Review: The 3rd Generation Band hail from Ghana, recording only six tracks in their time together, all for the Essiebons label and now Mr Bongo reissue these two super rare tracks. The life affirming Afro Rhythm & Blues of "Because Of Money" was also featured on Soundway's Ghana Soundz compilation previously. It was compiled by Andrew Edwards. The band was formed in the late 70's by leader Rockson, a soldier at the time. The original record is extremely rare and this reissue is a replica 7", including the original picture paper sleeve that was carefully restored by Andrew Edwards. B side track "Obi Ye Saa Wui" is African style soul-funk, very influenced by James Brown.
All I Do (Ryuhei The Man 45 edit instrumental) (4:05)
Review: Japanese live outfit, A Hundred Birds has a thing for creating classic covers. Over the course of their career, they've recorded countless covers, including organic, string-laden interpretations of techno scene staples such as "Blackwater" (originally recorded by Octave 8) and "Knights of the Jaguar" (The Aztec Mystic). Last year they offered up another warm and wonderous cover, this time of Stevie Wonder classic "All I Do". Here it gets a new lease of life courtesy of scalpel fiend Ryu The Man, who has delivered tightened-up, floor-friendly vocal and instrumental edits of the warm, rich, soulful and undeniably summery cover version. Both are rather good, though it's the vocal version that will win over dancers.
Review: A YU MI is better known in Japanese circles as singer with rare groove band Q.A.S.B. but here, in solo mode, she servers up a cover that mixes soul, dub and funk into a percussive jam with lots of happy horns and her own icy and sultry vocals, plus a paired back instrumental in addition to a lively vocal mix
Review: A 10" featuring the finest that highlife has to offer, Crentsil was a figurehead of Ghanian music during the 70s and 80s who was introduced to highlife music at the turn of the 90s - a combination of pop, jazz, disco, and funk. 'Obi Baa Wiase' and 'Sika Be Ba' are two tracks with a close-knit message of gratitude, hope and faith between them, with the former being the staple track of Crentsil's long career after being played at weddings, festivals, and live concerts by local bands. A pair of incredible tracks produced by Charles Amoah utilising limited equipment to create an authentic party atmosphere, jovial flutes and plucky strings are the accompaniment to A.B. Entsils's proclamation of joy - put this on at the party and the room are sure to start moving.
Review: Israel's infamous Tvsia Abarbanel, a Goddess in her own right, is back on our charts thanks to the ever-impressive Fortuna Records, and the label have once again dug up an impossibly rare independent recording from the 1970s that has rarely ever been seen or smelled by even the most addicted of diggers. Much like the other 1970 recording they reissued back in 2012, Eastern Soul is Abarbanel attempting to mix traditional Yemenite sounds jazz, funk and soul, resulting in a veritablely singular sound throughout. The opening "Wings Of Love" is a moody jazz track made for the dancefloor, but our favourite is the B1, "Yahlel Hawa", an incredible display of traditional Israeli percussion, iconic singing, and the American jazz influence that just ties it all together.These won't last long. Recommended.
Review: Supreme Cape-Verdean funk from the 70s, two of Abel Lima's most distinctive cuts are re-energised by Sofrito. "Corre Riba Corre Baxo" translates to what comes up must come down... But there's no come down here; pure positivity oozes from every highlife guitar strum and the overwhelming presence of the walking bassline. "Nos Maos" is a tad more subdued as the French and Portuguese lyrics pin down a tight, horn-led Caribbean groove. Act fast: as with all Super Singles, this one is super-limited!
Review: Abelardo Carbono must be one of Colombia's most legendary artists, particularly for championing the sound of "champeta", a guitar-led style that has come to represent the South American country and its music. The Names You Can Trust imprint comes through with a glorious one-tracker by Carbono himself, alongside his 'Grupo' and, unsurprisingly, the masterful modern production of Quantic. "La Pina Madura" is a beast of a track, all built with percussive glory and the fiery South American zest that is made all the more effective by Quantic's post-production work. Slightly off-kilter and irregular in its shapes, this is undoubtedly a 7" single that you will want to bust out this summer. Blazing hot!
Review: As the title suggests, there's an undeniably humid, sun-kissed and tropical feel to Act of Sedition's latest double-dose of seven-inch re-edits. Accedo Domingo lives up to his name by adding squelchy TB-303 lines and relaxed house beats to a stirring Cape Verde dancefloor jam on "Corre Riba", before Those Guys From Athens deliver a chunky, house-style revision of a turn-of-the-80s MPB classic ("No Bola"). Over on the second "45", DJ Laurel tools up an undeniably funky disco number (the stellar "Peanut Man") before Monsieur Von Pratt makes an already heavy disco-funk number even weightier ("Lose Your Mind").
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: 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: 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: Exploring the sounds emanating from South Asia, Masaala is a new label with a fresh outlook. The first release features Manchester-based producers Raheel Khan and Adesi turning in some powerful edits that will appeal to anyone seeking invigorating sounds from further afield. Khan's twist on "Mast Qalandar" sounds like a striking version of Nusrat Fateh Ali Khan's "Mustt Mustt". Adesi offers up the lions share of the edits though, channeling South Asian sounds through grooves ranging from the fierce disco stomp of "Sansani" to the low slung funk groove of "Nah Nah Nah". "Kammata" has a more dense rhythmic complexity at its heart, and "Kuchi Kuchi" collides traditional sounds with contemporary broken beat to brilliant effect.
Atewo-Lara Ka Tepa Mo'se (Ben Gomori Juish edit) (8:32)
Ojo Je (SMBD '85 Raw Disco mix) (6:37)
Ojo Je (SMBD Rascal dub) (3:54)
Review: On this fine EP from the Sterns Edits camp, Ben Gomori and SMBD (AKA Gilles Peterson favourite Simbad) take it in turns to rework cuts from 1980s Nigerian star Segun Adewale. On the A-side, Gomori gets to work on "Atewo-Lara Ka Tepa Mo'se", wrapping Adewale's original vocals and glistening juju guitar solos over a rolling, Ron Trent style Afro-deep house groove. It's super-sweet and wonderfully summery, suggesting we'll be hearing it in more than a few DJ sets over the next few months. Simbad, meanwhile, serves up two versions of "Ojo Je": a hustling, polyrhythmic disco excursion (the "SMBD '85 Raw Disco Mix") and a far deeper and more trippy excursion rich in warm sub-bass, reverb and delay-laden vocal snippets and ricocheting synthesizer motifs (the superior "Rascal Dub").
Review: Florence Adooni's relationship with Philophon goes back some time. She was the voice of Guy One's group and featured on his hit 'Estre' while she also provided vocals for Jimi Tenor's club classic 'Vocalize My Luv'. Under her own name, she has also dropped a series of top albums that have earned her the title of "the queen of Frafra-Gospel". This super sweet 45rpm typifies that sound with shakers and hand clapping, acoustic guitars and earthy drum sounds. 'Yinne' is upbeat and sunny and rich in melody and 'Fo Yelle' is much more heartfelt and introspective. Both are great.
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: Seriously good modern high-life action here, as Philophon regular Florence Adooni joins forces with some exceptional musicians to lay down two high-quality musical treats. Our pick of the pair is superb A-side 'Mam Pe'ela Su're', a "typical Frafra-Gospel hymn" that Adooni and her accomplices have turned into a deliciously soulful and groovy slab of highlife (think glistening, Ebo Taylor style guitars, shuffling drums and righteous horns). Turn to the flip for 'Naba Aferda', a homage to the chief of her home village that offers a slightly heavier and more raw-sounding take on the highlife sound that's so jaunty and carnival-friendly that it could pass as an obscure Brazilian recording from the late 1970s.
Review: Florence Adooni has been called Ghana's Frafra gospel queen in the past, and with good reason. First single 'Mam Pe'ela Su'ure' arrived in 2021 to widespread acclaim, and she followed up on Philophon with 'Yinne' late last year. Now Adooni is back on the label for a collaboration with German artist Erobique, who is normally found making quirky synth disco cuts. On a visit to Max Weissenfeldt's studio in Ghana, he crossed paths with Adooni and so the lilting, sweetly sentimental 'Mam Tola' was created. The B-side of this single finds Erobique flying solo for 'Bach In Afrika', riding a swift beat from Kung Fu Andoh and flexing on the Hammond organ for an uptempo fusion which might well catch you off guard and make you dance all the same.
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.
Review: A warning for all us lazy catchall-ists, the concept of African music is thrown around far too readily here in the west. The continent is larger than mainland Europe, China and Australia combined and loaded with more styles than drum & bass has subgenres. Here are four more unique musical visions from the great continent; dubby highlife ("Liquid Lagos") shamanic lo-fi acid tech ("Fuji"), space disco ("Listen To The Beats Of Your Heart") and straight up wisdom ("Who Owns The Land") And if that's not enough to tempt you, all proceeds go to Human Rights Justice Group, Nigeria, too.
Rhythm Is All You Can Dance (Wolf Muller remix) (6:02)
Revanche (5:46)
Review: Africaine 808's first EP for Phil South's Golf Channel label, the double A-side Lagos, New York/Zombie Jamboree, was arguably one of the releases of 2014 - a sublime 12" that joined the dots between Konk, early Latin house, techno and Afro-disco. Hopes are naturally high, then, for this follow-up. "Rhythm Is All You Can Dance" is not as instantly effective as either of those tracks, but it's still rather special - think darting, woozy synthesizers, spitting drum machines and dense African percussion. Jan Schulte provides the obligatory remix under his Wolf Muller alias, dropping a bouncier groove whilst emphasizing Africaine 808's woozy synthesizer lines. Bonus cut "Revanche" is rather special, too, and recaptures some of the celebratory feel of last year's terrific 12".
Review: Whereas most record label prefer to revel in the idea of the finished project, a smaller cohort still prefers to play up the idea of the cutting room floor, the dubplate, the manuscript, the demo. Whilst dubstep might've revived the dubplates trend for a more contemporary listener, US imprint Disco Dub Demos (how apt) know all too well that of the earliest forms of this "rawness fetishism" in music emerged from disco. Here the label-born moniker African Duplate lays down four ultra-utilitarian tools that shoot squarely for the essence of - they name it - 'Afro Disco'. On the B-side also comes a worthy, somewhat haunting flip track, 'Come On & Groove It'.
Review: Originally released in Kenya way back in 1987, "Hinde" was the sole single from an obscure outfit called African Vibration. The track has since gone on to become something of a sought-after gem; a sparse, drum machine-driven, synthesizer-sporting jam that offers a uniquely tropical and wholeheartedly East African take on electro/synth-pop fusion. Happily, Soundway has decided to issue it on 12" for the first time, having previously included in on 2016's superb "Kenya Special: Volume 2" compilation. The brilliant original comes accompanied by a fresh Julian Dyne rework that makes more of the original's fluttering, sun-kissed synths and rainforest sound effects. It's a little deeper, dreamier and exceptionally blissful; in fact, you could almost describe it as being "Balearic".
Review: Nothing screams global music culture like a Senegalese-Japanese Afrobeat band, although listening to Afro Begue you would imagine all creative minds involved come from the mother continent. "Boula Niit Tognie" is a wonderfully expressive slice of Afrobeat in the finest tradition of the sound, all interwoven guitar twisting out complex but utterly natural sounding configurations, and a tumbling rhythm section you can happily float away to. Ryuhei The Man steps up for a re-edit on the flip that does a delicate job of beefing the track up for the club - the difference is subtle, but worthwhile, like a good re-edit should be.
Review: Edits don't get much more naked than this latest batch from the Afro Breaks camp. Both "Confusion" and "You" take an array of Fela ingredients and strip them right back to the bare carnal backbone. The results are super-spacious beat tracks coated in dubbed out flurries of activity. The lolloping bass and reverbed snare on "Confusion" will instantly hypnotise while the cut-strut guitar and percussive insistency on "You" will have hips shaking from the dancefloor right through to the smoking area. Bona fide beat treats.
The Devil Made Me Do It (The Invisible Cosmic Echoes version) (4:51)
The Devil Made Me Do It (The Invisible Astral Wave version) (4:30)
Review: Like many drummers, Alex Puddu has long been inspired by the work of Tony Allen. He pays tribute to the legendary Nigerian sticks-man on "The Devil Made Me Do It", a sumptuous dose of groovy downtempo Afrobeat laden with Allen-style polyrhythms, Africa '70 horns and lashings of eyes-closed electric piano solos. On the flip you'll find two different interpretations from Puddu. The first, subtitled "The Invisible Cosmic", doffs a cap to the Afro-cosmic world of Daniele Baldelli while retaining much of the warmth and musicality of the original mix. "The Invisible Astral" version is an altogether more spaced-out dub, with Puddu smothering the drums and horns in copious amounts of tape echo.
Review: Dutch scalpel crew AM lays down more hot-to-trot re-edits of great records you've never previously heard. This time round, label regular Afrobot is at the controls, wickedly rearranging "Percussion Grooves" from around the world. We're particularly enjoying the dense percussion and trance-inducing vibe of heavyweight opener "Soca Trance", though the wild electronics, trippy lead lines, bustling bass and delay-laden drum machine hits of "I'm Alive" also hit home hard. On the flipside, "Kalao" is a wonderfully heavy, Afro-disco drum workout - the kind of cut we could imagine the Idjut Boys hammering - while "Body & Soul" is a synth solo-laden re-work of a little known cover of a familiar disco favourite that probably originated in Africa or the Caribbean.
Review: The success of Holland's AM edit imprint lies in its founders' desire to offer up on-point scalpel reworks of thoroughly obscure but inspired tracks from around the world. Naturally, there's plenty of evidence to support this argument on the label's sixth hand-stamped 12". AM regular Afrobot kicks things off via "Turkish Dream", a fine tweak of a boisterous, Hammond-heavy chunk of glassy-eyed late '60s dream pop, before Matt Moroder gets busy with a deliciously low-slung slab of Middle Eastern post-punk dub disco. On the flip, Potentiometer rearranges a seriously heavy Turkish funk-rock workout - think Rare Earth guitar riffs, sweaty drumming and eyes-closed solos - while Afrobot takes is further into psychedelic territory via the mind-altering, Moog-boasting brilliance of "Kalk Gidelim".
Review: Two cosmic afro adventures from Lazy Robot's Tom Funk and friend Ozan Nid as they make their Afronova debut. "Whatever You Want" is a heady excursion that refuses to keep still. Coming on strong like a Smith & Mudd jam, it suddenly opens up into a near evangelistic breakdown where soaring toplines weave over a broad slow-mo highlight riff. "Keep Stepping" takes us down even deeper Balearic rabbit holes with long synth vapour trails lapping over a sedate percussive Lagosian groove.
Cumbia De ET El Extraterrestre - Rapsodia Del Chinito (2:45)
El Regreso De ET El Extraterrestre - Zaire Pop (3:08)
Review: Here's a real curio from the annals of Mexican music culture and the sprawling sound of Cumbia. In the 70s, Jose Maria Fuentes formed Afrosound as a hybrid super group and brought influences from funk, disco, tropical and salsa into the mix for a prolific run of hugely popular cambia party albums. That maybe doesn't exactly account for this rare curio from 1983 though, near the end of Afrosound's main tenure, when they reacted the global cinematic phenomenon of E.T. The Extra Terrestrial by creating a truly whacked out, synth laden freakout strapped to a smoking hot groove. It's surreal and psychedelic, but absolutely tuned up for maximum dancefloor impact.
Review: Two previously rare Julio Ernesto 'Fruko' Estrada productions on one super-juicy 45! First up are The Afrosound with a cover of The Chakachas' instantly recognisable "Fiebre En La Jungla". Throwing an array of steamy, sensuous vocal textures, it will cause some serious heat on any floor whose dancers knows the original. We remain in Columbia on the B as one of Wganda Kenya's rarest Disco Fuentes 45s gets a revisit. Heavily percussive cumbia laced with rich organ-primed funk, things get really hypnotic when the groove strips back to the insistent rhythm devices.
Review: The Spanish label Rockafort is having a busy old time of it right now. They are in the midst of a superb run of 7"s that bring the best of classic cumbia back to the fore. This one has again been taken from the vast vaults of the legendary Colombian cumbia label Disco Fuentes. The a-side is from Afrosound who were famed for a hybrid sound that came in response to the early 1970's Chicha movement in Peru and Bolivia. On the flip, it's Los Golden Boys - which believe it or not translates to The Golden Boys - with the hefty drum funk and singing guitars of 'Se Trabo La Banda.'
Review: There's not a huge amount of fact to chew on when it comes to Argentinian troupe Los Imparciales, their radical rainforest mythology and mission to make you dance doesn't give much away. But their music certainly does.... A fiery Latin melting pot of Cumbia and psychedelia, both sides follow from their previous Bandcamp foundation. "Ni Chicha Ni Limonada" (neither fish nor fowl) is a sweaty stomping brew of organs, guitars, percussion and crowded chants while "Cumbia Con Sabor" slides us much deeper into the swampy tropics with vast Hammond licks and a calypso style rhythm that suddenly switches into the snappiest flamenco imaginable.
Review: Two years on from the release of their debut seven-inch on Names You Can Trust, cumbia combo Agrupcion Ilegal Los Amparciales returns with something bizarre but utterly brilliant: a psychedelic cumbia cover version of The Beatles' classic "Norwegian Wood". It shouldn't work, of course, but it does, with the familiar melody - sung and played on electric guitars manipulated to sound a little like sitars - rising above a heavy bassline, layered Colombian percussion, reggae style organ stabs and party style whoops and hollers. B-side "Darker Shade of Black" is basically a pitched-down, beefed-up dub with the track's previously subtle reggae elements pushed to the fore.
Review: Copies of Francisco Aguabella's 1977 album "Hitting Hard" are not only extremely hard to come by, but also suitably pricey when they do come up for sale online. Fret not - Dynamite Cuts are here to help. They've decided to reissue two of the Afro-Cuban jazz/funk fusion set's most potent track, thus saving us the need to fork out the best part of 800 pounds. A-side "Ramon's Desire" - a cover of a Ramon Robes song - is suitably breezy, jazzy and positive, with glistening guitar and vibraphone solos combining wonderfully with a soulful vocal. Flipside "Casa Fuerte", on the other hand, is an all-action, high-tempo Afro-Cuban jazz dance treat, with high-octane piano solos rising above a Tito Puente style rhythm track.
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: Bahrandi-born British jazz musician Yazz Ahmed bagged a critical hit with sophomore set "La Saboteuse", an album described by one reviewer as "a modern jazz masterpiece". While that critic may not feel the same way about this alternative remix EP, we reckon it's another storming release. Hector Plimmer kicks things off with a wonderfully exotic, broken beats-meets-jazz-funk revision of "The Lost Pearl" that packs a real low-end punch, before DJ Khalab places Ahmed's poignant horn solos atop a crackling, high tempo lo-fi beat on his fine rework of "Jamil Jamal". The album's inherent Arabic influences shine through loud and clear on Blacksea Nao Mayo's hard to pigeonhole - but thrillingly heavy - version of "Al Emadi" - while Ahmed and Langley's re-make of "Spindrifting" is a lilting, intergalactic ambient jazz treat.
Review: Like most Diggin Deeper releases, this latest one-sided missive from Jay Airiness (also known as DJ Moar) is fiendishly limited. According to the label, only 100 copies have been pressed. As usual, there's a feel-good vibe coursing through both untitled re-edits. "Track 1" is a sunny and cheery affair, with Chic style guitars, rich electric pianos and jammed-out synthesizer motifs sitting atop a chunky, boogie era disco groove. His penchant for chugging, slow-burning disco-house comes to the fore on "Track 2", a dub-fuelled rework of an old Afrobeat gem that finally introduces the original track's punchy horns and snaking solos in the final minutes.
Review: Although best known as the lead singer of well-regarded Japanese funk-soul band O.A.S.B, Amy Akaoka has long dreamed up recording a salsa album in the style of '60s and '70s pianist and bandleader Larry Harlow. This tasty two-track 7" single is her first release in the style - the album will appear later in the year - and is as summery, breezy and life affirming as you'd expect. She begins with "Tu Jamas", where male backing vocals, jaunty pianos and her own passionate lead vocal ride a sweat-soaked salsa rhythm. Turn to the B-side for the horn-heavy delight that is breezy salsa shuffler "Solo Tu Amor". Naturally, both are hugely authentic to the style of salsa championed by Harlow.
Review: Excursions in Gwoka vol. 2 is another adventurous outing for the Beauty & the Beat label that takes them ever deeper into the gwoka scene of Guadeloupe. it is the celebrated carnival outfit Akiyo who are in focus here with two tracks taken from second and supremely hard-to-find long player, Mouvman, in 1993. 'Deboule' is a real heater with bustling drum funk and chatting tribal vocals all run through with synth wizardry from Marie-Galante Jacques-Marie Basses. 'Blo' is just as steamy and intern with percussion, whistles and big beats all making quite the impact. Breakplus adds a London twist to 'Deboule' while CW adds a cosmic air to 'Blo.'
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: Hot Casa France reissue a sultry drum workout from master Turkish darbouka player Yasar Akpence's 2004 album 'Passion Percussion'. 'Desert wind' layers unbelievably tight darbouka trills and phrases over a pulsing, almost dembow-esque core, making for a perfect Balearic DJ tool for any occasion. We can imagine this one bookending hypnotic techno wormholes in a small hours Donato Dozzy set, with its wide stereo drum intrusions and tight production longing to be aired off a suitably weighty soundsystem. Truly chameleonic and compelling music!
Review: Destination Lebanon circa 1979, local disco hero Al Munzer delivers an album Belly Dance Disco. Fusing folk with future, it translated traditional musical motifs with modern studio kit in such a way it still sounds timeless today. "Jamileh" is a juicy, jittering jam that's rich in distinctive Moog sounds while "The Joy Of Lina" is a more upbeat, multi-instrument affair that could charm the snake off any dancefloor. A dense arrangement full of twists and turns, it looks as far back as it does forward. Limited and hand stamped, bag this and you'll be wriggling and giggling all the way to the decks.
Review: The mysterious Al Tone returns with another edition of crisp editcraft but this time on their own brand new label 020312. Business as usual in the groove department, though... "Remember Me" is a sultry disco funk jam, "Beggar" has a touch of Lagos late 70s about it with its fizzy guitar work and loose but firm strut while "Heaven" lives up to its name with full falsetto charm. Finally we close this monumental party with "Long Journey" an outrageously funky gospel jam that will have your floor asunder by the first slap bass twang and happy slappy piano roll. These numbers stack up.
Review: The UK's Mr Bongo has been reissuing old music and putting out new tunes since the late 1980's, and the label is still going strong in 2015. This latest 7" features two of Ethiopia's greatest musicians, Alemayehu Eshete and Mahmoud Ahmed, in a head to head, split EP. On the A-side, Mr Bongo has resurfaced Eshete's "Tchero Adari Negn", a supremely funky piece with the man's own voice gliding effortlessly over hard drums and fuzy guitar riffs; "Bemim Sebeb Litlash" goes deeper and more psychedelic on the flip, and Ahmed's voice is a pleasure as always. Check their other material on Mississippi for a broader introspective.
Review: The most famous whistler in cinema (so arguably the most famous whistler in the world), Alessandro Alessandroni has contributed to cinema, TV and music with as much influence as his old friend and collaborator Ennio Morricone. He was also making some incredibly innovative electronic compositions on the side, it would seem... These four variations were found in an old archive in his African home and have never, before now, been heard before. From the densely-layered spaghetti-flavoured "Afro Voodoo" to the soft sultry swoons of "Afro Sentiment" by way of the sheer dancefloor pump of "Afro Discoteca", this is a truly remarkable find for Four Flies. Made all the more poignant due to his recent passing, too. You know what to do.
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: It's all about the cover version of Stevie Wonders anthem on the flip from this Japanese based latin centric outfit. Killer !Alien Liberty International may not be that well known this side of the World, but the expansive Latin combo have been releasing sizzling music -mostly on CD, for some reason - in their native Japan for the last couple of years. Here they make their long-awaited vinyl debut with a sizzling slab of authentic 1960s Harlem boogaloo full of infectious rhythms, rousing horns and vocals that may inspire sing-alongs if dropped at the right time. Equally as impressive is their flipside instrumental cover of Stevie Wonder classic 'Pastime Paradise', which brilliantly re-imagines the song as Latin jazz-funk gem complete with flanged guitars, a rousing horn section, a brilliant percussion-only breakdown and duelling flute and sax solos, both of which do a great job replicating the original's vocal melody.
Review: Those who've studied Tony Allen's distinctive drumming style often cite Art Blakey as an influence, so it's little surprise to find him paying tribute to the legendary jazz drummer on this superb album. Joined by his regular band, Allen covers a quartet of tracks written and recorded by Blakey and his band, the Jazz Messengers. The results are predictably impressive, with Allen's loose and polyrhythmic percussion providing a rock solid foundation for the horns, piano and double bass that sits atop. It's naturally closer to all-out jazz than to Afrobeat, but still bristles with the kind of punchy horns and life-affirming playing that characterizes Allen's work. "Thunder Suite", in which Allen drops a number of sweaty drum solos, is particularly potent.
Afrodiscobeat (Mexican Institute Of Sound rework) (4:06)
Review: For the second volume in the Tony Allen and Africa 70 Disco Afro Re-Edit series, Africaine 808 and Mexican Sound Institute have been given the tricky task of reworking some suitably epic classics. The 12-minute original version of "Afro-Disco Beat", long considered one of the greatest Afrobeat workouts of all time, proudly stretches out across the A-side, allowing listeners to revel in Allen's extended drum breaks and Africa 70's rousing, horn-heavy instrumentation. Africaine 808 give the track a deliciously spacey, Moog-heavy makeover, combining Allen's playing and Africa 70's horns with vintage drum machine hits and outer-space effects. A brilliant package is completed by Mexican Sound Institute's similarly spacey, intergalactic interpretation of 1979 cut "African Message".
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