Back catalogue: International

Review: Another weighty slab of Ethiopian music history from Mr Bongo... First up is the hugely influential fusionist Mulatu Astatke with the Latin-meets-Afro jam "Assiyo Bellema". Loaded with frenetic guitars and mesmerising drum work from Frank Holder, this was actually recorded during Mulatu's time in London. Flip for an equally influential force in Ethiopian music: Soul Ekos Band affiliate Teshome Meteku with a more traditional local sound, Teshome's yearning insistent vocals wrap around the horns and tight drums like fog around a mountain. Captivating.

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: Those with a deep knowledge of Berlin's Ghanaian ex-pat "burger-highlife" scene may already be familiar with Lee Dodou, a singer who recorded a number of classic singles and albums during the 1980s as part of bands Georg Darko and Kantata. He retired from music in 1991, but has been persuaded to return to action by the Philophon team. This comeback single is pretty impressive all told, with A-side "Basa Basa" - a triumphantly celebratory chunk of 1960s "concert party" highlife rich in punchy horn lines and Dodou's full-throated vocals - being joined on the flipside by the slower, synth-laden "Sahara Akwantou". Brilliantly, the label describes this as "kraut-life" due to its unique (and rather good) fusion of highlife and German kosmiche.

Review: Jaribu Afrobeat Arkestra are an entirely unique phenomenon, a Japanese collective pushing forward Neo-Afrobeat with heavy influence of the classic Japanese jazz sound and the long tradition of covering iconic western soul/funk tracks. Aretha Franklin's 'Rock Steady' is a collaboration with fellow Japanese artist Tina (aka Luv Tina), a decorated vocal powerhouse in the early 2000s R&B landscape, culminating in a mind-boggling genre mashup that defies expectations. The J.A.A. chorus section matches Tina's power perfectly with the blaring jazz instrumental, with phenomenal sax and trumpets. Swipe this coloured reissue before it goes again, you have to hear it to feel it.

Review: Time for some Brazilian psychedelic boogie straight from 78. Erstwhile lead singer in Os Mutantes, with a personality thrice as big as the soaking wet bassline on "Agora E Moda", Rita Lee is no stranger to her motherland - even now. Flip for a huge soul injection courtesy of Pete Dunaway. Sounding English in every direction (from his name to his lyrics to the stunning, string-coated arrangement) he's actually Sao Paulo born and is a renowned multi-instrumentalist. Check this and you can tell in an instant. Stunning.

Review: The Sorcerers have been a mainstay of the ATA Records imprint since it was founded in their home city of Leeds back in 2015. Here, the Yorkshire combo, whose primary influences have always been Ethopian "Ethio-jazz" and obscure European horror soundtracks, return to action with a heavyweight dancefloor workout. In truth "In Search of Sha Hulud" is a far more funk-fuelled affair than you might expect, with exoitic Middle Eastern melodies and fluttering flute solos rising above killer drum breaks and a seriously heavy bassline. Turn to the flipside for "The Anderson Spectrum", a pitched-down, 1960s style library funk jam credited to The Yorkshire Film and Television Orchestra, which appears to be another project helmed by leading members of the Sorcerers.

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 brilliant Jimi Tenor is adored in the scene by those how know his music. For over 30 years now, his discography shows his work for him to be labeled a genius. 'My Mind' was a track that was included on his 1999 album Organism. This new version is more akin to his recent live performances of it across the world in recent tours. This version is a bit rawer but doesn't lose the smoothness of the original. A classic of his discography and a signature song of his concerts, you get a glimpse into what makes Jimi Tenor once of the most beloved personalities in electronic music history.

Review: Rich gutsy soul from a man who's regularly described as Brazil's James Brown, "O Journalerio" is a blueprint funk jam. Released in 1971 (on his hyper-rare album BR-3) it's all about the orchestrated swing, bluesy groove and Hammond licks so lavish you need to towel on every listen. Flip for Som Tres... An off-shoot of the Sambalanco Trio, it's the sound of Cesar Camargo Mariano controlling a restrained rolling slice of filmic instrumental funk where horns, keys and drums gather momentum with big band drama. Neither have been released on 45" before, making this all the more special.

Review: Mr Bongo offers up an incredible 86th volume in the Brazil45 series, and this time it's Black Rio funk from two mainstays of the sound, Toni Tornado & Zeca Do Trombone. A-side 'Sou Negro' is from Tornado's 1970 EP on Odeon Records. It's a sought after number that despite lasting only just over two minutes still makes an indelible impression. Zeca Do Trombone & Roberto Sax join forces on the flip for 'Coluna Do Meio,' which is a more smooth, easy going jazz laced tune compared with the raw and direct a-side. This one has an acrobatic vocal and sunny riffs bringing pool-side vibes under clear blue skies.

Review: Peru has enjoyed a thriving and exciting music scene since the mid-1960s. Bands such as Los Saicos, Los Shain's, and Los York's, to name just a few, released a number of brilliant records that drove young fans crazy and set an example for many to follow. The end of the decade brought about an evolution in sound and new music, as Peruvian bands kept an eye on the groundbreaking British and US artists. One of them was Traffic Sound, founded in Lima in 1967. Over a very short period of time the band managed to successfully develop their career, and by 1971 their Latin influences had overpowered the psychedelic prog vibe of their previous records. The song became a local hit and several versions were recorded by different Peruvian artists. On the other side of this single we find Black Sugar, a Peruvian band considered to be a pioneer group in Latin America in mixing funk influences with rock and Latin rhythms. In 1976, following their gig at Coliseo Amauta in Lima, opening the night for the legendary Spanish band Barrabas, they started to show a growing interest in disco music, resulting in some line-up changes with members leaving the project due to their lack of interest in the new sound and new ones joining in. Their own take on 'La Camita' was released in 1978, and adds a modern twist to the original song.

Review: Two premium Latin funk documents on one limited 45, Mr Bongo deliver once again: Marcos Valle needs no introduction to Brazilian music enthusiasts. "Mentira" is a self-cover as Valle takes his 69 classic "Mentira Carioca" and develops the dynamic with a vocal style that's highly reminiscent of Donovan. Flip for Toni Tornado's Black Rio anthem "Me Libertei". Fusing sleazy rock n roll with jazzy Latin soul, madly this is the first time it's ever graced a 45!

Review: This latest addition to the Legofunk series is sure to precipitate somatic reactions, whether floorbound crowds like it or not. On the A, Voodoocuts pins down a massive Latin / Afro-funk boogaloo edit for 'Ray's Delight', topped off by trilling trumpets and palm-outstretched piano chords. On the B, Tommy Manero gets samplier with it, collapsing the spatial-temporal plane between breakdance and salsa for 'B-Boy Chunga'.