficca, Duncan Bethel, bass player Dave Segal, Bob Groszer on keys and Flynn Emanuel to play trombone. They were regular performers on Miami Beach and recorded only a few tunes, but what tunes they were. It is said that had the band had a better manager they could have gone on to be one of the best of their era. Either way, at least we have these two dazzling disco and soul gems.
Review: Deified disco editor Mister Mushi breaks from his own Mushi 45s faction for a diplomatic dance-over with fellow sonic saucerers Disco Donuts, whose third volume in a series hammers home two more spacey soma-uplifts. 'Expansions' of course jazz-funk clarion call 'Expansions' by Lonnie Liston Smith & The Cosmic Echoes, whose importuning "expand your mind" motif will never leave us. And of course, there's 'Ghetto Passion', an unknown remix to us, yet whose beats are so punctual that they could pop an iron ballon; this is a raw, clear and seething analogue sound, a style which many disco artists have tried to emulate since.
Review: Originally released in 1983, this cult disco gem by The Mobley Gang AKA Dennis Mobley, is a true collector's item with secondhand copies fetching up to L400 quite frequently. Remarkably, it was the only track ever released under this alias and was written by Mobley and produced by Dave Ogrin and Lou Gonzales. Now, it returns on translucent pink vinyl with a classic black edition also on offer. The A-side version is a boogie-fried disco bomb packed with sizzling synths, punchy drums and expressive piano lines. The club mix strips it back into a funkier, more hypnotic groove that's perfect for instant dancefloor gratification.
Review: Ukrainian jazz singer Mona returns with a powerful funk 45 following last year's breakout 'Moya Vode' (or 'Sweet Water'). Fusing ancient folk traditions with modern cypher culture, this one delivers a message of unity and resilience while rolling on tempting grooves. Jazzy breakbeats, soaring horns and relentless clavinet and guitar riffs create the dynamic foundation for Mona's radiant vocals while loose piano and sax add a fresh live-jam feel. The vinyl edition features an exclusive instrumental version, with a Moog stepping into the lead and adding a different vibe.
Review: REPRESS ALERT!: Funkyjaws Music is back to make your body move with the latest instalment in its ongoing edit series, Let's Dance, this time with a sixth sizzling volume. Monsieur Van Pratt's loose and languid 'Besame' opens up with some gorgeous strings and funky guitar licks then Kiko Navarro brings a rich Afro flavour with the shuffling and percussive rhythms of 'Bosinga'. Bogdan Ra's 'Get On The Floor' is a fresh take on a disco classic with irresistible vocal charm and swooning pads. Last of all, Zaffa demands you 'Shake It' and you surely will as he layers up wet claps, sliding hi-hats and lively drums into a big-hearted party starter.
Review: Mr Doris steps up with D-Funk Heat, a release that comfortably balances retro flair with modern groove. The production is sharp, with funky basslines that immediately grab attention, while the crisp drums and infectious synth lines keep everything fresh. Doris's ability to blend dancefloor-ready energy with nuanced musicality shines through, making this a record that's both playful and rich in its sonic textures. There's a sense of ease throughout, a laid-back confidence that invites listeners to move while staying fully immersed in the groove. It's a nod to the past with eyes firmly on the future.
Review: Whenever you next need to select your dancefloor arsenal look no future than this first volume of battle weapons from the French label of the same name. It's a super tidy 7" with two very different sounds on each side. The first is Mr Doris & D-funk's 'New York Kiss' which is a low slung hip hop joint with East Coast bars and psyched-out guitars. The flip is a mix of two classics to give rise to a new funk sound that is brilliantly irresistible with a killer Clash bassline.
Review: The new batch from the bottomless edit archives of Danny Krivit is an uptempo, guitar-heavy excursion into two cuts of danceable rock from opposite sides of a decade. The sound is crisply remastered for club play, and stretched over the breadth of a 12-inch single. Both of these tracks are appearing on the long-format player for the first time.
Review: Danny Krivit remains in a class of one when it comes to meticulous and masterful edits of classics. He puts out a fair few of them too, but the quality levels never dip, as is the case again here when he throws it back to the energy of his native New York's most legendary dancefloors. Opener 'Flying Machine' by War was originally composed for the 1978 film Youngblood and is a dramatic Latin-infused instrumental packed with swirling flutes, fierce perc and a breakbeat that's fuelled countless Afro house tracks. It's a fiery dancefloor weapon that hasn't been on 7" before and it comes backed with 'How Much Are They', which dives into deep dub territory with help from post-punk legends Jah Wobble, Jaki Liebezeit and Holger Czukay. It's a real mind melter packed with mad effects.
Review: The one and only Mr. K presents a two-sided treat here starting with Janice McClain's underrated 1983 disco track and featuring a smooth, laid-back groove that blends steppers vibes with mid-tempo Philly soul. Written by McClain's uncle Milt Tennant and Thom Page, it captures a classic sound that is further enhanced by McClain's heartfelt vocals. This edit trims the rare 12" version for a 7" debut with pristine sound and the B-side flips to a fresh take on 'Brazil', which was a 1975 hit by the Ritchie Family. Mr. K's edit extends the vamp section, offering a full, uninterrupted four minutes of irresistible disco joy.
Review: The legendary edit king Mr. K is back with more of his trademark sonic treatments here, this time focussing on some lick funk sounds from the Motor City. His mid-tempo selections on this Detroit-themed 7" open-up with G.C. Cameron, a Motown mainstay with a wide vocal range as demonstrated on this classic rare groove cut, 'No Matter Where.' On the backside is more rare groove from Detroit but this time from the 80s and Candye Edwards's 'Time Is What You Need.' Edwards was part of the Detroit funk powerhouse One Way and through that got connected with songwriter and multi-instrumentalist Kevin McCord. They cooked up real gold together on a solo debut album with this being the standout cut from it. Perfect for warm outdoor dancing.
Review: Legendary DJ and edit king Mr K is back on Most Excellent Unlimited with the latest in their essential collaborative series. As always this is a slab of wax that offers up two gorgeous cuts that have been skilfully cut down to a maximum 7" 45rpm format. The first is Luther Vandross's 'Funky Music (Is a Part of Me)' which David Bowie later reworked to become one of his many hit singles 'Fascination.' In its original form, it has rickety soul grooves and lavish stings next to the soaring vocals. The tune second is Zulema's 'Giving Up' which has a dramatic intro, Mr K remasters it and allows the rolling piano, great string ensemble and guitar sounds to really cut through clearly. Two bonafide dancefloor delights.
Review: The wonderful Mr K is back with more edit magic on his own Most Excellent label, this time adding his own spin to 'Wela Wela', a hard edge and raw funk cut from Black Blood, a band of musicians from central Africa but who were based in Belgium. This one was never a hit back in the day for some reason but is built on a killer groove that Mr K reworks and tweaks for more suitable dance floor deployment. It was formerly on his Grass Roots record but now makes its way to a handy 7". On the flip is 'Komi Ke Kenam (Fish & Funjee)' which has tough breaks and funk bass that will ensure 'floors get down and dirty.
Review: The magnificent Mukatsuku returns with another superb little package here on limited 12". It features the Afro disco sounds of Fred Fisher Atalobhor And His Ogiza Dance Band firstly on 'WTFS' which was originally released back in 1981. It's a booty-wiggling cut with myriad funky lines, squelchy synth motifs, lush chords and soul drenched vocals that bring the sunshine and party in equally playful measure. On the flip is 'Ebi Lolo' which is defined by its big brass section and loosey-goose guitar lines, bright chords and subtle funk. Two great gems once more from this on point label.
Review: DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip hop classic "How High" atop a suitably funky, lolloping beat crafted from Clavinet-heavy sections from Stevie party-starting floor-heater "Superstitioun". It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the Hip Hop vocals, is a fine re-edit of the Wonderful jam.
Review: Limited white vinyl repress.DJ Soopasoul's last mash-up was an inspired affair that saw him perfectly fuse tracks by Philadelphia Soul legends MFSB and the Beastie Boys. Here he takes a similar approach, placing the rap vocals from the 1995 hip-hop classic 'How High' atop a suitably funky, lolloping beat crafted from clavinet-heavy sections from Stevie's party-starting floor-heater 'Superstition'. It works remarkably well on the A-side vocal mix, and those who'd not heard either track would be convinced that there was no mash-up antics going on. Over on side B you'll find an instrumental mix that showcases Soopasoul's editing skills; minus the vocals, is a fine re-edit of the Wonder-ful jam.
Review: Mr Bongo's Brazil 45s series continues its consistently rich vein of form with two more beautifully contrasting - and previously difficult to track down - Brazilian soul jazz fusions from the 70s. Side A is inhabited by one of the era's most interesting individuals. Infamously censored and eventually exiled, Taiguara's chaotic flute, guitar and piano arrangement is a tight weave of melodies, counter melodies and start dynamics. Flip for the classically soul-oriented "Deixa Eu Te Amar" will bright horns, brash drums and a bold vocal from Marisa Rossi. Pow.
Review: The Globeflower Masters Vol 1 is a new Mr Bongo release that has been put together with classic soundtracks, 70s library music and cinematic compositions in mind. It was assembled in summer 2020 by Brightonian musicians Glenn Fallows and Mark Treffel who drew on their arsenal of vintage synths, pianos, 'other fun toys' and all manner of drums, guitars and bass. The result is a soothing album that will work in the dead of winter as well as the light of the summer thanks to its warm sounds, lush productions and luxuriant arrangements. A fine piece of wax, for sure.
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