Review: Afrosynth Records has become renowned for its deep dives into the colourful, synth-heavy world of original South African disco, boogie and bubblegum. They're at it again here, offering up a fresh pressing of "Turn It Up" by Adaye, a one-off studio project featuring members of legendary South African 'supergroup' Stimela. This edition replicates the track listing of the original 1983 release, beginning with the A-side vocal version - a driving slab of bubblegum boogie laden with James Brown style lead vocals, colourful synth sounds and delay-laden drum machine beats. The flipside "Instrumental Disco Mix" naturally strips out all but the backing vocals, instead showcasing the intricacy of the studio outfit's Prince-style guitar riffs, jaunty bass and kaleidoscopic synthesizer flourishes.
Review: A hugely exciting and thoroughly danceable new 7" from Florence Adooni, blowing any other artist who could even remotely hope to stake a worthy claim to contemporary highlife out of the park. Following up her debut single 'Fo Yelle' on Philophon, the Ghanaian Frafra Soul singer returns backed by an eight-member troupe, made up of young talents from the highlife scene of Kumasi, Ghana. 'Uh Ah Song' and its inverse counterpart 'Otoma Da Naba' are slick, clean and joyous daytime jaunts, with the former track lyrically meditating on familial and childhood themes while effortlessly pinning down a difficult-to-maintain-for-most uptempo highlife backbeat and improv. The B-side, meanwhile, pays tribute to the supreme terrestrial creator central to Adooni's native Frafra community, and centres on a heptatonic electronic, nigh acid riff and lo-fi texture with a "je ne sais qoui" that, in our view, renders it the tune of the year so far.
Review: A strikingly unique dance music project from Nagasaki producer, DJ and sound director Keisuke Yamazoe, Aflex Combo has always been an impressive project, straddling several EPs stretching back to 2002 - and all centring, in the artist's own words, on heavy funk beats and obscure jazz and Latin grooves. Jazz Roomn Records now release his cover-remix of the underground club classic 'Hibaros', originally by B&G Rhythm (Donny Beck & Steve Gutierrez, featuring Bobby Lyle). Several unusual time signatures modulate across its A-sided, dancey groove - don't be fooled, things need not settle into a 4/4 repetition to be worthy of a ball - whilst B-sider 'Something Special' lets things slack a little more, letting several, live-recorded drum loops rest on top of one another, while a sort of glockenspiel/celeste-esque instrument tinkles over the top. Something special indeed.
Mahmoud Ahmed - "Aynotche Terabu" (with Equators Band) (4:02)
Girma Beyene - "Ene Negn Bay Manesh" (2:24)
Review: The Afro 45's / Mr Bongo lineage has produced some of the hottest, most sizzling funk reissues from around the globe, and this tasty two-header from Mahmoud Ahmed - who has appeared heavily on Portland's monumental Mississippi label - and Girma Beyene, two greats of the African soul / funk heritage. Ahmed's "Aynotche Terabu" is backed by the Equators Band, and the man's voice rides like crispy waves over the dusty percussion and charging trumpets of the outfit; Beyene appears with a less moody but equally brilliant jazz-leaning piece named "Ene Negn Bay Manesh", bringing through the spirot of greats such as Mulatu and the rest of the African luminaries.
Review: AkizzBeatzz and Lego Edit join forces to mutually reinforce what they both do best: making disco edits and reworks of classic funk, soul and Afrobeat, and occassionally offering up the odd original track. The 12" 'African Groove' is a downtempo and weighty meditation on what it means to hail from the continent, with Akizz' A-side 'I'm An African' playfully laying down a diasporic big beat excursion, replete with regional instrumentation and defiant political vocal samples. Lego Edit's 'Sahara Adventures', meanwhile, works a chugging beat around a central algaita line.
Review: Back in 2017, Four Flies Records unearthed and released a previously unheard "Afro-cosmic funk" EP from Italian soundtrack and library music legend Alessandro Alessandroni. Three years on, they've decided to give the 1978 recording the remix treatment. Bolissa and guests Calibra 35 kick things off with a densely percussive, out-of-this-world take on "Afro-Voodoo", before Pad re-imagines "Afro Darkness" as a chugging chunk of beatdown-disco laden with colossal chords, arpeggio bass and intergalactic electronics. Over on side B the "Jolly Mare Lifting" version of "Afro Discoteca" is a veritable leftfield disco stomper notable for its low-slung bass and spacey Moog lines, while Luca's "Quirky Version" of "Afro Darkness" is the kind of hallucinogenic, Marimba-tinged number that you can imagine Daniele Baldelli playing at the Cosmic Club circa 1981.
Review: Original Gravity's very own identity-invention Nestor Alvarez returns with yet another two new and hot Latin funk productions. 'Plata O Plomo' takes its namesake from an old Spanish adage, literally translating to English to mean "silver or lead", implying that the recipient of the phrase must either accept a bribe or lose their life. In keeping with this heavy-handed theme, the track is punchy and surface-tense as a bullet yet to exit the barrel. Meanwhile, 'Reality For Nuttin' gets at an equally nihilistic and existential theme, all while finding joy in the conundrum of life with huge rhythm guitars and pop-out pianos and brasses.
Review: Nestor Alvarez's Midnight in Havana on Original Gravity delivers an electrifying Afro-Cuban instrumental jam that transports listeners to the vibrant streets of Havana. With a mesmerising flute lead and dynamic jam sessions, the track exudes a captivating energy that feels like a theme song for the city's bustling nightlife. The infusion of Cuban soul adds depth and authenticity to the music, immersing listeners in its rich cultural heritage. On the B-side, Alvarez offers a creative cover version of the Happy Mondays' 'Kinky Afro,' reimagined with a Cuban twist. The fusion of Afro-Cuban rhythms and the iconic melody of the original song results in a fresh and exciting interpretation that showcases Alvarez's versatility as a musician. Fans of Latin and Cuban dance music are sure to eat this up.
Review: The saying goes that no one likes a tattle tale, but any self respecting funk collector would be hard pressed to give up on the chance of owning this latest dinker of the same name from the esteemed Antibalas collective. Composed by crew member Victor Axelrod, "Tattletale" has been a long term fixture of live sets by Antibalas and it's great to see them finally commit it to seven inches of wax. Laid down during the recording sessions for their last Daptone long player, its spread across two parts on this seven and is a sublime slab of Ethiopian funk that sees Antibalas doffing their collective cap to '70s pioneers Mulatu Astatqe, Wallias Band and Mahmoud Ahmed.
Review: Comprised of Uhuru Dance Band members Ebo Taylor and Gyedu-Blay Ambolley, The Apagya Showband only delivered a handful of releases but they're all worth digging out. Mr Bongo have started the excavation with these two 1974 vintage licks; "Tamfo" is concentrated uplift with big horns and an unescapable highlife guitar lick. "Mumude" is a deeper, drum-heavy jam that switches suddenly with the help of big organ splashes and sermonised spoken word.
Review: ARN4L2's first-ever solo vinyl project is a doozy. Across five cuts he looks to the dance floor from his own unique perspective and mixes up Congolese soukous, Colombian Bullerengue, Nigerian highlife, Caribbean soca, and good old house music. His style is colourful and psychedelic and it really is fresh across the hurried, skittish percussive rhythms of 'Rompecuero' and deeper Afro-funk and soul of 'Caribe.' 'Kampangola' brings great instrumental displays and 'Papasukus' is pure summer music. A super strong EP from an artist well worth watching this year.
Review: You always know what you are going to get from Mr Bongo's Brazil 45 series and that is pure fire in musical form. This 100th release suggests the label has no intention of slowing down nor is it running low on top source material. This one from As Meninas on the A-side has beautiful female vocal-group arrangements with flutes that soar up top and plenty of ass-shaking samba shuffles down low. It's a tune that oozes soul and charm and was first released back in 1967. It's a super sweet but short song that is backed with 'Brasileiro' on the flip. It's taken from Jorginho Telles' self-titled 1971 album on Copacabana Records and mixes up raw guitar sounds with r&b vibes into something unusual and alluring.
Osmar Milito E Quarteto Forma - "America Latina" (2:46)
Review: A tale of two sides, Azimuth's classic "Manha" should be recognisable to many; taken from their self-titled LP in 1975, its golden harmonies and lavish, lolloping Bob James style jazz are as timeless as they were 40 years ago. Flip for "America Latina". Conjured by prolific collaborator Osmar Milito (whose discography features the likes of Sammy Davis Jr, Spanky Wilson and Liza Minelli), its striking, sing-along charms are no accident... It was actually created for 70s Brazilian soap opera Selva De Pedra.
Review: Reserved for Record Store Day comes this exciting new doublet from brilliant Brazilian jazz-funkers Azymuth, in the form of both an extended mix of their enduring major hit single from 1979, 'Jazz Carnival', and a fresh remix by Yambee, the duo of Ashley Beedle and Yam Who?. The original track was a rare slice of instrumental funk music, dare say instrumental music at all, to climb the UK charts and remain in its upper echelons for a solid twenty weeks. Though its initial popularity was lengthy, it has since then gone underground, becoming a throwback favourite of the likes of Kerri Chandler, Mr. Scruff and Gilles Peterson, to name but a few icons to play it back out over the years.
Review: Indonesia-based Babon was founded in 2023 by longtime friends Wahyudi T. Raupp and Rayi Raditia and craft instrumentals addressing environmental issues. Their sound fuses Melbourne's vibrant music energy with dangdut rhythms, gamelan percussion, and melodic keroncong folk styles. Here they debut on Batov Records with the wonderful 'Tropical Desert Music' which blends Indonesian traditions with Afro-Latin funk, Morricone-inspired grooves, Bollywood breaks and blues. It's the sort of sound that is perfect for fans of Khruangbin or Sababa 5. The A-side 'Desert Rose' is a spaghetti blues anthem, while the flip 'TNT' tells a miner's tragic tale through cinematic, explosive instrumentation.
Review: Bjorn Wagner's Bacao Rhythm & Steel Band combo recently returned from a two-year hiatus with a killer new album, "The Serpent's Mouth". It's that set - a glorious fusion of funk, soul, disco, jazz and Trinidadian steel band music - from which these two top tracks are taken from. A-side "1 Thing" is particularly glorious. As one quick listen to the clips will confirm, it's a riotous instrumental cover of the Amerie R&B classic of the same name, which replaces the singer's vocals with ear-catching steel drums. The same killer combination of flash-friend funk guitars, bustling drums and tropical steel drum sounds can also be heard on B-side "Hoopla Hoop", which also boasts some suitably fuzzy horns.
Review: Afro 45's / Mr Bongo show no signs of stopping their tireless run of form and, 7" after 7", they just keep on producing the goods. There's yet more '70s goodness with this new little scorcher: the A-side is 1973's "Tessassategn Eko" by Bahta Gebre Hiwot, a pensive Ethiopian pop hit for all sorts of music fans to enjoy, but "Ayalqem Tedqem" by Alemayehu Eshete on the B-side is where it's at... just listen to that bass and you'll instantly recognize this wonderful little cover.
Review: Cheb Bakr's latest release reflects the rich interplay of North African tradition and modernity. Rooted in rhythmic Arabic melodies, the tracks blend warm, soulful instrumentation with a contemporary edge. The production draws from Libyan pop's energetic pulse, merging traditional sounds with subtle nods to r&b and hip-hop. This is a striking example of how regional influences can be reinterpreted for new audiences while retaining their cultural depth and vibrancy.
Baile De Mascaras (Jamz Supernova & Sam Interface edit) (5:35)
Baile De Mascaras (Jamz Supernova & Sam Interface remix) (6:12)
Review: This release is a story of serendipitous stars aligning. Having released Bala Desejo's anthemic single, 'Baile De Mascaras', back in May 2023, Mr. Bongo could sense that they had a summer classic on their hands. The label always thought that it had the potential to find fans in a dance music audience; and in a further twist of fate, the sensational DJ, producer, and radio presenter Jamz Supernova recently graced their Great Escape in-store event with a phenomenal DJ set. After some feverish digging and emailing to her team, Bongo discovered that she was a fan of the original song and had made a personal edit to play in her DJ sets. Gilles had heard Jamz spinning the edit and asked for a copy, and by sheer coincidence and good fortune, it all fell into place. The track is a beast of an edit that gets heavier and deeper as it progresses.
Review: In 2011, Banda Achilifunk & OJO served up Gitano Real, one of the year's most essential albums. It was caned far and wide by funk lovers, in particular Craig Charles on his 6 Music show. Now, two cover versions taken from the essential album have been pressed to limited edition translucent yellow vinyl. First up, 'I Believe in Miracles' is an overwhelming take on the Jackson Sisters classic with plenty of happy Latin vibes and rumba funk rhythms. Flip it over for a more abstract version of McFadden and Whitehead's seminal 'Ain't No Stoping Us Now' which is a soulful disco number packed with sunshine.
Review: For the latest release on their on-point Brasil 45s sub-label, Mr Bongo takes a trip back to 1977, and the early days of legendary fusion outfit Banda Black Rio. Both the cuts here are taken from the band's brilliant debut album, Maria Fumaca, and see them fusing Brasilian samba and jazz sounds with the righteous, dancefloor-friendly grooves of funk and disco. "Maria Fumaca" itself is a deliciously sunny and sweaty affair, with punchy horns, eyes-closed guitar solos and jazz-funk electic piano lines rising above a carnival-ready samba-funk groove. The U.S funk influence comes to the fore more on flipside "Mr Funky Samba", which sounds like Azymuth jamming with members of the T.K Disco, Philadelphia International and Salsoul house bands. Yep, it's that good.
Review: Bongo Joe and Sofa Records' third instalment of the Maghreb K7 Club Disco Single series dives deep into Algeria's vibrant 1980s scene, offering four tracks that shine a light on the region's overlooked gems. The A-side is led by two irresistible pop-boogie-funk tracks from Khaled Barkat: 'Galouli Enshara' and 'Zourini'. Self-taught and self-produced in 1983, Barkat's music was a hit at the time but got overshadowed by the rising tide of rai. His dynamic collaboration with Yazid Fentazi, Redouane Ayoub, and Mhenni Benlala resulted in a sound that blends infectious grooves with local flair. Now, for the first time, these tracks are on vinyl, offering fresh ears the chance to rediscover a key player in Algeria's pop history. Cheb Tati takes over on the B-side with 'Dub El Hammam', a heavyweight dub number that showcases his range as a rai vocalist. Tati was flown to London in 1989 to work with dub pioneer Denis Bovell, and this track is a standout from their sessions, merging the pulsating rhythms of reggae with a distinctly North African flavour. Closing out the release is the Kabyle band Asif, whose only known recording, 'Tafsut', serves as a fitting finale. Formed by three brothers in Lille during the late 70s, this beautifully crafted pop-boogie track captures the band's unique sound, bringing a sense of nostalgia and triumph to the collection.
Review: This 2024 edition marks the return of Joe Bataan, via the same track that made his name in 2004. Vampi Soul first welcomed the Latin Soul king to the label two decades back, facilitating the release of his 2005 album Call My Name. The pre-release singles for the album were 'Chick-A-Boom' and 'Cycles Of You', packed onto a single 7"; these quickly became DJs' favourites and have thus since remained long out of print. As it was twenty years ago, 'Chick-A-Boom' is a simultaneously upbeat but ghostly track, with Bataan's vocals quadrupling up in a wall of sound while providing the vibe equivalent of a Jackie Chan flick. 'Call My Name', meanwhile, goes heavy on the clavichord and synth whistle, as Bataan revels in a funereal theme, dancing, thundersticking into the great beyond.
Review: ,Joe Bataan has been busy in East L.A. with Orquesta Rene for this new Latin jazz double 7" courtesy of Steady Beat. It features four all new pieces drenched in soul and percussion, starting with 'So Fine' (feat Big Sandy), a mid tempo groove with vocal longing and languid horns. 'Mestizo' is a more steamy and intimate piece with sung-spoken lyrics and glowing, golden chords. 'Mom & Dad' (feat Claudia Lennear) has s steamy shuffle to its rhythms and classic Latin percussive sounds next to a call and response vocal and 'Time After Time' closes with a sentimental feel.
Macchianera & Mattia C - "Quack Quack" (feat Mattia C) (4:35)
Review: Incognito Trax is back to drop a fifth bit of heat with this new and heavily limited 12". Once more it is a various arts affair that explores a disco tinged brand of house and tech. BB opens up with 'Zap Revelation' which has lovely vocal coos over raw beats that hark back to early Chicago house. LV's 'Faccia Gialla' has a Latin feel thanks to the lead horns and the percussive grooves and LV's 'Dream On' then goes deep with indie vocals over guitar laced grooves. Macchianera serves up the final two jams, first solo on the loose limbed 'Alle' then with Mattia C on 'Quack Quack' which is a more jazzy jam.
Curumin Chama Cunha Ta Que Eu Vou Contar (Todo Dia Era Dia De Indio) (3:43)
Rio Babilonia (4:50)
Review: Number 80 in Mr. Bongo's Brazil.45 series shines a spotlight on two iconic 80s tracks by Brazilian legend Jorge Ben. The A-side features the infectious groove of 'Curumin Chama Cunhata Que Eu Vou Contar (Todo Dia Era Dia De indio)' from the 1981 Dadiva album and paying tribute to Brazil's Indigenous tribes. On the flip, 'Rio Babilonia' delivers a classic Brazilian-boogie vibe that celebrates life in Rio, its beaches and landmarks. Originally released in 1983, the track showcases arrangements by the legendary Lincoln Olivetti.
Review: Betty & The Code Red is a life and creative partnership between Benin-born Tunde Obazee and his girlfriend Betty. The pair grew up in Nigeria and would play all manner of instruments to entertain people at the local school before staying together as they went on to live in Italy and the US. Obazee performed at colleges and universities despite no formal training and eventually recorded a selection of tunes together including a small album on relatively new bits of gear like the Yamaha RX7. Especial has collated some of their best work across two new EPs, this being one of them.
Review: There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.
Review: Dan Boadi left his native Ghana to take his highlife sound to American audiences after he had his 1967 breakout debut 'Abrabo'. That was a regional hit and soon after came this tune which was recorded at Paul Serrano's studio in Chicago. It showcased the real breadth and depth of his sound as it called upon reggae, acrobat, halide and funk to demand your ear with a chugging drum groove. Add in the colourful orchestration that makes the tune soar and a you have a record that is a true musical melting pot that stood Boadi pat in his new home of the Windy City.
Review: A while back, Africaine 808's DJ Nomad contacted Favorite Recordings' chief Pascal Rioux about a killer track he'd been given some years back - an obscure, previously CD-R only fusion of modern Gwo-ka and Zouk by Esnard Boisdur entitled "Mizik Bel". Rioux was excited by what he heard and agreed that the track should come out on vinyl, accompanied by a fresh rework by Nomad and Dirk Leyers as Africaine 808. Boisdur's original version (side A) is rhythmically dense but also cheery and life affirming, with celebratory chorus vocals and 80s zouk style synth lines subtly rising above a busy, all-action groove. Arguably even better is the sub-heavy Africaine 808 mix, which brilliantly re-imagines the track as a tasty chunk of tropical house/disco-zouk fusion.
Review: German-Ghanaian group the Polyversal Souls have previously collaborated with a number of bands and solo artists from West Africa, so this hook-up with Northern Ghanaian outfit the Bolga All Stars - a collective made up of leading local kologo and frafra-gospel singers and musicians - should not come as much of a surprise. Separated into two parts for the seven-inch release, the track blends the Polyversal Souls' lolloping, late '60s style Afro-funk grooves - complete with fuzzy, period style production - and sharp horn section with glistening guitars, snaking solos and fine vocals from the Bolga All Stars. It's one of the Polyversal Souls' finest releases yet, and that's saying something.
Review: The reissue of Joao Bosco's 'O Ronco Da Cuica' alongside Antonio Adolfo E A Brazuca's 'Transamazonica' captures a slice of Brazil's musical brilliance. Bosco's track, originally from his 1976 album Galos de Briga, pulses with vibrant cuica rhythms, soulful vocals, and delicate acoustic guitar. On the flip side, Adolfo's 'Transamazonica' is a stunning piece of Brazilian jazz fusion, rich with dynamic instrumentation. This release brings these timeless Brazilian gems to a new audience, reintroducing their infectious grooves and intricate musicianship.
Review: American born/Colombia-based producer Ben Woods aka Bosq, and Benin-born vocalist/guitarist Leon Ligan-Majek aka Kaleta follow up on the success of their recent collaboration with Purple Disco Machine, and build on their nearly 10 years of working together with their new Afro disco number 'Ipade'. It features Kaleta's trademark chants and exclamations in a mix of Yoruba and English, over sleek rhythms, a ripping horns section and one funky bassline. Over on the flip, get down deeper into the groove with the lo-slung swagger of 'Ariya Tide'.
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