1
Skull Snaps - My Hang Up Is You
2
Skull Snaps - Having You Around
3
Skull Snaps - Didn't I Do It To You
4
Skull Snaps - All Of A Sudden
5
Skull Snaps - It's A New Day
6
Skull Snaps - I'm Your Pimp
7
Skull Snaps - I Turn My Back On Love
8
Skull Snaps - Trespassing
9
Skull Snaps - I'm Falling Out Of Love
Repress!
Widely available for the first time in forty-five years, featuring ‘It’s A New Day’, one of the most sample breaks in history. Official Mr Bongo reissue.
Record collectors, producers and crate diggers like a good creation myth, and Skull Snaps’ self-titled ‘debut’ had it all. A mysterious funk trio, who recorded one album under a curious name, housed it in a sleeve that looked more like a proto-metal album, and released it through a label (GSF Records) that folded shortly afterwards? Everything pointed towards the Skull Snaps album as a single totemic object, packaged in a way that predicted its own disinterment almost twenty-five years later.
For those who sampled it, myth maintenance was advantageous, both for their reputations and for their consciences. Likewise, an unsanctioned 1995 reissue on Charley Records removed the credits from the inner sleeve to further sever the record from its context - or perhaps because the label couldn’t quite face using the names of artists they had no intention of paying. Either way, owning the record was a right of passage, as Amir Abdullah once wrote: “If you don't have Skull Snaps in your collection, your collection is weak."
Featuring sleeve notes by Anton Spice. Licensed from Sam Culley.
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Widely available for the first time in forty-five years, featuring ‘It’s A New Day’, one of the most sample breaks in history. Official Mr Bongo reissue.
Record collectors, producers and crate diggers like a good creation myth, and Skull Snaps’ self-titled ‘debut’ had it all. A mysterious funk trio, who recorded one album under a curious name, housed it in a sleeve that looked more like a proto-metal album, and released it through a label (GSF Records) that folded shortly afterwards? Everything pointed towards the Skull Snaps album as a single totemic object, packaged in a way that predicted its own disinterment almost twenty-five years later.
For those who sampled it, myth maintenance was advantageous, both for their reputations and for their consciences. Likewise, an unsanctioned 1995 reissue on Charley Records removed the credits from the inner sleeve to further sever the record from its context - or perhaps because the label couldn’t quite face using the names of artists they had no intention of paying. Either way, owning the record was a right of passage, as Amir Abdullah once wrote: “If you don't have Skull Snaps in your collection, your collection is weak."
Featuring sleeve notes by Anton Spice. Licensed from Sam Culley.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Mr Bongo
1
Ana Frango Elétrico - A Sua Diversão
2
Ana Frango Elétrico - Não Tem Nada Não
A year and a half after the release of their Latin Grammy-nominated album, Me Chama De Gato Que Eu Sou Sua, the award-winning Brazilian trailblazer, Ana Frango Elétrico, returns with two new songs: ‘A Sua Diversão’ and ‘Não Tem Nada Não’. Both tracks are the result of a remarkable collaboration with legendary Brazilian artist Marcos Valle, creating a dialogue between generations. The 7” single will be released in partnership by the labels RISCO, Mr Bongo and Psychic Hotline.
First up, Ana drops the laid-back sultry Brazilian-funk gem 'A Sua Diversão', written alongside Tuca Monteiro and co-produced by Guilherme Lirio. With a breezy ‘80s tinged feel, the sumptuous bassline, funk strutting guitars and cosmic synths are the perfect match to Ana’s instantly recognisable vocal tones. A track with a nostalgic air but a contemporary flair, it includes guest backing vocals by three of Brazil’s finest, Dora Morelenbaum, Marcos Valle, and Patrícia Alví.
Next, a firm favourite from their live show, Ana reinterprets and re-records a 1973 Marcos Valle classic 'Não Tem Nada Não', written collaboratively with Eumir Deodato and João Donato. During Ana’s tour across 11 countries and over 40 sold-out shows, this cover quickly became a fan favourite. As audiences began tagging Valle in Instagram stories, he showed his support by reposting Ana’s performances. This online exchange blossomed into a real-life connection when the two artists met at a benefit concert for Rio Grande do Sul and the idea of a collaboration materialised.
Putting their own distinctive spin on the recording, Ana duets with Valle, who features on vocals and Rhodes. As the track progresses it morphs seamlessly into a reimagination of Crystal Water's anthemic 'Gypsy Woman (She's Homeless)' from 1991. This inspired yet unlikely combination blends exquisitely and is a perfect distillation of Ana’s energetic and absorbing live presence.
“Não Tem Nada Não” was part of every show we did from the album tour. I wanted to capture that moment, that snapshot of the show and the band. It’s a record of that time and of the relationships that deepened through sharing it all. We recorded the same arrangement we play live—only now, with the honour of having my idol Marcos Valle join in.
These are definitely songs that don’t point the way, but rather close a cycle. They reflect research based on live performances, on the Me Chama De Gato Que Eu Sou Sua shows, which will be celebrating their farewell in Brazil this year” Ana explains.
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First up, Ana drops the laid-back sultry Brazilian-funk gem 'A Sua Diversão', written alongside Tuca Monteiro and co-produced by Guilherme Lirio. With a breezy ‘80s tinged feel, the sumptuous bassline, funk strutting guitars and cosmic synths are the perfect match to Ana’s instantly recognisable vocal tones. A track with a nostalgic air but a contemporary flair, it includes guest backing vocals by three of Brazil’s finest, Dora Morelenbaum, Marcos Valle, and Patrícia Alví.
Next, a firm favourite from their live show, Ana reinterprets and re-records a 1973 Marcos Valle classic 'Não Tem Nada Não', written collaboratively with Eumir Deodato and João Donato. During Ana’s tour across 11 countries and over 40 sold-out shows, this cover quickly became a fan favourite. As audiences began tagging Valle in Instagram stories, he showed his support by reposting Ana’s performances. This online exchange blossomed into a real-life connection when the two artists met at a benefit concert for Rio Grande do Sul and the idea of a collaboration materialised.
Putting their own distinctive spin on the recording, Ana duets with Valle, who features on vocals and Rhodes. As the track progresses it morphs seamlessly into a reimagination of Crystal Water's anthemic 'Gypsy Woman (She's Homeless)' from 1991. This inspired yet unlikely combination blends exquisitely and is a perfect distillation of Ana’s energetic and absorbing live presence.
“Não Tem Nada Não” was part of every show we did from the album tour. I wanted to capture that moment, that snapshot of the show and the band. It’s a record of that time and of the relationships that deepened through sharing it all. We recorded the same arrangement we play live—only now, with the honour of having my idol Marcos Valle join in.
These are definitely songs that don’t point the way, but rather close a cycle. They reflect research based on live performances, on the Me Chama De Gato Que Eu Sou Sua shows, which will be celebrating their farewell in Brazil this year” Ana explains.
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Hollie Cook - Ari Up
2
Hollie Cook - 99
3
Hollie Cook - Desdemona
4
Hollie Cook - Tiger Balm
5
Hollie Cook - Postman
6
Hollie Cook - Looking For Real Love
7
Hollie Cook - Superfast
8
Hollie Cook - Twice
9
Hollie Cook - Win Or Lose
Hollie Cook’s sensational second album, Twice, originally released in 2014, gets a 2025 repress on transparent green vinyl.
Produced by Prince Fatty, Twice is a natural progression from Hollie’s self-titled debut. It’s an absorbing blend of her trademark reggae and tropical pop sound, enriched with the dubby undertones of Prince Fatty’s production. Drawing on a broad range of influences, there’s sweeping string arrangements courtesy of the Macedonian Radio Symphonic Orchestra and choir, Brazilian-influenced percussion, and disco touches. At various points across the album, Hollie is joined by legendary musicians Dennis Bovell, Omar, George Dekker, and Winston Francis.
Twice is packed with highlights, showcasing a sophisticated evolution in Hollie’s sound. The cinematic strings of the Macedonian Radio Symphonic Orchestra lace through and lift tracks such as the rolling ‘Desdemona’, the rootsy ‘Postman’ with its bumping bassline and Caribbean steel drum melodies, and the hazy, digi-dub-influenced title track. Elsewhere, the dreamy yet melancholic ‘Looking For Real Love’ sees Hollie’s soulful vocals shine atop a blend of lovers rock and dub energy, whilst ‘Superfast’ has the air of a vintage reggae classic.
A unique and individual contemporary classic from reggae’s orator of love, Hollie Cook, ripe to be rediscovered by a new audience.
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Produced by Prince Fatty, Twice is a natural progression from Hollie’s self-titled debut. It’s an absorbing blend of her trademark reggae and tropical pop sound, enriched with the dubby undertones of Prince Fatty’s production. Drawing on a broad range of influences, there’s sweeping string arrangements courtesy of the Macedonian Radio Symphonic Orchestra and choir, Brazilian-influenced percussion, and disco touches. At various points across the album, Hollie is joined by legendary musicians Dennis Bovell, Omar, George Dekker, and Winston Francis.
Twice is packed with highlights, showcasing a sophisticated evolution in Hollie’s sound. The cinematic strings of the Macedonian Radio Symphonic Orchestra lace through and lift tracks such as the rolling ‘Desdemona’, the rootsy ‘Postman’ with its bumping bassline and Caribbean steel drum melodies, and the hazy, digi-dub-influenced title track. Elsewhere, the dreamy yet melancholic ‘Looking For Real Love’ sees Hollie’s soulful vocals shine atop a blend of lovers rock and dub energy, whilst ‘Superfast’ has the air of a vintage reggae classic.
A unique and individual contemporary classic from reggae’s orator of love, Hollie Cook, ripe to be rediscovered by a new audience.
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1
Hollie Cook - Shadow Dub
2
Hollie Cook - Used To Be Dub
3
Hollie Cook - That Very Night Dub
4
Hollie Cook - And The Beat Goes On Dub
5
Hollie Cook - Crying Dub
6
Hollie Cook - For Me You Are Dub
7
Hollie Cook - Milk & Honey Dub
8
Hollie Cook - Baby Dub
9
Hollie Cook - Walking In The Sand Dub
10
Hollie Cook - Sugarwater Dub
In 2012, Prince Fatty produced a signature dub reworking of tracks from Hollie Cook’s debut 2012 LP, plus a selection of other choice dub-infused covers. Mr Bongo now presents a fresh repress on blue vinyl of this classic album.
In the tradition of vintage reggae albums, renowned producer Prince Fatty took to the controls and dubbed out Hollie Cook's self-titled debut album from 2011. In trademark dub fashion, Prince Fatty strips back Hollie’s classic reggae and tropical pop productions, adding in extra bass alongside delays, tape echoes, and reverbs to Hollie’s captivating vocals. The resulting versions give the songs space to breathe, whilst adding in a weighty, heads-down element to the productions.
As Prince Fatty mentions, “The dub versions showcase real tape echoes, heavy spring reverbs and alternate instrumental elements such as melodica, percussion or horns that were hidden in the vocal versions. All the dubs are mixed live in my studio in the same Rub a Dub style as was made famous in ‘70s Jamaica by King Tubby and others, i.e, not with the use of computers for automation and endless digital nonsense but with fingers, late night vibes and re-arranged with a razor blade!”.
In addition to the tracks featured from the debut album, this dub release features mixes of Hollie Cook and Prince Fatty’s cover version of The Whispers’ disco classic ‘And The Beat Goes On’ and ‘For Me You Are Dub’, a ska cover of an old Andrews Sisters’ classic. Alongside that, there’s a delicious adaptation of the Shangri-Las’ legendary record ‘Walking in the Sand’, and ‘Baby’, a revamp of the heavily requested anthem, in collaboration with French synth-pop outfit, The Shoes.
Thirteen years on, this superb dub album sounds as quintessential and authentic as ever.
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
In the tradition of vintage reggae albums, renowned producer Prince Fatty took to the controls and dubbed out Hollie Cook's self-titled debut album from 2011. In trademark dub fashion, Prince Fatty strips back Hollie’s classic reggae and tropical pop productions, adding in extra bass alongside delays, tape echoes, and reverbs to Hollie’s captivating vocals. The resulting versions give the songs space to breathe, whilst adding in a weighty, heads-down element to the productions.
As Prince Fatty mentions, “The dub versions showcase real tape echoes, heavy spring reverbs and alternate instrumental elements such as melodica, percussion or horns that were hidden in the vocal versions. All the dubs are mixed live in my studio in the same Rub a Dub style as was made famous in ‘70s Jamaica by King Tubby and others, i.e, not with the use of computers for automation and endless digital nonsense but with fingers, late night vibes and re-arranged with a razor blade!”.
In addition to the tracks featured from the debut album, this dub release features mixes of Hollie Cook and Prince Fatty’s cover version of The Whispers’ disco classic ‘And The Beat Goes On’ and ‘For Me You Are Dub’, a ska cover of an old Andrews Sisters’ classic. Alongside that, there’s a delicious adaptation of the Shangri-Las’ legendary record ‘Walking in the Sand’, and ‘Baby’, a revamp of the heavily requested anthem, in collaboration with French synth-pop outfit, The Shoes.
Thirteen years on, this superb dub album sounds as quintessential and authentic as ever.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Eduardo Araújo & Silvinha - Sou Filho Desse Chão
2
Eduardo Araújo & Silvinha - Círculo Vicioso
3
Eduardo Araújo & Silvinha - Girassol
4
Eduardo Araújo & Silvinha - Capoeira
5
Eduardo Araújo & Silvinha - O Tempo Que Esse Tempo Tem
6
Eduardo Araújo & Silvinha - Manda Embora A Tristeza
7
Eduardo Araújo & Silvinha - Misturando Rock Com Baião
8
Eduardo Araújo & Silvinha - Ter O Que Eu Tenho Sem Você
9
Eduardo Araújo & Silvinha - Capoeira
10
Eduardo Araújo & Silvinha - Opanigê
Brazil is a treasure trove of inspirational music from the past, present, and future. Here we head back to 1976 for a one-of-a-kind kaleidoscopic journey, melding Brazilian regional rhythms with funk, rock, soul, and psychedelia by the married couple Eduardo Araújo and Silvinha. A cult classic and beloved record for some of the scene’s biggest DJs including Floating Points, it was further immortalised when Madlib sampled ‘Opanigê’ for his track ‘São Paulo’.
Singers Eduardo Araújo and Silvinha Araújo had successful careers in Brazil beginning in the 1960s. Eduardo broke through with the rock-infused Jovem Guarda hit ‘O Bom’. Stepping into more soulful territory, Eduardo released ‘A Onda É Boogaloo’ in 1969, produced by a young Tim Maia and followed it up with a number of other notable releases. Also part of the Jovem Guarda movement, Silvinha recorded a string of excellent albums and numerous 7” compactos for Odeon and RCA.
In 1976, the duo set forth the landmark underground album Sou Filho Dêsse Chão, complete with its eye-catching psychedelic cover art by Gustavo Matula and Jan Matula. The album featured a heavyweight line up of musicians, including accordionist supreme Dominguinhos, the drummer Dirceu Medeiros, who played on the first Os Mutantes album, and members of the esteemed bands Banda Black Rio and Som Nosso.
Sou Filho Dêsse Chão was inspired by the pair's travels to Salvador, Bahia. Eduardo was influenced by the Brazilian culture of the region and wanted to incorporate and capture the sounds of capoeira, Forró, and candomblé into the album. Here we have the traditional African-Brazilian culture of Northern Brazil fusing with the contemporary commercial music of Rio and São Paulo’s Tropicalia, MPB, psych-rock, and Black Rio movements. Uniting the cultures, Eduardo and Silvinha managed to combine these genres seamlessly.
It's an album full of highlights, with the Tim Maia-esque funk of ‘O Tempo Que Esse Tempo Tem’ laced with its rock tones, sitting side by side with the accordion-driven ‘Sou Filho Desse Chão’ and rolling groove of ‘Manda Embora A Tristeza’. Elsewhere the elegant trippy psych-funk of ‘Capoeira’ sees Eduardo and Silvinha effortlessly trading vocal duties. The record would also reach a new audience outside of Brazil when one of the standout tracks, the highly original spacey ‘Opanigê’, was sampled by Madlib for his track ‘São Paulo’.
Even though on release it was not a commercial success, Sou Filho Dêsse Chão has since found its place as an iconic and treasured LP.
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
Singers Eduardo Araújo and Silvinha Araújo had successful careers in Brazil beginning in the 1960s. Eduardo broke through with the rock-infused Jovem Guarda hit ‘O Bom’. Stepping into more soulful territory, Eduardo released ‘A Onda É Boogaloo’ in 1969, produced by a young Tim Maia and followed it up with a number of other notable releases. Also part of the Jovem Guarda movement, Silvinha recorded a string of excellent albums and numerous 7” compactos for Odeon and RCA.
In 1976, the duo set forth the landmark underground album Sou Filho Dêsse Chão, complete with its eye-catching psychedelic cover art by Gustavo Matula and Jan Matula. The album featured a heavyweight line up of musicians, including accordionist supreme Dominguinhos, the drummer Dirceu Medeiros, who played on the first Os Mutantes album, and members of the esteemed bands Banda Black Rio and Som Nosso.
Sou Filho Dêsse Chão was inspired by the pair's travels to Salvador, Bahia. Eduardo was influenced by the Brazilian culture of the region and wanted to incorporate and capture the sounds of capoeira, Forró, and candomblé into the album. Here we have the traditional African-Brazilian culture of Northern Brazil fusing with the contemporary commercial music of Rio and São Paulo’s Tropicalia, MPB, psych-rock, and Black Rio movements. Uniting the cultures, Eduardo and Silvinha managed to combine these genres seamlessly.
It's an album full of highlights, with the Tim Maia-esque funk of ‘O Tempo Que Esse Tempo Tem’ laced with its rock tones, sitting side by side with the accordion-driven ‘Sou Filho Desse Chão’ and rolling groove of ‘Manda Embora A Tristeza’. Elsewhere the elegant trippy psych-funk of ‘Capoeira’ sees Eduardo and Silvinha effortlessly trading vocal duties. The record would also reach a new audience outside of Brazil when one of the standout tracks, the highly original spacey ‘Opanigê’, was sampled by Madlib for his track ‘São Paulo’.
Even though on release it was not a commercial success, Sou Filho Dêsse Chão has since found its place as an iconic and treasured LP.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Blurring the lines between fiction and documentary, the seminal film Wild Style, directed by Charlie Ahearn and developed alongside Fred Braithwaite aka Fab Five Freddy, offered an iconic snapshot of the emerging New York hip hop scene in the early ‘80s. Considered one of the first hip hop films, it documents the styles, culture, attitudes, and most importantly, the music of this evolving era. The accompanying soundtrack remains one of the most influential in hip hop history, featuring a who’s who of artists who stood out during the movement’s nascent block party days.
“Making hip hop’s first and most beloved feature film, Wild Style, with Charlie Ahearn and creating the original music is one of my proudest accomplishments.” - Fab 5 Freddy
In celebration of Arrow Films restoring the original Wild Style film in 4K, Mr Bongo is proud to present this special-edition reissue package. The release comes as a double LP pressed on transparent blue and orange vinyl, offering a freshly curated tracklist that brings together the finest songs from previous editions, the full sought-after instrumental album, and Kenny Dope’s top edits. Also included are an A2 colour poster, five film set photos, a flexi disc containing Fantastic Freaks Live at the Dixie, and a Wild Style sticker sheet.
Originally released on Animal Records, founded by Chris Stein of Blondie fame, the soundtrack focuses on the hip hop scene as it evolved from the streets to the recording studio. Co-produced by Stein and Braithwaite, it features the Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself Busy Bee, and the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks, to name but a few. The music offers a transportive glimpse into the streets of the South Bronx, capturing the free-form, roaming nature of the film - it’s rough around the edges, but utterly absorbing.
Behind those foundational voices of hip hop’s first wave was a selection of backing beats that have underpinned and influenced the genre ever since. Easily mistaken for lifted breakbeats from old records, the songs on the Wild Style soundtrack are all unique creations. Overseen by Braithwaite and Stein, with Stein also on guitar and effects, they were intended as a homage to those early breakbeats. Drummer Lenny “Ferrari” Ferraro, who played for Aretha Franklin before emerging on the punk scene, and bassist David Harper laid down many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound.
Over time, the Wild Style soundtrack, with its Charlie Chase and Grand Wizard Theodore scratches, recurring sounds and motifs, and indelible lyrics, has become a hip hop touchstone: endlessly sampled and referenced, the bedrock of so much music to follow. It perfectly encapsulated the essence of the film, the scene, and hip hop’s emergence from the Bronx to the attention of the wider world. It was, and remains, the blueprint.
The reissue package features:
Vinyl 2LP (Transparent Blue + Orange Vinyl) in gatefold Sleeve
A2 Colour Poster
5 x Film Set Photos
Flexi Disc ‘Fantastic Freaks Live At The Dixie’
Wild Style Sticker Sheet
VINYL:
Side A
Grand Wizard Theodore and D.J. Kevie Kev Rockwell - Military Cut (Scratch Mix)
The Chief Rocker Busy Bee vs Lil Rodney Cee & D.J. Grand Wizard Theodore - M.C. Battle
The Cold Crush Bros. vs The Fantastic Freaks - Basketball Throwdown
Kevie Kev (Waterbed Kev), Master Rob, Prince Whipper Whip, M.C., Rubie Dee, Dota Rock, D.J. Grand Wizard Theodore, D.J. Kevie Kev Rockwell - Fantastic Freaks At The Dixie
D.J. Grand Wizard Theodore - Subway Theme
Grand Master Caz, JDL, Easy AD, KG , and D.J. Charlie Chase, D.J. Toney Tone - Cold Crush Bros. At The Dixie
Side B
Rodney Cee, K. K. Rockwell, D.J. Stevie Steve - Double Trouble At The Amphitheater
Grandmaster Caz - South Bronx Subway Rap
Busy Bee - Street Rap (Subway Mix)
Busy Bee - Busy Bee At The Amphitheater
Fantastic Freaks - Fantastic Freaks At The Amphitheater
D.J. Grand Wizard Theodore - Gangbusters
Rammellzee and Shock Dell With The Grand Mixer DST - Rammellzee & Shockdell At The Amphitheater
Fab 5 Freddy - Down By Law
Side C
Fab 5 Freddy (Fred Braithwaite) - B Boy Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Yawning Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Crime Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Gangbusters (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Cuckoo Clocking (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Meetings (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Military Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Razor Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Subway Theme (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Busy Bees (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Down By Law (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Instrumental)
Side D
Kev Luckhurst - Wildstyle Scratch Tool
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Kenny Dope Edit)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Kenny Dope Edit)
FLEXI DISC:
Fantastic Freaks - Fantastic Freaks Live At The Dixie
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“Making hip hop’s first and most beloved feature film, Wild Style, with Charlie Ahearn and creating the original music is one of my proudest accomplishments.” - Fab 5 Freddy
In celebration of Arrow Films restoring the original Wild Style film in 4K, Mr Bongo is proud to present this special-edition reissue package. The release comes as a double LP pressed on transparent blue and orange vinyl, offering a freshly curated tracklist that brings together the finest songs from previous editions, the full sought-after instrumental album, and Kenny Dope’s top edits. Also included are an A2 colour poster, five film set photos, a flexi disc containing Fantastic Freaks Live at the Dixie, and a Wild Style sticker sheet.
Originally released on Animal Records, founded by Chris Stein of Blondie fame, the soundtrack focuses on the hip hop scene as it evolved from the streets to the recording studio. Co-produced by Stein and Braithwaite, it features the Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself Busy Bee, and the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks, to name but a few. The music offers a transportive glimpse into the streets of the South Bronx, capturing the free-form, roaming nature of the film - it’s rough around the edges, but utterly absorbing.
Behind those foundational voices of hip hop’s first wave was a selection of backing beats that have underpinned and influenced the genre ever since. Easily mistaken for lifted breakbeats from old records, the songs on the Wild Style soundtrack are all unique creations. Overseen by Braithwaite and Stein, with Stein also on guitar and effects, they were intended as a homage to those early breakbeats. Drummer Lenny “Ferrari” Ferraro, who played for Aretha Franklin before emerging on the punk scene, and bassist David Harper laid down many of the iconic grooves, two somewhat forgotten participants in shaping a legendary sound.
Over time, the Wild Style soundtrack, with its Charlie Chase and Grand Wizard Theodore scratches, recurring sounds and motifs, and indelible lyrics, has become a hip hop touchstone: endlessly sampled and referenced, the bedrock of so much music to follow. It perfectly encapsulated the essence of the film, the scene, and hip hop’s emergence from the Bronx to the attention of the wider world. It was, and remains, the blueprint.
The reissue package features:
Vinyl 2LP (Transparent Blue + Orange Vinyl) in gatefold Sleeve
A2 Colour Poster
5 x Film Set Photos
Flexi Disc ‘Fantastic Freaks Live At The Dixie’
Wild Style Sticker Sheet
VINYL:
Side A
Grand Wizard Theodore and D.J. Kevie Kev Rockwell - Military Cut (Scratch Mix)
The Chief Rocker Busy Bee vs Lil Rodney Cee & D.J. Grand Wizard Theodore - M.C. Battle
The Cold Crush Bros. vs The Fantastic Freaks - Basketball Throwdown
Kevie Kev (Waterbed Kev), Master Rob, Prince Whipper Whip, M.C., Rubie Dee, Dota Rock, D.J. Grand Wizard Theodore, D.J. Kevie Kev Rockwell - Fantastic Freaks At The Dixie
D.J. Grand Wizard Theodore - Subway Theme
Grand Master Caz, JDL, Easy AD, KG , and D.J. Charlie Chase, D.J. Toney Tone - Cold Crush Bros. At The Dixie
Side B
Rodney Cee, K. K. Rockwell, D.J. Stevie Steve - Double Trouble At The Amphitheater
Grandmaster Caz - South Bronx Subway Rap
Busy Bee - Street Rap (Subway Mix)
Busy Bee - Busy Bee At The Amphitheater
Fantastic Freaks - Fantastic Freaks At The Amphitheater
D.J. Grand Wizard Theodore - Gangbusters
Rammellzee and Shock Dell With The Grand Mixer DST - Rammellzee & Shockdell At The Amphitheater
Fab 5 Freddy - Down By Law
Side C
Fab 5 Freddy (Fred Braithwaite) - B Boy Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Yawning Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Crime Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Gangbusters (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Cuckoo Clocking (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Meetings (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Military Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Razor Cut (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Subway Theme (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Busy Bees (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Down By Law (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Instrumental)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Instrumental)
Side D
Kev Luckhurst - Wildstyle Scratch Tool
Fab 5 Freddy (Fred Braithwaite) - Baby Beat (Kenny Dope Edit)
Fab 5 Freddy (Fred Braithwaite) - Jungle Beat (Kenny Dope Edit)
FLEXI DISC:
Fantastic Freaks - Fantastic Freaks Live At The Dixie
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1
Ramon Morris - First Come, First Serve
2
Ramon Morris - Wijinia
3
Ramon Morris - Sweet Sister Funk
4
Ramon Morris - Sweat
5
Ramon Morris - Don't Ask Me
6
Ramon Morris - Lord Sideways
7
Ramon Morris - People Make The World Go Round
Next up in Mr Bongo's Groove Merchant Records reissue series, we present the only solo album saxophonist Ramon Morris recorded as a bandleader. Having cut his teeth playing with the iconic band Art Blakey & The Jazz Messengers and working with other jazz greats, including Reuben Wilson, Shirley Scott, Rashied Ali Quintet, and Woody Shaw, 1973 saw Ramon take the step into solo territory. The resulting album Sweet Sister Funk became a certified classic and a landmark showcase of the cherished ‘70s jazz-funk sound, later sampled by the likes of DJ Premier, The Alchemist and DJ Shadow.
Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.
A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.
Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris.
Housed in a tip-on sleeve.
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Originally released on Sonny Lester's iconic Groove Merchant record label and produced by Lester himself, Sweet Sister Funk is a jazz-funk masterclass. It features a slick line-up including Cecil Bridgewater on trumpet, Mickey Roker on drums, and Albert Dailey on electric piano. Rich and beautiful, the seven songs ebb and flow in energy, fusing jazz funk and soul jazz with style and swagger. There are bags of groove with Ramon and Cecil trading off on sax and trumpet in an effortless conversation throughout the LP, supplemented by brilliant solos from the rest of the players.
A gold mine of sampling material, the album includes a sublime cover version of The Stylistics' much-loved 'People Make The World Go Round', which was sampled by DJ Shadow on Blackalicious's 'Swan Lake' in 1994. Elsewhere, the percussion and bass intro of the opening track 'First Come, First Serve' is a sampler's delight - a deep, heavy groove with a fine saxophone workout by Ramon. Head to 'Don't Ask Me' and you’ll find the swinging horn intro that formed the basis of 'You Came Up' by Big Pun featuring Noreaga from 1998, whilst 'Wijinia' has echoes of ‘70s indie jazz by labels such as Strata East & Black Jazz.
Here at Mr Bongo, we are proud to be delving into the vaults of Groove Merchant Records once again, reissuing this iconic LP from Ramon Morris.
Housed in a tip-on sleeve.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Marvin Gaye & Studio Rio - Sexual Healing (Studio Rio Version)
2
Marvin Gaye & Studio Rio - Sexual Healing (Studio Rio Instrumental Version)
Following Mr Bongo’s reissue of Studio Rio’s exquisite Brazilian-infused take on Bill Withers’ ‘Lovely Day’, which was one of the standout hits from last summer, we shine a light on another of their superb remakes. Masterminded and produced by the German, Grammy award-winning Berman Brothers, and using the same all-star cast behind the Bill Withers’ reinterpretation, they put a joyous Brazilian twist on the Marvin Gaye classic 'Sexual Healing'. Rich in positivity and a pure end-of-the-night classic, this is another surefire winner to light up any occasion.
A project born out of Christian & Frank Berman's, aka the Berman Brothers, passion for Brazilian music, they had wondered what some of the all-time classic US soul songs would sound like if they had been recorded in Rio de Janeiro with the best Brazilian musicians. “The idea took root in the vibrant streets of Rio de Janeiro. Beyond the city’s main carnival, countless neighbourhood block parties pulse with live samba drumming, colourful costumes, and a joyful mix of freedom, music, and cultural expression. The goal was to capture this spirit and channel it into Gaye’s timeless hit,” explain the Berman Brothers.
Heading to Rio in 2013, the brothers assembled a select team of top-level Brazilian musicians including many sidemen to one of Brazil’s most influential composers, Tom Jobim. They brought in Torcuato Mariano, renowned for his work with Djavan and Gilberto Gil, to arrange the songs, drawing inspiration from classic '60s / '70s Brazilian samba recordings for this new remake. Another addition was Pretinho da Serrinha, one of Brazil’s most acclaimed samba musicians, who worked with Seu Jorge, Caetano Veloso, and Lulu Santos. His masterful percussion and cavaquinho playing gave the track its irresistible summer energy.
Having spoken to Sony about their idea, they were given access to the multitrack tapes, meaning they could present Marvin’s original vocal take with this reimagined Brazilian flavour. “Our goal was to create an authentic samba recording to accompany Marvin Gaye’s vocal performance. We wanted to honour the original while creating something fresh – hoping people would feel as if the song had been recorded this way from the very beginning”.
Remoulding Gaye's iconic lovers’ anthem from 1982, the brothers flipped ‘Sexual Healing’ into a joy-filled, smouldering samba-driven beauty. It’s a breezy, light-hearted remake, with Marvin's sublime soul delivery sitting perfectly amidst the shuffling cavaquinho and cuica groove. Uplifting horn stabs, building melodies, and heartfelt harmonies elevate the song to an ecstatic climax.
Now pressed to 45 for the first time, with the instrumental on the B-side, this single is the perfect cut to ignite the party or as that feel-good closer that will send everyone home on a high.
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Germany
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A project born out of Christian & Frank Berman's, aka the Berman Brothers, passion for Brazilian music, they had wondered what some of the all-time classic US soul songs would sound like if they had been recorded in Rio de Janeiro with the best Brazilian musicians. “The idea took root in the vibrant streets of Rio de Janeiro. Beyond the city’s main carnival, countless neighbourhood block parties pulse with live samba drumming, colourful costumes, and a joyful mix of freedom, music, and cultural expression. The goal was to capture this spirit and channel it into Gaye’s timeless hit,” explain the Berman Brothers.
Heading to Rio in 2013, the brothers assembled a select team of top-level Brazilian musicians including many sidemen to one of Brazil’s most influential composers, Tom Jobim. They brought in Torcuato Mariano, renowned for his work with Djavan and Gilberto Gil, to arrange the songs, drawing inspiration from classic '60s / '70s Brazilian samba recordings for this new remake. Another addition was Pretinho da Serrinha, one of Brazil’s most acclaimed samba musicians, who worked with Seu Jorge, Caetano Veloso, and Lulu Santos. His masterful percussion and cavaquinho playing gave the track its irresistible summer energy.
Having spoken to Sony about their idea, they were given access to the multitrack tapes, meaning they could present Marvin’s original vocal take with this reimagined Brazilian flavour. “Our goal was to create an authentic samba recording to accompany Marvin Gaye’s vocal performance. We wanted to honour the original while creating something fresh – hoping people would feel as if the song had been recorded this way from the very beginning”.
Remoulding Gaye's iconic lovers’ anthem from 1982, the brothers flipped ‘Sexual Healing’ into a joy-filled, smouldering samba-driven beauty. It’s a breezy, light-hearted remake, with Marvin's sublime soul delivery sitting perfectly amidst the shuffling cavaquinho and cuica groove. Uplifting horn stabs, building melodies, and heartfelt harmonies elevate the song to an ecstatic climax.
Now pressed to 45 for the first time, with the instrumental on the B-side, this single is the perfect cut to ignite the party or as that feel-good closer that will send everyone home on a high.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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Germany
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1
SOYUZ - Krok
2
SOYUZ - Lingua Do Mundo (Feat. Tim Bernardes)
3
SOYUZ - Nici
4
SOYUZ - Kali Ty Zapytaješ
5
SOYUZ - Cichi Karahod
6
SOYUZ - P7 Blues
7
SOYUZ - Voo Livre
8
SOYUZ - VCB
9
SOYUZ - Smak Žyccia (Feat. Manami Kakudo)
“Krok” means “step” in Belarusian - and for Alex Chumak and his band this word comes with a lot of meaning. It’s the title and theme that run throughout SOYUZ's fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ’ composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time.
In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wisniewski joining the band.
Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.
At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Sadly, they travelled without Mikita Arlou, SOYUZ’ co-founder and Chumak’s longtime creative partner, due to the financial impossibility of bringing him too. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.
Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the bands' Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.
Broad in its palette, KROK is full of highlights. The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyccia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.
Despite immense challenges, SOYUZ have delivered a career-defining album in KROK. Heartfelt and beautiful, it is not an imitation of the past, but rather a truly original, contemporary expression all of its own.
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Germany
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In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wisniewski joining the band.
Deeper and more melancholic than previous works, KROK is quintessentially SOYUZ, laced with hope, dreams and a celebration of life. Given the difficulties with finding rehearsal and recording spaces in Warsaw and the departure of the drummer Anton Nemahai from the band, Chumak explored alternative options. He reached out to friend and fellow musical collaborator, Sessa, about the possibility of recording the new album in his recently finished studio in São Paulo, with Sessa and Biel Basile coming onboard as recording engineers.
At the tail end of 2024, Chumak and SOYUZ’ new drummer, Albert Karch, made the trip to São Paulo to record the first sessions for KROK. Sadly, they travelled without Mikita Arlou, SOYUZ’ co-founder and Chumak’s longtime creative partner, due to the financial impossibility of bringing him too. Laid down directly to tape, these sessions featured prominent Brazilian musicians Sessa, Biel Basile, and Marcelo Cabral, with a guest vocal feature by Tim Bernardes recorded at a later date. The final touches were then added back in Europe. Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder’s studio in Stockholm.
Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the bands' Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it.
Broad in its palette, KROK is full of highlights. The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band’s finest tracks. Darker than most of SOYUZ’ songs, the tensions lift and lighten as the track progresses. The cinematic library jazz of 'Voo Livre', with ghostly vocals sung by Ciça Góes and Ina, feels like a modern twist on the Italian library composer Alessandro Alessandroni through its sublime choir and woodwind orchestration. Elsewhere, the heartfelt 'Lingua Do Mundo', composed, written, and sung by Chumak and the incredible Tim Bernardes, features one of the standout string arrangements from Chumak and Karch. 'Cichi Karahod' is an instant SOYUZ classic, almost Pat Metheny-esque as it opens, with the acoustic guitar and bass riff transitioning into jazzy AOR / pop-folk territory. The record closes with 'Smak žyccia', a gentle, dreamy spoken-word poetry piece in Japanese by singer-songwriter Manami Kakudo.
Despite immense challenges, SOYUZ have delivered a career-defining album in KROK. Heartfelt and beautiful, it is not an imitation of the past, but rather a truly original, contemporary expression all of its own.
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1
João Do Pife - aroto Do Pife
2
João Do Pife - Homenagem A Ludugero
Presenting a joyous double dose of Brazilian pífano magic by João do Pife, taken from his iconic Folclore Alagoano LP and pressed for the first time on 7” vinyl. The infectious, uplifting energy of the instrumental track 'Garoto Do Pife' has been a dancefloor weapon for revered selectors such as Gilles Peterson, Cliffy and the Mr Bongo DJs, and we are proud to be reissuing it for the first time.
The pífano, pifaro or pife, which creates the distinctive melodies in these tracks, is a simple seven-hole woodwind instrument from the Northeast region of Brazil. Often made out of bamboo or taquara wood, they are rich in folkloric music tradition and paired with percussion instruments to form the Bandas de Pífanos groups, which originated from the Northeastern states of the country. "Pifeiros” such as João do Pife, Edmilson do Pífano, and Carlos Malta brought the pífano into a wider public eye through their albums and vinyl recordings.
A part of pífano maestro João do Pife’s rich legacy, these two mesmerizing and timeless tracks originate from his sought-after 1975 LP Folclore Alagoano, released on the Tropicana label. Born João Alfredo Marques dos Santos in 1943, in Riacho das Almas, João do Pife became an ambassador of Northern Brazilian culture and folklore through his music, which placed the pífano centre stage.
For this 7" issue, we have curated two of our favourite tracks from the album, 'Garoto Do Pife' and 'Homenagem a Ludugero', that exude a driving and joyous dancefloor energy. With lively accordion and organ accompaniments that weave around João do Pife's sublime pífano playing, they channel a folk spirit that will resonate deep within your soul.
As inspiration for the picture sleeve, we have adapted the original cover photo art for this 7 inch issue. João do Pife’s music, which is housed within, will sweep you away to Northeastern Brazil in an instant.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
The pífano, pifaro or pife, which creates the distinctive melodies in these tracks, is a simple seven-hole woodwind instrument from the Northeast region of Brazil. Often made out of bamboo or taquara wood, they are rich in folkloric music tradition and paired with percussion instruments to form the Bandas de Pífanos groups, which originated from the Northeastern states of the country. "Pifeiros” such as João do Pife, Edmilson do Pífano, and Carlos Malta brought the pífano into a wider public eye through their albums and vinyl recordings.
A part of pífano maestro João do Pife’s rich legacy, these two mesmerizing and timeless tracks originate from his sought-after 1975 LP Folclore Alagoano, released on the Tropicana label. Born João Alfredo Marques dos Santos in 1943, in Riacho das Almas, João do Pife became an ambassador of Northern Brazilian culture and folklore through his music, which placed the pífano centre stage.
For this 7" issue, we have curated two of our favourite tracks from the album, 'Garoto Do Pife' and 'Homenagem a Ludugero', that exude a driving and joyous dancefloor energy. With lively accordion and organ accompaniments that weave around João do Pife's sublime pífano playing, they channel a folk spirit that will resonate deep within your soul.
As inspiration for the picture sleeve, we have adapted the original cover photo art for this 7 inch issue. João do Pife’s music, which is housed within, will sweep you away to Northeastern Brazil in an instant.
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1
Rubel - Feliticeiro Gozador
2
Rubel - A Janela
3
Rubel - Carolina
4
Rubel - Ouro
5
Rubel - Azul
6
Rubel - Bebê
7
Rubel - Pergunta ao Tempo
8
Rubel - Noite de Réveillon
9
Rubel - Carta de Maria
10
Rubel - Praticar a Teimosia
11
Rubel - Reckoner
For his fourth studio album, Brazilian troubadour Rubel returns to his roots with a sublime, stripped-back, singer-songwriter classic. Beleza. Mas agora a gente faz o que com isso? which translates to “Beauty. But now what do we do with it?”, was produced at home by Rubel and reconnects with his acoustic side: the idea of predominantly using simply vocals, guitar, and strings. A bossa nova and MPB-leaning body of work at its core, the album is a deeply personal and introspective journey, with the focus directed at the beautiful, simple essence of the songs.
Comprising seven original compositions penned by Rubel, the album also contains two majestic covers. 'A la Ventana, Carolina' by El David Aguilar is reworked into Portuguese by Rubel under the title ‘A Janela, Carolina’ with the air of a long-lost classic. To close out the album, Rubel puts his distinctive spin on Radiohead’s ‘Reckoner’, with the revered Brazilian maestro Arthur Verocai adding to the beautiful, melancholic textures through his string and horn arrangements.
The new record brings listeners back to Rubel’s origins, focusing on an intimacy and immediacy through voice and guitar that were unveiled on his debut LP Pearl from 2015, and refined on 2018’s Casas. The result is a personal and revealing repertoire that contrasts with his last album, the bold, innovative, and collaboratively focused As Palavras Vol. 1 & 2 from 2023.
Dealing with themes such as the passage of life, time, love, friendships, losses, and gains, the album is rich in delicate and honestly composed songs. The album opener 'Feiticeiro Gozador' instantly draws you in. Tender and soul-baring, it’s perfectly accompanied by a luscious string arrangement and graceful piano, giving a timeless nature to the track. Elsewhere, a future classic is found on the seductive and cinematic 'Ouro' that must be one of Rubel's finest songs. A heartfelt beauty that morphs into a hip-hop-tinged beat sure to touch your soul. That contemporary edge follows on ‘Azul, Bebê’, a drum-infused song that has that MPC sample feel of the golden beatmaker era.
With this fourth album, Rubel is becoming one of the key writers and performers of his generation, on a trajectory heading up to the heights of João Gilberto, Jorge Ben, Caetano Veloso, and the classic Brazilian songbook. He has managed to achieve that rare balance of appealing to both the mainstream and the underground in one celestial and cinematic swoop.
Both vinyl variants come in a gatefold sleeve with poster insert. CD has a 6-panel fold-out insert.
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DE - 22113 Hamburg
Germany
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Comprising seven original compositions penned by Rubel, the album also contains two majestic covers. 'A la Ventana, Carolina' by El David Aguilar is reworked into Portuguese by Rubel under the title ‘A Janela, Carolina’ with the air of a long-lost classic. To close out the album, Rubel puts his distinctive spin on Radiohead’s ‘Reckoner’, with the revered Brazilian maestro Arthur Verocai adding to the beautiful, melancholic textures through his string and horn arrangements.
The new record brings listeners back to Rubel’s origins, focusing on an intimacy and immediacy through voice and guitar that were unveiled on his debut LP Pearl from 2015, and refined on 2018’s Casas. The result is a personal and revealing repertoire that contrasts with his last album, the bold, innovative, and collaboratively focused As Palavras Vol. 1 & 2 from 2023.
Dealing with themes such as the passage of life, time, love, friendships, losses, and gains, the album is rich in delicate and honestly composed songs. The album opener 'Feiticeiro Gozador' instantly draws you in. Tender and soul-baring, it’s perfectly accompanied by a luscious string arrangement and graceful piano, giving a timeless nature to the track. Elsewhere, a future classic is found on the seductive and cinematic 'Ouro' that must be one of Rubel's finest songs. A heartfelt beauty that morphs into a hip-hop-tinged beat sure to touch your soul. That contemporary edge follows on ‘Azul, Bebê’, a drum-infused song that has that MPC sample feel of the golden beatmaker era.
With this fourth album, Rubel is becoming one of the key writers and performers of his generation, on a trajectory heading up to the heights of João Gilberto, Jorge Ben, Caetano Veloso, and the classic Brazilian songbook. He has managed to achieve that rare balance of appealing to both the mainstream and the underground in one celestial and cinematic swoop.
Both vinyl variants come in a gatefold sleeve with poster insert. CD has a 6-panel fold-out insert.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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Germany
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1
Hollie Cook - Shy Girl
2
Hollie Cook - Ooh Baby
3
Hollie Cook - Rockaway
4
Hollie Cook - Night Night
5
Hollie Cook - Holding On
6
Hollie Cook - In The Pictures
7
Hollie Cook - Frontline
8
Hollie Cook - Take Me In Your Arms
9
Hollie Cook - Crying Wolf
10
Hollie Cook - River Runs Deep
11
Hollie Cook - Hello Operator
12
Hollie Cook - We Share Love
Almost fifteen years since the release of her self-titled debut LP on Mr Bongo, reggae’s orator of love Hollie Cook is returning to the label for Shy Girl, her fifth studio album and her most authentic yet. Woven with tight grooves, beautiful vocals and catchy melodies, Shy Girl hears singer and songwriter Hollie Cook revel in her contemporary lovers rock sound, more confident and open to vulnerability than ever before.
A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.
Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC, Horseman, who lends his voice to the album’s first single ‘Night Night’.
The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.
It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.
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Germany
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A sun-drenched exploration of love in all its guises, Shy Girl tells stories of the magical and the melancholy, the heart-lifting and heart-breaking, across 12 luscious, analogue reggae compositions - the culmination of a soft-hued and instantly recognisable “tropical pop” sound that Cook has made her own.
Put together across three years and four cities – from LA and NYC, to Vejer de la Frontera in Spain and Cook’s hometown London – Shy Girl was written with long-time collaborators, The General Roots Band, and features a contribution from legendary dub MC, Horseman, who lends his voice to the album’s first single ‘Night Night’.
The album opens with the title track ‘Shy Girl’, a buoyant and elastic slice of lovers rock that was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that Iove as possible.” It is this honesty which shines throughout, from the chugging deep dub of ‘Frontline’, complete with raking electric guitar lines, to the bittersweet roots ballad ‘We Share Love’, which closes out the album.
It's clear to see that Cook’s songwriting draws on a lifetime of musical influences and inspirations. From her father, Sex Pistols drummer Paul Cook’s record collection and touring with post-punk icon Ari Up’s The Slits, to her love for strong female-led pop music and the bassweight of London’s sound system culture. Enamoured with the music of Janet Kay and Phyllis Dillon, Shy Girl represents a homecoming and a coming-of-age for Hollie Cook, distilling and refining a shimmering reggae sound that will capture your heart, as it first captured hers.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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1
Project Gemini & Wendy Martinez - Je n'ai plus peur
2
Project Gemini & Wendy Martinez - Âme contre âme
3
Project Gemini & Wendy Martinez - Crawler
4
Project Gemini & Wendy Martinez - Notre chambre
5
Project Gemini & Wendy Martinez - Ce qui est intact
6
Project Gemini & Wendy Martinez - Âme contre âme (reprise)
Having worked together on his 2024 album Colours & Light, Project Gemini aka Paul Osborne joins forces once again with Wendy Martinez, French singer and composer, and also part of renowned psych-girl group Gloria on a new collaborative EP. Landing on Mr Bongo, ‘Time Stands Still / Le temps s'arrête’ is a sonic exploration that shows a shared love of the progressive music emanating out of France in the ‘60s and ‘70s and the celebrated film soundtrack composers of the time. A more melodic and romantic excursion than Paul’s previous recordings, this EP marries his richly textured, cinematic psych rock with Martinez’s captivating vocal presence.
A body of work born during the period Paul was finishing up his last LP Colours & Light, he penned an album’s worth of instrumental library-style music and had the idea of having Wendy add vocals and lyrics to a selection of them. The instrumental record got scrapped, but thankfully ‘Time Stands Still’ grew out of it.
Paul was a fan of Wendy’s work as both a solo artist and in the band Gloria, and her inclusion on the Project Gemini tracks ‘Entre chien et loup’ & ‘Extra Nuit’ showed a clear synergy to their musical approaches and sounds. For ‘Time Stands Still’ he sent over instrumental tracks one by one, with Wendy taking time to find melodies and French poetry she was happy with and returning her ideas from her home just outside of Lyon.
Drawing inspiration from French soundtrack composers such as François de Roubaix, Francis Lai and Michel Colombier, as well as French female artists including Léonie and Laurence Vanay, these productions are a contemporary love letter to this sound, not a homage. Mixing psych, folk, chanson, and French new wave, it’s music that pulls you in deeper, with groove, grit and passion at its core.
'Je n'ai plus peur' kicks things off with a sultry energy. It’s a psych-funk production drenched in attitude, swagger, and edge, which nods to the left-field side of Serge Gainsbourg’s music. Elsewhere, 'Âme contre âme' feels like the opener from a forgotten new-wave film, managing to be at both beautiful yet sinister and longing. 'Crawler' could be incidental music from the same film, with Wendy using her voice as an instrument layering the backing track as Paul's bass takes centre stage. The ghostly spoken word of 'Ce qui est intact' echoes a funky version of what the Théâtre du Chêne Noir d'Avignon may have recorded.
A transportive journey ‘Time Stands Still’ is nostalgic yet new in the same smoke-filled breath. Fuzzed-up guitars and driving basslines meld with folk-leaning organs and mellotron vibrations to give that eerie, otherworldly edge. All of which are seasoned by the sensuous, layered vocal tones of Wendy Martinez, alongside crisp drums from Tony Coote and considered percussive touches by Paul Elliot.
Vinyl 12" comes with lyric sheet insert.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
A body of work born during the period Paul was finishing up his last LP Colours & Light, he penned an album’s worth of instrumental library-style music and had the idea of having Wendy add vocals and lyrics to a selection of them. The instrumental record got scrapped, but thankfully ‘Time Stands Still’ grew out of it.
Paul was a fan of Wendy’s work as both a solo artist and in the band Gloria, and her inclusion on the Project Gemini tracks ‘Entre chien et loup’ & ‘Extra Nuit’ showed a clear synergy to their musical approaches and sounds. For ‘Time Stands Still’ he sent over instrumental tracks one by one, with Wendy taking time to find melodies and French poetry she was happy with and returning her ideas from her home just outside of Lyon.
Drawing inspiration from French soundtrack composers such as François de Roubaix, Francis Lai and Michel Colombier, as well as French female artists including Léonie and Laurence Vanay, these productions are a contemporary love letter to this sound, not a homage. Mixing psych, folk, chanson, and French new wave, it’s music that pulls you in deeper, with groove, grit and passion at its core.
'Je n'ai plus peur' kicks things off with a sultry energy. It’s a psych-funk production drenched in attitude, swagger, and edge, which nods to the left-field side of Serge Gainsbourg’s music. Elsewhere, 'Âme contre âme' feels like the opener from a forgotten new-wave film, managing to be at both beautiful yet sinister and longing. 'Crawler' could be incidental music from the same film, with Wendy using her voice as an instrument layering the backing track as Paul's bass takes centre stage. The ghostly spoken word of 'Ce qui est intact' echoes a funky version of what the Théâtre du Chêne Noir d'Avignon may have recorded.
A transportive journey ‘Time Stands Still’ is nostalgic yet new in the same smoke-filled breath. Fuzzed-up guitars and driving basslines meld with folk-leaning organs and mellotron vibrations to give that eerie, otherworldly edge. All of which are seasoned by the sensuous, layered vocal tones of Wendy Martinez, alongside crisp drums from Tony Coote and considered percussive touches by Paul Elliot.
Vinyl 12" comes with lyric sheet insert.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Bobby Matos And The Combo Conquistadores - Nadie Baila Como Yo
2
Bobby Matos And The Combo Conquistadores - En Casa De Alfredo
3
Bobby Matos And The Combo Conquistadores - Caliente Y Grasoso
4
Bobby Matos And The Combo Conquistadores - Te Adoro A Ti
5
Bobby Matos And The Combo Conquistadores - La Cosa De Ritchie
6
Bobby Matos And The Combo Conquistadores - Me Tienes Loco
7
Bobby Matos And The Combo Conquistadores - Tema De Alma Latina
8
Bobby Matos And The Combo Conquistadores - Mambo Maxims
9
Bobby Matos And The Combo Conquistadores - One Mint Julep
10
Bobby Matos And The Combo Conquistadores - Raices
11
Bobby Matos And The Combo Conquistadores - Trailo A Casa
When it comes to Latin soul, Bobby Matos And The Combo Conquistadores 'Tema De Alma Latina', has to be up there as one of the heaviest tracks ever recorded. This much-loved Latin workout has been rocking dancefloors for years with its infectious, driving energy and pulsating rhythms. Released in 1968, the 'My Latin Soul' album on Philips Records now receives a welcome reissue on Mr Bongo. It’s a sheer delight throughout and a premier example of the Nu Yorican sound that was thriving in New York in the ‘60s.
From a young age, the Bronx, New York-born Latin jazz percussionist Bobby Matos found inspiration through the conga drum masters Mongo Santamaría and Patato Valdez (who he had informal backstage lessons with) and timbales legends Willie Bobo and Tito Puente. Bobby was drawn into New York's club scene and began playing in the vibrant ‘60s beat / bohemian Greenwich Village cafes, followed by stints in a wide range of different venues. These included Bronx dance halls and after-hours clubs in El Barrio, through to the elegance of Carnegie Hall, Central Park concerts, and off-Broadway theatres.
Later relocating to Los Angeles, Bobby played an important role in spreading Latin music far and wide. He became an inspiration to many on the jazz dance and acid jazz scenes in the ‘80s / '90s where his recordings were picked and played, becoming prized collector items amongst DJs. The track 'Tema De Alma Latina' was immortalised as a classic for many, after being featured on the Gilles Peterson’s Street Sounds Jazz Juice 5 compilation in 1987. A captivating listen from start to finish, the album features other treats such as the dynamic album opener ‘Nadie Baila Como Yo’, the blazing flute led 'Mambo Maxims', and the blistering piano shuffler 'Raices'.
A truly iconic Latin classic whether you’re being reunited with it like an old friend or discovering it as a fresh new find.
Vinyl LP features a tip-on sleeve.
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From a young age, the Bronx, New York-born Latin jazz percussionist Bobby Matos found inspiration through the conga drum masters Mongo Santamaría and Patato Valdez (who he had informal backstage lessons with) and timbales legends Willie Bobo and Tito Puente. Bobby was drawn into New York's club scene and began playing in the vibrant ‘60s beat / bohemian Greenwich Village cafes, followed by stints in a wide range of different venues. These included Bronx dance halls and after-hours clubs in El Barrio, through to the elegance of Carnegie Hall, Central Park concerts, and off-Broadway theatres.
Later relocating to Los Angeles, Bobby played an important role in spreading Latin music far and wide. He became an inspiration to many on the jazz dance and acid jazz scenes in the ‘80s / '90s where his recordings were picked and played, becoming prized collector items amongst DJs. The track 'Tema De Alma Latina' was immortalised as a classic for many, after being featured on the Gilles Peterson’s Street Sounds Jazz Juice 5 compilation in 1987. A captivating listen from start to finish, the album features other treats such as the dynamic album opener ‘Nadie Baila Como Yo’, the blazing flute led 'Mambo Maxims', and the blistering piano shuffler 'Raices'.
A truly iconic Latin classic whether you’re being reunited with it like an old friend or discovering it as a fresh new find.
Vinyl LP features a tip-on sleeve.
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DE - 22113 Hamburg
Germany
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1
Zé Ibarra - Infinito Em Nós
2
Zé Ibarra - Segredo
3
Zé Ibarra - Transe
4
Zé Ibarra - Retrato De Maria Lúcia
5
Zé Ibarra - Da Menor Importância
6
Zé Ibarra - Morena
7
Zé Ibarra - Essa Confusão
8
Zé Ibarra - Hexagrama 28
Mr Bongo proudly presents, ‘AFIM’, the second solo album by one of Brazil’s most exciting new talents, Zé Ibarra. You may be familiar with the hypnotic, entrancing tones of Ibarra’s vocals through his work with the Latin Grammy award-winning, four-piece, Bala Desejo and the band Dônica. He has also toured with the musical titan, Milton Nascimento, performing guitar and vocals, which is quite the honour and a testament to Ibarra's craft. As a solo artist, he has performed headline solo shows in Japan, Portugal and the US, as well as recently completing a support tour with the great, Seu Jorge.
‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.
The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.
His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.
The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.
The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.
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Germany
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‘AFIM’ is comprised of eight tracks, featuring Zé’s own compositions as well as cover versions of tracks by contemporaries and friends, Sophia Chablau, Tom Veloso, and Dora Morelenbaum. It combines elements of MPB, jazz, pop and progressive rock in a bold, authoritative style. The album represents the intersection between different facets of the artist, from the stripped-down, intimate, guitar singer-songwriter, to dense arrangements with sweeping strings sections. Writing this album allowed Ibarra "to explore sides of myself that had not yet been organized in an album: a certain darkness, a more cinematic musicality, a desire for new soundscapes.
The album features the single, 'Transe', a song with an instantly comforting tone reminiscent of classic Brazilian songs of the past (think Caetano Veloso). It is built on a rhythmic guitar that supports dynamic sound layers, opening space for Ibarra's intense interpretation. Cinematic atmospheres that lend an air of mystery come courtesy of string arrangements by Jaques Morelenbaum.
His unique cover version of Sophia Chablau's 'Segredo' is equally compelling, taking Sophia's punky-indie original in a different direction and making it feel like his own. 'Essa Confusão', a song celebrating the intensity of love and co-written by Dora Morelenbaum, is steered into epic, 70's AOR, singer-songwriter territory with wind arrangements by Ibarra, Jorge Continentino and strings by Jaques Morelenbaum.
The album is the result of the collaboration of experienced musicians and long-time partners of Ibarra. Fellow Bala Desejo and Dônica member Lucas Nunes co-produced the album. The core band featured on the record consists of Lucas Nunes on organs, Alberto Continentino on bass, Daniel Conceição and Thomas Harres on drums and percussion, Rodrigo Pacato on additional percussion, Chico Lira on Fender Rhodes and Guilherme Lírio on guitar.
The overall feel of the record is archetypically quintessential without slipping into retro mode. It is a stunning album from one of the finest musicians of his generation. A true star of Brazil’s blooming contemporary scene.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Germany
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1
Hollie Cook ft. Horseman - Shy Girl
2
Hollie Cook ft. Horseman - Frontline
Ahead of the release of Hollie Cook’s fifth studio album, Shy Girl, the anthemic, feel-good title track and rootsy chugging ‘Frontline’ take either side of a 7” single.
Woven with tight grooves, beautiful vocals and catchy melodies, Hollie’s forthcoming album hears her more confident and open to vulnerability than ever before. The title track of the album ‘Shy Girl’ is a buoyant and elastic slice of lovers rock. It was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that love as possible.” Doused in Hollie’s signature “tropical pop” sound, ‘Shy Girl’ is grounded in a vibrant bassline and classic off-beat reggae guitar struts. Hollie’s dreamy vocals radiate warmth and tenderness in equal measure, adding to the song’s soft-hued embrace.
The deep roots flavour of ‘Frontline’ takes the B side. Complete with raking electric guitar lines, a dubby bassline and weighty horn section, it’s a powerful cut that’s both ethereal and empowering. Wearing her heart on her sleeve with this beautifully melancholic piece of songwriting, Hollie opens up through her lyrics with an emotional depth and striking honesty.
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Woven with tight grooves, beautiful vocals and catchy melodies, Hollie’s forthcoming album hears her more confident and open to vulnerability than ever before. The title track of the album ‘Shy Girl’ is a buoyant and elastic slice of lovers rock. It was written in a moment of spontaneous intuition, and bubbles with a charisma and positivity that Cook radiates. “I’m not a natural show-off,” Cook explains. “The Shy Girl theme is me. It’s just about being my most vulnerable self and being as true to the music that love as possible.” Doused in Hollie’s signature “tropical pop” sound, ‘Shy Girl’ is grounded in a vibrant bassline and classic off-beat reggae guitar struts. Hollie’s dreamy vocals radiate warmth and tenderness in equal measure, adding to the song’s soft-hued embrace.
The deep roots flavour of ‘Frontline’ takes the B side. Complete with raking electric guitar lines, a dubby bassline and weighty horn section, it’s a powerful cut that’s both ethereal and empowering. Wearing her heart on her sleeve with this beautifully melancholic piece of songwriting, Hollie opens up through her lyrics with an emotional depth and striking honesty.
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1
Nina Maia - Caricatura
2
Nina Maia - Kaô
3
Nina Maia - Mar Adentro
4
Nina Maia - Sua
5
Nina Maia - Menininha
6
Nina Maia - Amargo
7
Nina Maia - Salto De Fé
8
Nina Maia - Inteira
9
Nina Maia - Manha
10
Nina Maia - Gosto Meio Doce
11
Nina Maia - Serenata Do Adeus
12
Nina Maia - De Dentro (Live)
It began with a cassette tape entitled 'Pleased To Meet You' gifted to us at Sessa’s Fasching, Stockholm show by Yann Dardenne, the multi-tasking tour manager/sound engineer/producer/merch stall worker and co-owner of Seloki Records. On first listen, the selection of underground Brazilian artists from the Seloki’s roster was superb, however, one song stopped us in our tracks. The hauntingly captivating ' GOSTO MEIO DOCE’ by Nina Maia and Francisca Barreto, gave us a taste of Nina's ethereal, addictive voice and we knew we needed to hear more.
Born in Minas Gerais but now based in São Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadú, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.
As much inspired by Billie Eilish and Rosalía, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba canção, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all.
This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award’s ‘Breakthrough Artist’ category, who also listed ‘INTEIRA’ as one of the 50 best albums of 2024. It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music.
Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you’ll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.
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Born in Minas Gerais but now based in São Paulo, the 22-year-old has already packed a lot into a relatively short space of time. The singer, songwriter, instrumentalist, and producer, has already collaborated on the soundtracks for six Brazilian feature films, including a track with the vocalists Maria Gadú, Iza, and Liniker. But things enter a new exciting era with this, her remarkable debut album entitled 'INTEIRA', which translates to English as 'whole'.
As much inspired by Billie Eilish and Rosalía, as Milton Nascimento and Toninho Horta and not sounding like other records coming out of Brazil, 'INTEIRA' is unique. Though rich in its Brazilian heritage, inspired by samba canção, MPB, and the Clube da Esquina movement, it also channels influence from bands such as Portishead and Massive Attack, mixed with jazz, contemporary leftfield and electronic pop artists. Musically, it is not easily pigeonholed, with beautiful, well-crafted songs, sophisticated arrangements, eloquent vocals and intimate lyrics. Each track reflects different moments and stories from Nina's youth but with dialogues, feelings, and questions that span generations and resonate with all.
This ambitious debut album is Nina's vision and sound, expressing herself without constraints and making music with her friends. Featuring a lineup of Thalin (drums), Valentim Frateschi (bass), Francisca Barreto (cello and vocals), Thales Hashiguti (viola and violin), Yann Dardenne (acoustic guitar and co-producer) and Nina on piano, Rhodes, guitar and production. The album led to a nomination in Paulista Association of Art Critics (APCA) award’s ‘Breakthrough Artist’ category, who also listed ‘INTEIRA’ as one of the 50 best albums of 2024. It also received support from Bandcamp Weekly and Jamz Supernova on BBC 6 Music.
Released digitally by Seloki Records in Brazil in 2024, Mr Bongo in partnership with Seloki Records now present this new, deluxe worldwide edition that includes four additional songs. These comprise the brand-new exquisite 'MANHA', as well as an original twist on Vinicius de Moraes' classic 'Serenata Do Adeus'. Elsewhere you’ll find a live recording showcasing Nina's remarkable energy on stage courtesy of 'DE DENTRO' and 'GOSTO MEIO DOCE' with the amazing musician/vocalist Francisca Barreto, where our whole story began. Here at Mr Bongo, we are honoured to release music by such a remarkable new talent - one whose musical trajectory is most certainly about to soar.
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Germany
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1
John Simmons - Ain’t Nothing Like The Love
2
Le Cop - Law, Order & Peace
3
The Medlows - Love Part 1
4
The Whale And Flea - Ridin' On
5
Liberation Of Man - Lovely Day
6
Thrills - Telephone
7
East Wind Band - Read The Fine Print
8
Late Nite Music Band - Sundance
9
Gülden Karaböcek - Dokunma Keyfine Yalan Dünyanin (*Vinyl Only)
10
Nükhet Ruacan - Gölge
11
Carlos Bivar - Amargo Amar
12
Art Carey & Magnum Force - Good-Bye My Love
13
New Way - Holding On
14
Flashback - Piece Of Mind
15
Spectrym - In Flight
16
John Academia - Open Our Eyes
With two critically acclaimed compilations already under his belt, DJ / collector miche returns to Mr Bongo with the third instalment of his With Love series. Testament to his ever-expanding taste, Volume 3 isn’t just a subs bench call-up from the past compilations, it’s an evolution and progression casting the net deeper and wider than before.
Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.
Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.
That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.
The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era.
It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.
Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”
Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.
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Keeping true to the series, but with some fresh surprises along the way, this carefully curated compilation is a celebration of soulful, independently released music from across the globe, and the amazing (often unsung) musicians and vocalists that made these sublime records.
Across the third volume, miche explores a jazzier side of his tastes. “The deeper I went, the more I found myself gravitating towards jazzier music - not leaving soul behind, but following that same feeling into new territory”, he explains. Tracks like the gliding jazz funk found on Late Nite Music Band’s ‘Sundance’, or the glorious jazz-soul number ‘In Flight’ by Spectrym are shining examples of this.
That defining soulful thread of previous volumes is still in full effect throughout this latest edition. “There’s a healthy dose of impossible-to-find soul gems that have that unmistakable, heartwarming feel. Tracks like John Simmons' 'Ain't Nothing Like The Love', which I've adored ever since Zaf Love Vinyl played it, sit perfectly alongside records like Le Cop and New Way”, states miche.
The addition of some top-tier Turkish music showcases another side to his ever-broadening taste. Nükhet Ruacan's 'Gölge' is something unique, a floaty Brazilian-inspired gem recorded in Turkey and not what you’d typically expect from Turkish records of this era.
It also wouldn’t feel right to leave out a stop in Brazil, with miche looking to the work of Carlos Bivar whose track 'Amargo Amar' carries that undeniable groove of samba-funk from Rio.
Spreading the With Love message far and wide the series has led to miche DJing across the globe, “from batucada sessions in Timisoara, to all-night sets in a club in Beijing, and even an eight-hour Root Down With Love stage takeover at We Out Here festival, joined by Danilo Plessow, Jeremy Underground, and of course, my mentor and buddy Rainer Trüby.”
Volume 3 then, carries that message even further. It’s an eclectic but intentional collection, built for the music lover who wants to discover something new. Working just as well as a soundtrack to cook dinner to, as it does keeping a packed dancefloor moving into the small hours.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Germany
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1
Finn Rees & SHOLTO - Love In Memory
2
Finn Rees & SHOLTO - Bluebell
This one was an unexpected treat. Two of our favourite contemporary musicians, Finn Rees & SHOLTO coming together and collaborating on a double dose of celestial, cinematic alchemy.
At Mr Bongo we are massive admirers of drummer, musician, and producer SHOLTO (Oscar Robertson). His two albums on Funk Night Records and DeepMatter Records, had both been highlights of their respective years. We’d gotten to know Oscar and sent him a few records. Included in the package was Australian pianist-composer Finn Rees’ debut album, Dawn Is A Melody, which was one of our favourite releases on Mr Bongo in 2024.
In Oscar's words 'For me it was a standout modern jazz record - encapsulating a spiritual / hazy dreamy soundscape which hugely resonated with me. Glissando keys and harp with lush melodies, I was instantly intrigued.”
The pair started following each other online and as luck would have it, Finn was staying in London for the summer season, so they arranged to meet. The pair instantly clicked and said it felt like they'd known each other for years. After 40 minutes of chatting, they started to jam.
'Love In Memory' and 'Bluebell' were recorded over two days - a track a day in Oscar's SFJ studios. Laid down on mostly analogue equipment, the pair utilised Wurlitzer’s, mellotrons, and ribbon mics through Oscar’s ‘70s Studer desk. Composed and crafted without any real intentions, other than a shared appreciation for the same style of music and approach, the tracks started to take shape. The results were as lush, nostalgic and textured as you’d expect from these two brilliant musicians, with a classical feel inspired by artists such as Piero Piccioni, Piero Umiliani, and Henry Mancini.
For the beautiful string arrangements, the pair recruited the talents of Sholto's long-time friend and collaborator Clementine Brown (Penguin Cafe Orchestra) and Matthew Hayes of 30/70, Allysha Joy, Xpress Point, Zeitgeist Freedom Energy Exchange fame, was brought in to play bass on 'Bluebell'.
So here we have it, a chance collaborative project built on two musicians' mutual respect for each other's outputs. The result is truly breathtaking.
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At Mr Bongo we are massive admirers of drummer, musician, and producer SHOLTO (Oscar Robertson). His two albums on Funk Night Records and DeepMatter Records, had both been highlights of their respective years. We’d gotten to know Oscar and sent him a few records. Included in the package was Australian pianist-composer Finn Rees’ debut album, Dawn Is A Melody, which was one of our favourite releases on Mr Bongo in 2024.
In Oscar's words 'For me it was a standout modern jazz record - encapsulating a spiritual / hazy dreamy soundscape which hugely resonated with me. Glissando keys and harp with lush melodies, I was instantly intrigued.”
The pair started following each other online and as luck would have it, Finn was staying in London for the summer season, so they arranged to meet. The pair instantly clicked and said it felt like they'd known each other for years. After 40 minutes of chatting, they started to jam.
'Love In Memory' and 'Bluebell' were recorded over two days - a track a day in Oscar's SFJ studios. Laid down on mostly analogue equipment, the pair utilised Wurlitzer’s, mellotrons, and ribbon mics through Oscar’s ‘70s Studer desk. Composed and crafted without any real intentions, other than a shared appreciation for the same style of music and approach, the tracks started to take shape. The results were as lush, nostalgic and textured as you’d expect from these two brilliant musicians, with a classical feel inspired by artists such as Piero Piccioni, Piero Umiliani, and Henry Mancini.
For the beautiful string arrangements, the pair recruited the talents of Sholto's long-time friend and collaborator Clementine Brown (Penguin Cafe Orchestra) and Matthew Hayes of 30/70, Allysha Joy, Xpress Point, Zeitgeist Freedom Energy Exchange fame, was brought in to play bass on 'Bluebell'.
So here we have it, a chance collaborative project built on two musicians' mutual respect for each other's outputs. The result is truly breathtaking.
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Lonnie Smith - Afrodesia
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Lonnie Smith - Spirits Free
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Lonnie Smith - Straight To The Point
4
Lonnie Smith - Favors
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Lonnie Smith - The Awakening
The second in our Mr Bongo series opening the vault on classic recordings from the fabled Groove Merchant Records catalogue. This time the spotlight turns to the Hammond B3 organ maestro Lonnie Smith, as we proudly present a reissue of his cosmic jazz-funk journey, ‘Afro-Desia’.
Originally released in 1975, this much-loved album was produced by Groove Merchant label owner Sonny Lester and features the mysterious 'Compliments Of A Friend' on guitar. Considering Smith was part of George Benson’s quartet in the ‘60s, that not so discreet veil appears to have been lifted on who this ‘friend’ might be. However, presumably due to contractual reasons, Benson had to remain covert for this recording. The lineup doesn’t stop there though, with the likes of legendary bassist Ron Carter and Grammy award winning saxophonist Joe Lavano joining the outfit.
An album of two parts, the first side sees Lonnie Smith in a spaced-out, cosmic jazz funk setting. The opener 'Afrodesia' is a funk flexing, steamy groover. Greg Hopkins and Lavano trading off on trumpet and sax respectively, as that bassline walks its way over fluttering jazz percussion and off-kilter electronics. 'Spirits Free' is an epic 15-minute free-wheeling jazz-funk workout. A mind melting trip that rises and falls, in parts spacey and serene, with Smith’s organ playing complimented by stretched out horns. Before long it opens out into unconstrained fluid sections that do its title proud. Pure ‘70s jazz-funk at its most stellar.
Side B takes a more classic soul-jazz flavour, with touches of Latin spice. 'Straight To The Point' kicks off with a carnival zing, full-frontal horn and organ lines providing a fiery party punch. It’s a swinging jazz cut that used to receive spins by DJs at Russ Dewbury's Jazz Room's sessions in Brighton in the ‘90s.
Finally, 'Favors' and 'The Awakening' close out the release. Two sure shot, quintessential Lonnie Smith firing Hammond grooves. Each conjuring up images of packed out, smokey jazz bar jams, every player letting loose with masterful improv sections to whip the crowd up into a frenzy.
A truly wonderful album, and an archetypal release showcasing the height of jazz musician excellence from this era. Housed in a gatefold tip-on sleeve.
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Germany
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Originally released in 1975, this much-loved album was produced by Groove Merchant label owner Sonny Lester and features the mysterious 'Compliments Of A Friend' on guitar. Considering Smith was part of George Benson’s quartet in the ‘60s, that not so discreet veil appears to have been lifted on who this ‘friend’ might be. However, presumably due to contractual reasons, Benson had to remain covert for this recording. The lineup doesn’t stop there though, with the likes of legendary bassist Ron Carter and Grammy award winning saxophonist Joe Lavano joining the outfit.
An album of two parts, the first side sees Lonnie Smith in a spaced-out, cosmic jazz funk setting. The opener 'Afrodesia' is a funk flexing, steamy groover. Greg Hopkins and Lavano trading off on trumpet and sax respectively, as that bassline walks its way over fluttering jazz percussion and off-kilter electronics. 'Spirits Free' is an epic 15-minute free-wheeling jazz-funk workout. A mind melting trip that rises and falls, in parts spacey and serene, with Smith’s organ playing complimented by stretched out horns. Before long it opens out into unconstrained fluid sections that do its title proud. Pure ‘70s jazz-funk at its most stellar.
Side B takes a more classic soul-jazz flavour, with touches of Latin spice. 'Straight To The Point' kicks off with a carnival zing, full-frontal horn and organ lines providing a fiery party punch. It’s a swinging jazz cut that used to receive spins by DJs at Russ Dewbury's Jazz Room's sessions in Brighton in the ‘90s.
Finally, 'Favors' and 'The Awakening' close out the release. Two sure shot, quintessential Lonnie Smith firing Hammond grooves. Each conjuring up images of packed out, smokey jazz bar jams, every player letting loose with masterful improv sections to whip the crowd up into a frenzy.
A truly wonderful album, and an archetypal release showcasing the height of jazz musician excellence from this era. Housed in a gatefold tip-on sleeve.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
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Contact: [email protected]More
1
Arthur Verocai - Caboclo
2
Arthur Verocai - Pelas Sombras
3
Arthur Verocai - Sylvia
4
Arthur Verocai - Presente Grego
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Arthur Verocai - Dedicada A Ela
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Arthur Verocai - Seriado
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Arthur Verocai - Na Boca Do Sol
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Arthur Verocai - Velho Parente
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Arthur Verocai - O Mapa
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Arthur Verocai - Karina (Domingo No Grajaú)
Repress!
New half-speed mastering!
Taken from the original Continental master tapes, transferred under supervision by Arthur Verocai. Original replica gatefold artwork.
A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.
The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.
The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.
The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
New half-speed mastering!
Taken from the original Continental master tapes, transferred under supervision by Arthur Verocai. Original replica gatefold artwork.
A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.
The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.
The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.
The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.
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1
The Mighty Mocambos - Open The Gate
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The Mighty Mocambos - Get Loose
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The Mighty Mocambos - Spinning
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The Mighty Mocambos - Back And Better
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The Mighty Mocambos - Sweet Company
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The Mighty Mocambos - Sparks Of Joy
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The Mighty Mocambos - Phantom Power
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The Mighty Mocambos - Can't Stop This Fire (feat. Carlton Jumel Smith)
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The Mighty Mocambos - When We Roll
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The Mighty Mocambos - Homebound
Germany's iconic deep funk collective digs into a new soundscape: "A Higher Frequency" was recorded with a nine-piece live to tape at legendary MPS studio in the Black Forest, adding an airy, jazzy flavour to their trademark raw and breaks-heavy funk. Ten tracks full of spiritual grooves, soulful themes, loose funkiness and organic interplay, captured with state-of-the-art 1960s gear in a super-vibey room - but the title A Higher Frequency is not just about the pristine analogue sound quality of the recording, it is also a reference to a trancendant wavelength where minds meet and music connects. Together with long-time friends and collaborators Daniel Kimaz on flute and Guillame Métenier, who worked his magic on the studio's historic Bösendörfer grand piano and Hammond organ, the group spent a week in the Black Forest, with full focus on the mission to capture the live energy and togetherness of the ensemble. The result is an album bursting with positive energy and power, rooted in a universal funk groove with excursions into many colourful branches like outernational, cinematic, soulful jazz, psychedelic & disco.
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Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Nico Gomez - Aquarela
2
Nico Gomez - Tristeza
3
Nico Gomez - Desafinado
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Nico Gomez - Agua
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Nico Gomez - Orpheu Negro
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Nico Gomez - The Girl From Ipanema
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Nico Gomez - One Note Samba
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Nico Gomez - Saudade Do Rio
9
Nico Gomez - Rio
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Nico Gomez - Little Boat
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Nico Gomez - Vôce E Eu
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Nico Gomez - Din! Din! Din!
Nico Gomez, a Belgian orchestra leader of Dutch roots, has long been a favourite with Latin fans, record diggers, DJs, and collectors alike. His blend of bossanova, latin jazz, and easy listening always turns up a few choice nuggets and surprises; what is perhaps most remarkable is that it was recorded in Europe.
Back in 2013, Mr Bongo re-issued Nico Gomez's sought-after 'Ritual' album from 1971, and now we follow it up with another jewel from his catalogue his 1972 album 'Soul Of Samba'. For this re-issue, we have opted to present it with the cover art originally used on the Trio Records version released in Japan. In the Netherlands and Belgium, the album was released with different cover art under the title 'Bossa Nova’, on Omega International and International Bestseller Company records, respectively. We loved the beautiful psychedelic design of the Japanese version and wanted to use it for this re-issue.
'Soul Of Samba' features several euro-bossa-jazz favourites such as the catchy 'Rio'; which was a firm DJ choice cut at jazz dance nights, including Brighton's 'Jazz Rooms' in the 90s. It also featured in Rainer Trüby's classic ‘Glücklich' compilation series which explored European-Brazilian-inspired music. The beguiling ‘Aquarela', with its engaging latin shuffle, entices feet to the dancefloor and is not one to miss. 'Agua’ has a lazy-quirky latin-funk feel with breathy-stoned vocals floating in the background. The album additionally features numerous breezy latin, Brazilian, and easy listening joints, some of which are ripe for sampling.
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Back in 2013, Mr Bongo re-issued Nico Gomez's sought-after 'Ritual' album from 1971, and now we follow it up with another jewel from his catalogue his 1972 album 'Soul Of Samba'. For this re-issue, we have opted to present it with the cover art originally used on the Trio Records version released in Japan. In the Netherlands and Belgium, the album was released with different cover art under the title 'Bossa Nova’, on Omega International and International Bestseller Company records, respectively. We loved the beautiful psychedelic design of the Japanese version and wanted to use it for this re-issue.
'Soul Of Samba' features several euro-bossa-jazz favourites such as the catchy 'Rio'; which was a firm DJ choice cut at jazz dance nights, including Brighton's 'Jazz Rooms' in the 90s. It also featured in Rainer Trüby's classic ‘Glücklich' compilation series which explored European-Brazilian-inspired music. The beguiling ‘Aquarela', with its engaging latin shuffle, entices feet to the dancefloor and is not one to miss. 'Agua’ has a lazy-quirky latin-funk feel with breathy-stoned vocals floating in the background. The album additionally features numerous breezy latin, Brazilian, and easy listening joints, some of which are ripe for sampling.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Gal Costa - Índia
2
Gal Costa - Milho Verde
3
Gal Costa - Presente Cotidiano
4
Gal Costa - Volta
5
Gal Costa - Relance
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Gal Costa - Da Maior Importância
7
Gal Costa - Passarinho
8
Gal Costa - Pontos De Luz
9
Gal Costa - Desafinado
Official Mr Bongo reissue, gatefold LP with insert. Japanese, high spec, gatefold sleeve. Replica original artwork. Mastered from original tapes.
A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
‘India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.
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Germany
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A post-Tropicalia masterpiece from one of the movements key figures and true legends of Brazilian music, Gal Costa. Features a stellar line up of musicians including Gilberto Gil, Arthur Verocai, Dominguinhos, Rogério Duprat and Tenorio Jr. amongst others.
Replica original gatefold including the cover that was banned by the Brazilian military government in 1973 during the brutal dictatorship.
‘India’ includes the incredible ’Pontos De Luz’ as sampled by Kaytranada on ’Lite Spots’ – one of our favourite Brazilian songs of all time. A wonderful album from start to finish, touching on MPB, folk, jazz, funk and rock with strong Tropicalia and Nordestino influences throughout.
A record that we have long been wanting to reissue! Licensed courtesy of Universal Music Group Limited.
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Liebigstrasse 2-20
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1
Julia Mestre - Maravilhosamente Bem
2
Julia Mestre - Sou Fera
3
Julia Mestre - Vampira
4
Julia Mestre - Pra Lua
5
Julia Mestre - Veneno Da Serpente
6
Julia Mestre - Canto De Sereia
7
Julia Mestre - Sentimento Blues
8
Julia Mestre - Interlúdio Dos Amantes
9
Julia Mestre - Seu Romance
10
Julia Mestre - Marinou, Limou Feat. Marina Lima
11
Julia Mestre - Cariñito
Proudly presenting Maravilhosamente Bem the powerful, female-centred third album by Brazilian singer, songwriter, actress, and creative director, Julia Mestre. Alongside being a member of the Latin Grammy-winning Brazilian supergroup, Bala Desejo, Julia has been steadily building a solo career where her unique vision and alluring soft, sultry voice take centre stage. Drawing inspiration from ‘80s ballads, MPB, pop and disco productions, each song on this third album finds Julia creatively exploring different characters and tones.
A love-song-driven LP at its core, Maravilhosamente Bem holds a playful mirror up to blissful days gone by, artfully reimagined with Julia’s own modern twist. An album filled with love and nostalgia, it pays homage to her love of classic female disco divas such as Donna Summer, Sade, Alcione, Lady Zu, and the Brazilian rock queens Rita Lee and Marina Lima. Of that latter pairing, the late iconic Brazilian vocalist and musician Rita Lee (Os Mutantes) is referenced in the music video for the first single, ‘Sou Fera’, blessing Julia with a magical guitar. Marina Lima then provides guest vocals on the album’s closing track, ‘Marinou, Limou’, with her name transformed into a mantra by Julia.
Channelling a lo-fi ‘80s ballad aesthetic, Julia navigates a multitude of themes across the nine sublime tracks. From the sexy, whispered performances on vintage horror movie-inspired tunes ‘Vampira’ and ‘Pra Lua’ to the delicate, fragile love lullabies of ‘Sentimento Blues’ and ‘Cariñito’, and the seductive disco diva embodiment on dance tracks ‘Veneno de Serente’ and title track ‘Maravilhosamente Bem’. Another hidden highlight is the palette-cleansing mini-suite, ‘Interlúdio dos Amantes’. A luscious strings instrumental piece that lends to the beautiful Sade-esque ‘Seu Romance’.
Produced by Julia and longtime collaborators Gabriel Quirino, Gabriel Quinto, and João Moreira, Maravilhosamente Bem sees Julia embarking on a new era of her musical career. This sensational third album is a captivating showcase of the creative vision and versatility of one of Brazil’s finest stars. Released on Mr. Bongo (ROW) and Altafonte (Brazil/Portugal).
Music Conception/Production: Julia Mestre, Gabriel Quinto, Gabriel Quirino and João Moreira
Mixing and Mastering: Martin Scian
Audio Engineers:
Recording Technician (Drums, Guitar, Bass and Piano): Luis Paulo Serafim
Recording Technician (strings): Willian Luna
Recording Technician (Vocals, Steel Guitar, Winds and Percussion): Antonio Nunes
Recording Technician (Guitars, Keyboards and Vocals): Gabriel Quinto and Gabriel Quirino
Recording Technician (Vocals): Angelo Wolf
Recording studios: Estúdio Veloso, Estúdio CIA TEC, Wolf Records, Toca do Ogrow, Estúdio Renato Neto
Vocal Design: Gabriel Quinto and Gabriel Quirino
Vocal Arrangement: Gabriel Quinto and Julia Mestre
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A love-song-driven LP at its core, Maravilhosamente Bem holds a playful mirror up to blissful days gone by, artfully reimagined with Julia’s own modern twist. An album filled with love and nostalgia, it pays homage to her love of classic female disco divas such as Donna Summer, Sade, Alcione, Lady Zu, and the Brazilian rock queens Rita Lee and Marina Lima. Of that latter pairing, the late iconic Brazilian vocalist and musician Rita Lee (Os Mutantes) is referenced in the music video for the first single, ‘Sou Fera’, blessing Julia with a magical guitar. Marina Lima then provides guest vocals on the album’s closing track, ‘Marinou, Limou’, with her name transformed into a mantra by Julia.
Channelling a lo-fi ‘80s ballad aesthetic, Julia navigates a multitude of themes across the nine sublime tracks. From the sexy, whispered performances on vintage horror movie-inspired tunes ‘Vampira’ and ‘Pra Lua’ to the delicate, fragile love lullabies of ‘Sentimento Blues’ and ‘Cariñito’, and the seductive disco diva embodiment on dance tracks ‘Veneno de Serente’ and title track ‘Maravilhosamente Bem’. Another hidden highlight is the palette-cleansing mini-suite, ‘Interlúdio dos Amantes’. A luscious strings instrumental piece that lends to the beautiful Sade-esque ‘Seu Romance’.
Produced by Julia and longtime collaborators Gabriel Quirino, Gabriel Quinto, and João Moreira, Maravilhosamente Bem sees Julia embarking on a new era of her musical career. This sensational third album is a captivating showcase of the creative vision and versatility of one of Brazil’s finest stars. Released on Mr. Bongo (ROW) and Altafonte (Brazil/Portugal).
Music Conception/Production: Julia Mestre, Gabriel Quinto, Gabriel Quirino and João Moreira
Mixing and Mastering: Martin Scian
Audio Engineers:
Recording Technician (Drums, Guitar, Bass and Piano): Luis Paulo Serafim
Recording Technician (strings): Willian Luna
Recording Technician (Vocals, Steel Guitar, Winds and Percussion): Antonio Nunes
Recording Technician (Guitars, Keyboards and Vocals): Gabriel Quinto and Gabriel Quirino
Recording Technician (Vocals): Angelo Wolf
Recording studios: Estúdio Veloso, Estúdio CIA TEC, Wolf Records, Toca do Ogrow, Estúdio Renato Neto
Vocal Design: Gabriel Quinto and Gabriel Quirino
Vocal Arrangement: Gabriel Quinto and Julia Mestre
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A cosmic fusion of deep funk, interstellar jazz, and avant-garde soundscapes, On Jupiter stands as one of Sun Ra’s most iconic releases. Recorded in 1979 during a prolific period at Variety Arts Studios in New York, this album captures the Arkestra at the height of their creative powers, blending futuristic improvisation with infectious rhythms and otherworldly textures.
Listen: listen.k7.com/78f6879e-8431-498c-b3fb-4fa6cea8b2e7
Track list:
A1. On Jupiter (03:58)
A2. UFO (08:30)
B1. Seductive Fantasy (17:08)
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Listen: listen.k7.com/78f6879e-8431-498c-b3fb-4fa6cea8b2e7
Track list:
A1. On Jupiter (03:58)
A2. UFO (08:30)
B1. Seductive Fantasy (17:08)
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1
Rubinho e Mauro Assumpção - A Montanha
2
Rubinho e Mauro Assumpção - Bloco Da Visào
3
Rubinho e Mauro Assumpção - Os Olhos
4
Rubinho e Mauro Assumpção - Sozinho Nào Estou
5
Rubinho e Mauro Assumpção - Dobra A Esquina P / Ver O Sol
6
Rubinho e Mauro Assumpção - Debandada Geral
7
Rubinho e Mauro Assumpção - Quero Companheira
8
Rubinho e Mauro Assumpção - Você Falou
9
Rubinho e Mauro Assumpção - Qualé A Sua
10
Rubinho e Mauro Assumpção - Pé Na Estrada
11
Rubinho e Mauro Assumpção - Tá Tudo Aí
12
Rubinho e Mauro Assumpção - No Mundo Da Lua
13
Rubinho e Mauro Assumpção - Quando Cheguei
Rubinho E Mauro Assumpção's 'Perfeitamente, Justamente Quando Cheguei' has to be up there as one of the finest Brazilian-psych-folk-MPB records we know. Unfortunately, it's very hard to find in the wild; even on digging trips to Brazil, an original copy rarely shows up, and when it does, it comes with a hefty price tag.
This highly sought-after rarity was released on the Brazilian label Tapecar Records in 1972 and is the one and only album by the sensational pairing of Rubinho and Mauro Assumpção. Effortlessly blending folk, MPB, funky-psych, rock, and relaxed, swaggering samba, this record ought to be heralded as a true Brazilian classic. However, maybe due to its scarcity and the previous reissue predominantly being only available to the Brazilian market, it has not had a chance to fully shine and find the wider audience it deserves. Through our reissue we hope to put things right. Fans of records by Milton Nascimento and Lô Borges are sure to enjoy the same magic and allure in 'Perfeitamente, Justamente Quando Cheguei'.
In addition to being the album’s songwriters, Mauro Assumpção took on the role of producer and Rubinho was co-producer as well as playing piano, organ, acoustic guitar and performing vocals. The record features the drummer Gegê who worked with Milton Nascimento, Edu Lobo, Nana Caymmi, Dom Um Romão and more. It also features guitarist Rick Ferreira, who played with Erasmo Carlos, Gal Costa and other greats. Rounding off the players on the album are Darcy Da Cruz and Formiga who have graced many a fine recording on horns.
'Perfeitamente, Justamente Quando Cheguei' is a truly stunning work that washes over you with beauty. Delve in and savour.
Licensed via Tapecar Records.
Tracklist:
1. A Montanha / 2. Bloco Da Visão / 3. Os Olhos / 4. Sozinho Não Estou / 5. Dobra A Esquina P/ Ver O Sol / 6. Debandada Geral / 7. Quero Companheira / 8. Você Falou / 9. Qualé A Sua / 10. Pé Na Estrada / 11. Tá Tudo Aí / 12. No Mundo da Lua / 13. Quando Cheguei
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This highly sought-after rarity was released on the Brazilian label Tapecar Records in 1972 and is the one and only album by the sensational pairing of Rubinho and Mauro Assumpção. Effortlessly blending folk, MPB, funky-psych, rock, and relaxed, swaggering samba, this record ought to be heralded as a true Brazilian classic. However, maybe due to its scarcity and the previous reissue predominantly being only available to the Brazilian market, it has not had a chance to fully shine and find the wider audience it deserves. Through our reissue we hope to put things right. Fans of records by Milton Nascimento and Lô Borges are sure to enjoy the same magic and allure in 'Perfeitamente, Justamente Quando Cheguei'.
In addition to being the album’s songwriters, Mauro Assumpção took on the role of producer and Rubinho was co-producer as well as playing piano, organ, acoustic guitar and performing vocals. The record features the drummer Gegê who worked with Milton Nascimento, Edu Lobo, Nana Caymmi, Dom Um Romão and more. It also features guitarist Rick Ferreira, who played with Erasmo Carlos, Gal Costa and other greats. Rounding off the players on the album are Darcy Da Cruz and Formiga who have graced many a fine recording on horns.
'Perfeitamente, Justamente Quando Cheguei' is a truly stunning work that washes over you with beauty. Delve in and savour.
Licensed via Tapecar Records.
Tracklist:
1. A Montanha / 2. Bloco Da Visão / 3. Os Olhos / 4. Sozinho Não Estou / 5. Dobra A Esquina P/ Ver O Sol / 6. Debandada Geral / 7. Quero Companheira / 8. Você Falou / 9. Qualé A Sua / 10. Pé Na Estrada / 11. Tá Tudo Aí / 12. No Mundo da Lua / 13. Quando Cheguei
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DE - 22113 Hamburg
Germany
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1
Mankunku Quartet - Yakhal' Inkomo
2
Mankunku Quartet - Dedication (To Daddy Trane And Brother Silver)
3
Mankunku Quartet - Doodlin'
4
Mankunku Quartet - Bessie's Blues
The Mankunku Quartet's 1968 album 'Yakhal' Inkomo’ clocks in at just over 30 minutes of jazz perfection. This compact, and to-the-point, album would sit comfortably in amongst some of the best works in the catalogues of any of the quintessential jazz labels such as Blue Note, Prestige and Impulse. 'Yakhal' Inkomo’, however, was originally released on the South African record label World Record Co., which resulted in it becoming an elusive and sought-after piece for jazz collectors. First press copies sometimes fetch as much as £1,000 on the collectors' market. It has been long regarded as one of the finest South African jazz albums and DJ / broadcaster Gilles Peterson cemented this when he included it in his "best of genre" focussed radio show, 'The 20 - South African Jazz'.
Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku.
'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government.
For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version.
On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.
Tracklist:
A1. Yakhal' Inkomo
A2. Dedication (To Daddy Trane And Brother Silver)
B1. Doodlin'
B2. Bessie's Blues
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tenor saxophonist Winston "Mankunku" Ngozi recorded the session on 23rd July 1968 at the Manley van Niekerk Studios, in Johannesburg. It was recorded by Dave Challen and produced by Ray Nkwe. The session is built up of two original works by Mankunku on the A-side, 'Yakhal' Inkomo' & 'Dedication (To Daddy Trane and Brother Shorter)', and on the B-side, the Horace Silver composition 'Doodlin', and a John Coltrane number 'Bessie's Blues'. What is striking is how the Mankunku-penned compositions not only hold their own next to Silver and Coltrane but they are, arguably, the better tracks on the record - a testament to the beautiful writing and playing of Mankunku.
'Yakhal' Inkomo' features the great musicians; Agrippa Magwaza on bass, drummer Early Mabuza, and pianist Lionel Pillay. Pillay was of Indian descent, making this a mixed-race group, thus the very recording of the album was an act of resistance as it broke the apartheid restrictions of the time. The title of 'Yakhal’ Inkomo' means “the bellow of the bull”, the Black audience would have understood this as coded community symbolism and an act of protest but it escaped the attention of the white government.
For this edition, we have enlisted the services of Abbey Road Studios mastering, and lacquer-cutting engineer Miles Showell to cut a special half-speed master from the audio taken off the original master tapes. Miles has previously worked on our Arthur Verocai, Marcos Valle and Ian Carr re-issues, and once again we are blown away by the richness and clarity of Miles' work. We have also presented it as a replica copy using the cover artwork and labels from the primary World Record Co. original version.
On the sleeve notes, Ray Nkwe the producer and the President of the Jazz Appreciation Society of South Africa writes "This is the LP that every jazz fan has been waiting for" and Ray was not wrong, it's a stone-cold timeless jazz classic.
Tracklist:
A1. Yakhal' Inkomo
A2. Dedication (To Daddy Trane And Brother Silver)
B1. Doodlin'
B2. Bessie's Blues
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Idrissa Soumaoro Et L'Eclipse De L'Ija - Fama Allah
2
Idrissa Soumaoro Et L'Eclipse De L'Ija - Djama
3
Idrissa Soumaoro Et L'Eclipse De L'Ija - Beni Inikanko
4
Idrissa Soumaoro Et L'Eclipse De L'Ija - Nissodia
5
Idrissa Soumaoro Et L'Eclipse De L'Ija - Ben
6
Idrissa Soumaoro Et L'Eclipse De L'Ija - Bimoko
Idrissa Soumaoro, L’Eclipse De L’I.J.A.’s sought-after album ‘Le Tioko-Tioko’ was originally released in the German Democratic Republic (GDR) in 1978 and has been a long-time favourite at Mr Bongo. Two tracks from the album were featured on our 2017 compilation ‘The Original Sound Of Mali’ (MRBLP135), and we subsequently released the track ‘Nissodia’ on its own 12” (MRB12053) in 2020, complete with a blistering dancefloor re-edit by Mike D of The Beastie Boys.
‘Le Tioko-Tioko' is one of the rarest vinyl albums from the already scarce Malian vinyl discography, partly as the album was never released commercially, only independently distributed via the Malian Association for the Blind in Bamako. Though recorded at Radio Mali under the aegis of master engineer Boubacar Traoré; the album was originally released in East Germany. The tapes had been taken by some Malian students to East Berlin as part of a student exchange program. It was then manufactured and released on the East German state-owned label Eterna with only a few boxes of records being shipped back to Bamako.
A true masterpiece, this legendary LP offers some devastating songs such as ‘Djama’ (society), ‘Nissodia’ (joy of optimism), and ‘Fama Allah’ (an ode to god). Hypnotic organ riffs and breakbeats convey an unknown funk quality in Malian music, it now stands as a loving tribute to an unsung Malian golden age. Sadly, like many of the other now desired and prized vinyl rarities, at the time of release, it almost immediately disappeared without a trace due to a lack of promotion, and distribution. So, it feels fitting to share this gem of a record again, and hopefully it with reach the wider audience it deserved over 45 years ago.
Many thanks to Florent Mazzoleni for contributing sections of these notes.
Tracklist:
1. Fama Allah
2. Djama
3. Beni Inikanko
4.Nissodia
5. Ben
6. Bimoko
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
‘Le Tioko-Tioko' is one of the rarest vinyl albums from the already scarce Malian vinyl discography, partly as the album was never released commercially, only independently distributed via the Malian Association for the Blind in Bamako. Though recorded at Radio Mali under the aegis of master engineer Boubacar Traoré; the album was originally released in East Germany. The tapes had been taken by some Malian students to East Berlin as part of a student exchange program. It was then manufactured and released on the East German state-owned label Eterna with only a few boxes of records being shipped back to Bamako.
A true masterpiece, this legendary LP offers some devastating songs such as ‘Djama’ (society), ‘Nissodia’ (joy of optimism), and ‘Fama Allah’ (an ode to god). Hypnotic organ riffs and breakbeats convey an unknown funk quality in Malian music, it now stands as a loving tribute to an unsung Malian golden age. Sadly, like many of the other now desired and prized vinyl rarities, at the time of release, it almost immediately disappeared without a trace due to a lack of promotion, and distribution. So, it feels fitting to share this gem of a record again, and hopefully it with reach the wider audience it deserved over 45 years ago.
Many thanks to Florent Mazzoleni for contributing sections of these notes.
Tracklist:
1. Fama Allah
2. Djama
3. Beni Inikanko
4.Nissodia
5. Ben
6. Bimoko
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Hozan Yamamoto with Sharps & Flats - Kokiriku Bushi
2
Hozan Yamamoto with Sharps & Flats - Sado Okesa
3
Hozan Yamamoto with Sharps & Flats - Tairyo Utaikomi
4
Hozan Yamamoto with Sharps & Flats - Soma Bon Uta
5
Hozan Yamamoto with Sharps & Flats - Komoro Mago Uta
6
Hozan Yamamoto with Sharps & Flats - Nanbu Ushio Uta
7
Hozan Yamamoto with Sharps & Flats - Itsuki No Komori Uta
8
Hozan Yamamoto with Sharps & Flats - Hietsuki Bushi
9
Hozan Yamamoto with Sharps & Flats - Yasuki Bushi
10
Hozan Yamamoto with Sharps & Flats - Yosakoi Bushi
11
Hozan Yamamoto with Sharps & Flats - Kuroda Bushi
Seminal Japanese jazz album from 1971. Journeys through jazz fusion, soul and big band moods. Impossible to obtain in its original format, these days.
Hozan Yamamoto was recognised as a "living national treasure" by the Japanese government in 2002. This highly sought-after album from the Japanese wood flute player is more upbeat and swinging than some of his other records. The big band he recorded this album with (Sharps & Flats) played a big part in the genesis of the album’s groove. Forming in 1951, they helped to make jazz popular in Japan after World War II. Yamamoto's flute lines weave over the heavy brass sound and groove, creating an MPS label blending of funky jazz and Japanese vibes. The closest comparison would be Dorothy Ashby's grooviest albums for Chess / Cadet – substituting Yamamoto’s flute for the harp.
Licensed courtesy of Universal Music Group Limited.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Hozan Yamamoto was recognised as a "living national treasure" by the Japanese government in 2002. This highly sought-after album from the Japanese wood flute player is more upbeat and swinging than some of his other records. The big band he recorded this album with (Sharps & Flats) played a big part in the genesis of the album’s groove. Forming in 1951, they helped to make jazz popular in Japan after World War II. Yamamoto's flute lines weave over the heavy brass sound and groove, creating an MPS label blending of funky jazz and Japanese vibes. The closest comparison would be Dorothy Ashby's grooviest albums for Chess / Cadet – substituting Yamamoto’s flute for the harp.
Licensed courtesy of Universal Music Group Limited.
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DE - 22113 Hamburg
Germany
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Strut are proud to present a new repress 0f the definitive Mulatu Astatke career retrospective covering his landmark ‘60s and ‘70s´recordings.
2LP TRACKLISTING
A1 Yèkèrmo Sèw
A2 I Faram Gami I Faram
A3 Shagu
A4 Emnete
A5 Mulatu
B1 Yègelé Tezeta
B2 Asiyo Bellema
B3 Ebo Lala
B4 Fikratchin
B5 Yefikir Tizita
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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2LP TRACKLISTING
A1 Yèkèrmo Sèw
A2 I Faram Gami I Faram
A3 Shagu
A4 Emnete
A5 Mulatu
B1 Yègelé Tezeta
B2 Asiyo Bellema
B3 Ebo Lala
B4 Fikratchin
B5 Yefikir Tizita
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More