1
Hollie Cook - Milk And Honey
2
Hollie Cook - That Very Night
3
Hollie Cook - Walking In The Sand
4
Hollie Cook - Cry (Disco Mix) Ft. Horseman
5
Hollie Cook - It's So Different Here
6
Hollie Cook - Sugar Water (Look At My Face) Ft. Horseman
7
Hollie Cook - Shadow Kissing
8
Hollie Cook - Used To be
9
Hollie Cook - Body Beat Ft. Horseman
Mr Bongo present a yellow vinyl repress of Hollie’s sensational, self-titled 2011 debut album. 14 years on, this timeless debut produced by Prince Fatty fuses Hollie's self-coined ‘tropical pop’ sound with her passion for reggae and lovers rock singers such as Janet Kay and Phyllis Dillon and classic '60s girl groups.
An album that radiates with highlights, it features what would become one of Hollie’s most popular songs, the super catchy, sun-soaked ‘Milk & Honey’ that has racked up over 46 million streams on Spotify alone. Elsewhere, there are distinctive reggae cover versions of the Shangri-Las ‘(Remember) Walkin’ In The Sand’, transformed from a dark, emotive cut into one filled with a flavour of hope, alongside a signature new spin on Rachel Sweet’s amazing, laidback ‘It's So Different Here’. Take to the bass-heavy ‘Sugar Water (Look At My Face)’ for a dub-leaning workout and look to the singles ‘That Very Night’ and ‘Body Beat’ to further feel the synergy between Hollie and Prince Fatty, showcasing songs that are inspired and influenced by the past but with a definitive foot in the present.
Adding further weight to this iconic debut, there are a talented array of musicians featuring across the record, including Omar, Dennis Bovell, George Decker (The Pioneers), Horseman, Style Scott, Black Steel, Mutant Hi-Fi and more. Along with Prince Fatty at the controls and Hollie on the mic, together they crafted a classic sound that feels as fresh (but also as vintage) as it did fourteen years ago. A modern masterpiece in its genre, and the start of Hollie’s journey to becoming the contemporary queen of the lovers rock sound.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
An album that radiates with highlights, it features what would become one of Hollie’s most popular songs, the super catchy, sun-soaked ‘Milk & Honey’ that has racked up over 46 million streams on Spotify alone. Elsewhere, there are distinctive reggae cover versions of the Shangri-Las ‘(Remember) Walkin’ In The Sand’, transformed from a dark, emotive cut into one filled with a flavour of hope, alongside a signature new spin on Rachel Sweet’s amazing, laidback ‘It's So Different Here’. Take to the bass-heavy ‘Sugar Water (Look At My Face)’ for a dub-leaning workout and look to the singles ‘That Very Night’ and ‘Body Beat’ to further feel the synergy between Hollie and Prince Fatty, showcasing songs that are inspired and influenced by the past but with a definitive foot in the present.
Adding further weight to this iconic debut, there are a talented array of musicians featuring across the record, including Omar, Dennis Bovell, George Decker (The Pioneers), Horseman, Style Scott, Black Steel, Mutant Hi-Fi and more. Along with Prince Fatty at the controls and Hollie on the mic, together they crafted a classic sound that feels as fresh (but also as vintage) as it did fourteen years ago. A modern masterpiece in its genre, and the start of Hollie’s journey to becoming the contemporary queen of the lovers rock sound.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
More records from Hollie Cook
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
Black Vinyl Repress coming soon!
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.
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
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.
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
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.
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
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.
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
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.
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
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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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Mit ,Happy Hour" reift HOLLIE COOK endgültig zur Königin des modernen ,Lovers Rock", dem opulenten wie harmoniebetonten Reggae-Stil, der in Großbritannien seit den 1970er Jahren beliebt ist. Als Teenagerin tourte sie mit den Punk-Legenden THE SLITS (auf deren EP ,Revenge Of The Killer Slits" sie 2006 mitsang) und entfachte so die wilde Seite ihrer liebenswürdigen Persönlichkeit. HOLLIEs Mentorin war Ari Up, die inzwischen verstorbene Leadsängerin der legendären Punk-Formation und eine lebenslange Freundin von COOKs prominenten Eltern. Sie ist die Tochter des Sex Pistols-Schlagzeugers Paul Cook und der Culture Club-Sängerin Jeni Cook (ihr Patenonkel ist Boy George!). ,My father always said I would be a singer. But I discovered lovers rock on my own. I heard it on pirate radio and with friends, and I was bewildered, enchanted," erinnert sich COOK. "The Slits are the reason I have pursued this career. I was surrounded by powerful women at a young age, and when my time came, I was never fazed by male dominance. They were my wall of courage." Auf diesen kämpferischen Fundament ist HOLLIEs Liebe zur Musik entstanden. Ihre gefühlvolle Direktheit auf ,Happy Hour" ist so nachvollziehbar wie authentisch. ,I can't get away from it" sagt sie. ,Making this music that I love, I do turn deep inside myself. It makes me explore a lot of human truths and feelings that we should not shy away from, and it feels like a release to turn them into songs."
Tracklist:
1 HAPPY HOUR
2 MOVING ON
3 FULL MOON BABY
4 KUSH KWEEN (FEATURING JAH9)
5 UNKIND LOVE
6 GOLD GIRL
7 LOVE IN THE DARK
8 MOVE MY WAY
9 PRAYING
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
Tracklist:
1 HAPPY HOUR
2 MOVING ON
3 FULL MOON BABY
4 KUSH KWEEN (FEATURING JAH9)
5 UNKIND LOVE
6 GOLD GIRL
7 LOVE IN THE DARK
8 MOVE MY WAY
9 PRAYING
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
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 Loose
Hollie Cook returns with her brand new album, 'Twice'. Available on CD, vinyl LP and limited edition cassette.
'Twice' sees Hollie’s obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and choir. The album was produced by Prince Fatty.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
'Twice' sees Hollie’s obvious love of reggae joined by other influences including Bond-like strings, Brazilian percussion, dark disco and shades of Giorgio Moroder. She is joined on the album by Dennis Bovell, Omar, George Dekker and Winston Francis. The strings on the album are the Macedonian Radio Symphonic Orchestra and choir. The album was produced by Prince Fatty.
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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
Curió Curió - Tô Chegando
2
Curió Curió - Bem Querer
3
Curió Curió - Menina Passarinho
4
Curió Curió - Vem Pra Casa
5
Curió Curió - Raiz
6
Curió Curió - Vida Que Entorna (Interlúdio)
7
Curió Curió - Amor Doente
8
Curió Curió - Mar Sem Dar Pé
9
Curió Curió - Canto De Calma
10
Curió Curió - Amizade
11
Curió Curió - A Cor Do Meu Sonho
Curió Curió came to flight by chance. Two artists, Rio-born, Austria-based singer and actress Luiza Monteiro and German producer Dustin Braun, had separately reached a fork in their journeys. An opportune encounter soon blossomed into an uplifting, heartfelt Brazilian MPB-groove project shaped by psychedelic disco and studio experimentation.
In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”. A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection.
Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural?
As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves.
Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult.
Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour.
The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
In their own words Curió Curió’s sonic vision “is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic”. A modern fusion influenced as much by Gal Costa and Jorge Ben Jor as Say She She and Bala Desejo, their sound deftly plots a course all of its own. A celebration of freedom, movement, love and life, intertwined with introspective moments of reflection.
Treating tradition as something alive, migratory and unresolved, the album is not simply bound by a shared love of Brazilian music, but by a deeper question that runs through every track; where does one belong when home becomes plural?
As a Brazilian living in Europe, Luiza's lyrics explore themes of identity, culture, and existence. The tracks move between cities and emotional registers without settling, tracing a sense of identity that shifts rather than resolves.
Songs like ‘Amor Doente’ and ‘Mar sem Dar Pé’ circle around relationships that resist clarity, while ‘Menina Passarinho’ captures the fear and necessity of committing to music as a path. For Luiza, deepening her commitment to music alongside years in theatre was both inevitable and difficult.
Braun’s production follows a similar logic. Initial ideas were often built without obvious reference points, only later incorporating rhythmic and vocal elements that hint at Brazil without reproducing it. Analogue techniques, tape, ribbon microphones and live ensemble recording bring a tactile quality that reflects the duo’s interest in process as much as outcome. Highlights include ‘Bem Querer’, built on an authentic samba street vibe with a super-catchy sing-along chorus, and ‘Vem pra Casa’ with its cosmic-tinged Brazilian boogie flavour.
The album closes with ‘A Cor do Meu Sonho’, a quiet act of insistence. A refusal to shrink in unfamiliar environments, and a belief in the strength of difference. It is less a conclusion than a continuation, leaving the central question open. “I started to understand that I can belong to many places at once”, Luiza reflects. “And that can be something to embrace”. Lyrics from the song ‘Raiz’ translate in English to “I value a burning sun and the cold in the air. Constant change is my companion”. With Curió Curió, that idea is lived through sound, story and collaboration. A debut that feels both searching and assured, grounded in heritage yet shaped by distance.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
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Liebigstrasse 2-20
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Germany
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1
As Ganhadeiras de Itapuã - Maré mansa
2
Ubunto - O Vento Part. As Ganhadeiras de Itapuã
3
Castanheiro - Este Samba É Meu
4
Eduardo Araújo - Madrugada
5
Tyaraju & Dutra - Pé De Foguete
6
Tema IV - Tema I
7
Orquesta El Sabor De Nacho - Bim Bim Bom Bom “Que Se Sepa”
8
The Trinikas - Remember Me
9
Tommy McGee - Now That I Have You
10
Trevor Dandy - Is There Any Love
11
Wilfred Luckie - My Thing
12
The Sylvers - Wish That I Could Talk To You (Kenny Dope Edit)
13
K.L. Hamilton - I'm Trying
14
Wil Collins & Willpower - Anything I Can Do
15
Powerline - Watching You (Brand New Remix)
16
Mac Mathunjwa - Give Us More Love (Edit)
17
Tapper Zukie - Visions Of Love
18
Urias - Vontade De Voar
Welcome to Volume 8 of the Mr Bongo Record Club series, our in-house curated compilations that give us a chance to share some of our favourite tracks, hard-fought finds, and unsung gems. These are tracks that have been inspiring us at home, in the office, while DJing, and on the dancefloor.
In the cross-genre spirit of the series, for Volume 8 we have selected music from the worlds of soul, boogie, disco-reggae, jazz-funk, and Latin, with a hefty chunk of beloved Brazilian music. Pulling these compilations together is always a highlight of our year, and eight volumes in, we feel this is one of our strongest to date.
The album’s journey begins with a heartfelt epic by As Ganhadeiras de Itapuã, from the Bahian town of Itapuã. It’s an area of Brazil that holds a special place in David ‘Mr Bongo’ Buttle’s heart, and where he first met our dear friend, Luciano Rodrigues Dos Santos, to whose memory this compilation is dedicated to.
Staying in Northern Brazil, next up is a contemporary dancefloor gem by Ubunto, a DJ and producer from Salvador, which also features As Ganhadeiras de Itapuã. The raw, dusty, punchy sounds of zabumba drummer Castanheiro and the furious guitar-heavy dancer by Tyaraju & Dutra are just two more examples of the Brazilian beauties included on the compilation.
There is also a heavy dose of soul music on this volume. The Canadian-gospel sounds of Trevor Dandy, a modern-soul rarity by Wil Collins & Willpower (which has been on our list for years), and a soul-stepper masterpiece by Tommy McGee, are just a handful of the highlights. Not stopping there, we are incredibly proud to present an exclusive rework of The Sylvers' ‘Wish That I Could Talk To You’ by the legendary Kenny Dope. Kenny has excelled himself with this one, fattening up the drums while bringing more drama to the horns and strings. The song now feels more contemporary yet still stays true to its roots. Complete genius!
Elsewhere on the compilation, you’ll find a cosmic reggae-not-reggae disco oddity by Tapper Zukie, a South African jazz-funk-disco groover by Mac Mathunjwa, a sought-after Brazilian compacto by Eduardo Araújo, and a Brit-funk / boogie treasure by Powerline.
Traversing time, genre, and location, all the tracks on Volume 8 are favourites for their own unique reasons. Music will forever be a constant source of comfort, able to affect you deeply in the most meaningful ways. It’s the gift that keeps giving, and there is so much more to learn, discover, and share, both old and new.
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
In the cross-genre spirit of the series, for Volume 8 we have selected music from the worlds of soul, boogie, disco-reggae, jazz-funk, and Latin, with a hefty chunk of beloved Brazilian music. Pulling these compilations together is always a highlight of our year, and eight volumes in, we feel this is one of our strongest to date.
The album’s journey begins with a heartfelt epic by As Ganhadeiras de Itapuã, from the Bahian town of Itapuã. It’s an area of Brazil that holds a special place in David ‘Mr Bongo’ Buttle’s heart, and where he first met our dear friend, Luciano Rodrigues Dos Santos, to whose memory this compilation is dedicated to.
Staying in Northern Brazil, next up is a contemporary dancefloor gem by Ubunto, a DJ and producer from Salvador, which also features As Ganhadeiras de Itapuã. The raw, dusty, punchy sounds of zabumba drummer Castanheiro and the furious guitar-heavy dancer by Tyaraju & Dutra are just two more examples of the Brazilian beauties included on the compilation.
There is also a heavy dose of soul music on this volume. The Canadian-gospel sounds of Trevor Dandy, a modern-soul rarity by Wil Collins & Willpower (which has been on our list for years), and a soul-stepper masterpiece by Tommy McGee, are just a handful of the highlights. Not stopping there, we are incredibly proud to present an exclusive rework of The Sylvers' ‘Wish That I Could Talk To You’ by the legendary Kenny Dope. Kenny has excelled himself with this one, fattening up the drums while bringing more drama to the horns and strings. The song now feels more contemporary yet still stays true to its roots. Complete genius!
Elsewhere on the compilation, you’ll find a cosmic reggae-not-reggae disco oddity by Tapper Zukie, a South African jazz-funk-disco groover by Mac Mathunjwa, a sought-after Brazilian compacto by Eduardo Araújo, and a Brit-funk / boogie treasure by Powerline.
Traversing time, genre, and location, all the tracks on Volume 8 are favourites for their own unique reasons. Music will forever be a constant source of comfort, able to affect you deeply in the most meaningful ways. It’s the gift that keeps giving, and there is so much more to learn, discover, and share, both old and new.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Ella Thompson - Promise To Keep
2
Ella Thompson - Change Of Heart
Mr Bongo are thrilled to have one of the leading lights in contemporary soul joining the label. Melbourne-based vocalist, musician, and songwriter Ella Thompson is an artist whose name is being championed by some of the best in the business. She’s been building a reputation as one to watch, with two standout releases on Hopestreet Recordings, Domino EP in 2023 and Ripple On The Wing LP in 2024, alongside a heavy touring schedule and a stacked list of support slots and collaborations.
For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.
Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.
‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.
The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.
Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise To Keep’ and ‘Change Of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.
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
For this new 7” single, Ella collaborates with a selection of artists at the forefront of Naarm/Melbourne’s soulful DIY community. Featuring members of Surprise Chef and Karate Boogaloo, Liam McGorry from Temporary Blessings (College Of Knowledge) joins Ella as co-writer and co-producer, with go-to Melbourne engineer Henry Jenkins also producing and recording the track.
Bridging the worlds of classic and contemporary soul, Ella’s songwriting is drenched in emotion and personal experience. With a timeless feel that is hard to tie to any particular period, she has crafted a sound that instantly hits deep. It’s warm, tasteful and distinctly Ella. That talent has also seen her tour with Mark Ronson, and support other contemporary greats like Jalen Ngonda, Lee Fields, and Thee Sacred Souls.
‘Promise To Keep’ is the first taste of Ella’s new material on this 7” single. An irrepressible upbeat groover that echoes mid-to-late-sixties vocal groups. That influence though never overpowers Ella’s own unique creative voice or distinct sense of self. She draws from it, but the colour is all her own. The song tells a story of being carried by the current that keeps us moving, giving us courage. A commitment to oneself that speaks to action shaped by vision, and the pull of following what feels correct even when the distance is far.
The flip side finds Ella in a different mood. ‘Change Of Heart’ is a heavy sweet-soul ballad. Rich in drama, Ella’s falsetto vocals build to a stunning climax in the final section, with triumphant horns that signal the release of letting go. The lyrics reflect on temporality and impermanence, and the way moments can be missed or arrive with synchronicity. It’s that bittersweet paradox of triumph and sadness, where everything contains its opposite: absence and presence, innocence and experience. The song is underpinned by a brooding production quality and atmospheric, beat-heavy flavour that Surprise Chef and cinematic soul fans will relish.
Mixed by Wayne Gordon (Daptone, Womack Sisters), ‘Promise To Keep’ and ‘Change Of Heart’ are a glimpse of things to come from Ella. Keep an eye open for more new music incoming from this phenomenal artist at the top of her game.
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
Reality - Reality
2
Reality - Road
3
Reality - Disco Party (Let's Have A)
4
Reality - Welcome
5
Reality - Movin' & Groovin'
6
Reality - Let's Party People
7
Reality - You Keep Me Holdin' On
8
Reality - Clap & Hustle
Mr Bongo presents a reissue of one of the rarest releases on the illustrious and now ultra-rare tax scam label TSG Records. A label with a checkered past, operated by Lloyd Price and with alleged ties to boxing promoter Don King. The album in question, Disco Party by Reality, is a stunning journey through ‘70s dancefloor-focussed funk into early proto-disco grooves.
Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band.
Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution.
As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it.
Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period.
It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.
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
Back in mid-‘70s Manhattan, Dr. Otto Gomez and a group of fellow New York musicians including Tony Dixon, Norman Drayton, Tony Dupree, Al Jones and Fred Nanton were brought in for a recording session by songwriter and producer, Billy Nichols. Laying down one of Nichols' songs and a selection of the group's own, they were paid as session musicians and thought little of it. The tapes came to the attention of Lloyd Price who struck a deal with Nichols unbeknownst to Gomez and the rest of the band.
Price then pressed the album and put it out in 1976 on a newly formed subsidiary label, TSG Records, that would later be documented as one of the US tax scam labels of the ‘70s. Such labels were created to exploit a loophole in the US tax system, running up inflated production costs / losses that investors or the parent label could write off against their tax bills. Releases on these labels were never intended to have commercial success. They would usually be produced in incredibly limited pressing numbers and have little to no promotion or distribution.
As such many of these records instantly fell into obscurity, becoming mythical amongst DJs and record collectors. Sadly, this meant that artists like Dr. Otto Gomez and friends never had the chance for their record and their talents to shine at the time. In fact, it was only when Jazzman reached out for their 2022 reissue that Dr. Otto Gomez became aware that the album had ever been released and heard the story behind it.
Disco Party is a time capsule where ‘70s instrumental funk edges and intertwines into an early disco sound. The sessions are for the dancefloor, minimalist and groove-based. The bass and drums are at the forefront, providing the pulse of the album. Driving funky guitar licks, and a brilliant horn section weave their way in and out of the productions. Highlights include the uplifting feel-good ‘Let's Party People’, the early disco swagger of ‘Reality’, and ‘Disco Party (Let's Have A)’ with its wah-wah groove and percussion break, which could easily have found its home on a Blaxploitation film soundtrack of the period.
It’s not just rarity that makes this record so sought after, but rather the fact that it is a superb example of dancefloor-focussed mid ‘70s funk and disco.
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
Curió Curió - Bem Querer
2
Curió Curió - Amor Doente
Floating into our inbox on the East winds came a mysterious bunch of tracks by a mesmerising new act called Curió Curió, which we simply couldn’t ignore. Named after a vibrant Brazilian songbird, Curió Curió consists of singer, lyricist, and actress Luiza Monteiro, based in Austria, and producer and musician Dustin Braun from Germany. Together, the duo brings a fresh voice and a twist on MPB, taking influences from 1970s Brazil and blending them into a modern fusion of psychedelic, MPB, disco, and samba.
Curió Curió’s vocalist, Luiza Monteiro, was born in Rio de Janeiro, Brazil, and raised listening to the rich sounds of MPB. She started taking classical singing lessons weekly by the age of 14, and later developed a career in acting, skills of which she brings with her into her songwriting. You may be familiar with Dustin’s production through his recent collaborations with the Turkish artist Peki Mome´s on Mocambo Records, or by his earlier incarnations, including a neo-soul release on Sichtexot and projects with Village Live Records and HHV's record label. His music has a tangible analogue warmth and a feeling of a real band performing live.
For this 7-inch release, ‘Bem Querer’ (‘Beloved’ in English) takes the A side. In it, Luiza calls a missed love to come close and dance with her. Even without an understanding of Portuguese, this feeling and energy radiates throughout the production; one of partying together, loving each other, living in ecstasy, feeling pleasure, and freedom. Built on an authentic samba street vibe with a super catchy sing-along chorus, that collective, carnival energy comes in part due to the choir that Dustin and Luiza assembled. A group of Brazilian friends, some of whom Dustin met whilst DJing in Leipzig, joined together in the studio. Half of them were non-professional singers, bringing that organic atmosphere of Rio’s streets to the recording.
The B-side ‘Amor Doente’ has a more bitter-sweet taste; the song speaks playfully about a relationship that goes on without really developing. Both parties cannot fully commit to each other, but they are also unable to end it. The production, however, has a delicious loose funk groove, sun-soaked and sultry. Dustin wrote the instrumental with Lucy Liebe, who joins on bass, guitar, synths, and trumpet, with Max Löbner also featuring on trumpet. A track that is equally adept at warming up a dancefloor as it is closing out a night.
We were genuinely blown away by the vibrancy and joy of this new project when we first heard it, instantly feeling like a familiar friend. In the band's own words, “Curió Curió is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic".
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
Curió Curió’s vocalist, Luiza Monteiro, was born in Rio de Janeiro, Brazil, and raised listening to the rich sounds of MPB. She started taking classical singing lessons weekly by the age of 14, and later developed a career in acting, skills of which she brings with her into her songwriting. You may be familiar with Dustin’s production through his recent collaborations with the Turkish artist Peki Mome´s on Mocambo Records, or by his earlier incarnations, including a neo-soul release on Sichtexot and projects with Village Live Records and HHV's record label. His music has a tangible analogue warmth and a feeling of a real band performing live.
For this 7-inch release, ‘Bem Querer’ (‘Beloved’ in English) takes the A side. In it, Luiza calls a missed love to come close and dance with her. Even without an understanding of Portuguese, this feeling and energy radiates throughout the production; one of partying together, loving each other, living in ecstasy, feeling pleasure, and freedom. Built on an authentic samba street vibe with a super catchy sing-along chorus, that collective, carnival energy comes in part due to the choir that Dustin and Luiza assembled. A group of Brazilian friends, some of whom Dustin met whilst DJing in Leipzig, joined together in the studio. Half of them were non-professional singers, bringing that organic atmosphere of Rio’s streets to the recording.
The B-side ‘Amor Doente’ has a more bitter-sweet taste; the song speaks playfully about a relationship that goes on without really developing. Both parties cannot fully commit to each other, but they are also unable to end it. The production, however, has a delicious loose funk groove, sun-soaked and sultry. Dustin wrote the instrumental with Lucy Liebe, who joins on bass, guitar, synths, and trumpet, with Max Löbner also featuring on trumpet. A track that is equally adept at warming up a dancefloor as it is closing out a night.
We were genuinely blown away by the vibrancy and joy of this new project when we first heard it, instantly feeling like a familiar friend. In the band's own words, “Curió Curió is not straight disco, not straight samba, not strictly old-school but inspired by all of them, creating something contemporary but still nostalgic".
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
Myrna Summers - So Much to Live For (Sadar Bahar & Marc Davis Edit)
2
The Yancy Family - Lifted Me Higher (Sadar Bahar & Marc Davis Edit)
Delivering the second sermon in their Disco Gospel series, Chicago’s Sadar Bahar & Marc Davis hand-pick and re-edit two more under-the-radar disco/gospel fusion tracks for the modern dancefloor.
Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.
Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.
As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”
Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.
The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.
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
Both revered selectors and producers, Marc and Sadar are integral parts of Chicago's underground music scene, sharing the city’s spirit with the world. Through his own label, Black Pegasus, and the Chi Talo series, Marc has become an in-demand DJ known for his raw and eclectic sets. He joins forces with good friend, DJ’s DJ and Soul In The Hole head Sadar Bahar, whose name regularly tops the bill at some of the finest clubs and festivals around the globe.
Digging deep once again, the pair serve up two certified secret weapons from their renowned collections. Finding that sweet spot that drew out the most uplifting, powerful, and danceable elements of both gospel and disco, they shine a light on two beauties from Myrna Summers and also The Yancy Family. Tweaked and re-edited with style and consideration, they re-work the tracks with DJs and dancers in mind.
As Robert M. Marovich of Journal of Gospel Music puts it, “The rise of contemporary gospel music in the 1970s and 1980s changed the style, if not the substance, of Black sacred music. Artists, including the Yancy Family and Myrna Summers, worked within the groovy new sound to attract the attention of a generation growing up on rock, jazz, pop, and soul. Bring them into the church through the music, the maxim goes, and they’ll stay for the sermon. Likewise, these two re-edited album tracks by Sadar Bahar and Marc Davis keep the gospel music heritage alive while encouraging a brand-new generation to dance through the church doors.”
Up first, Myrna Summers ‘So Much to Live For’ channels that straight from the heart passion and collective joy that gospel embodies. Bursting with uplifting lyrics, scintillating organ melodies, and an infectious sing-along spirit, Marc and Sadar give it a club-ready DJ edit, extending it for maximum dancefloor deliverance.
The B side sees the duo work their magic on, ‘Lifted Me Higher’. Written by Kevin Yancy and taken from the Yancy Family’s 1989 album From One Christian Family to Another, it features vocals from siblings Kevin, Judy, and Rev. Darryl Yancy, along with Lois Scott. The all-star team of Chicago musicians includes Sherwin (Butch) Yancy on organ, Michael Wade on piano and synthesizer, and Richard Gibbs (longtime accompanist for Aretha Franklin) on piano and bass. With a soulful boogie flavour, dripping in slap bass and ‘80s synthlines, Marc and Sadar rework the intro so it rides out on a section of delectable instrumental grooves, before letting the glorious vocals hit home.
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
Harris & Orr - Spread Love
2
Terry And Deep South - Trying To Get By
3
Toshiyuki Honda - Burnin' Waves
4
Igna Igwebuike - Disco Bomp
5
Janette Renee - What's On Your Mind (Super Club Remix)
6
Grupo Serenata - Sodade, Tem Pena D’Mim
7
Vital Disorders - Zombie
8
Alphonsus Idigo - Flight 505
9
DJ Food - Peace (Harvey's 30 Something Mix)
10
Man Jumping - In The Jungle
11
Stars - Dancin’ People
12
Gaucho - Dance Forever (Club Version)
13
49th Floor - Night Passage (Bongo Mix)
14
Orion Agassi - Desacato
15
Fatdog - Remember (Ft. CJ Raine)
With two deeply cherished compilations already in the bag, Luke Una steps up for the third volume in his É Soul Cultura series on Mr Bongo. A love letter to the dancefloor and its power to unite people from all corners of society amid growing division and extremist politics. Genre-spanning in nature, the 15 tracks travel between cosmic soul, boogie, proto-house, slo-mo technoid grooves, drum machine afro, astral bass-bugging futurism, jazz funk, dance, and disco. Each having the ability to move the body as much as the heart.
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe.
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”.
But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.
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
From his formative years in Sheffield to co-founding Manchester’s much-fabled Electric Chair with Justin Crawford, through to helming the iconic LGBTQ institutions of Homoelectric / Homobloc, Luke has spent 40 years immersed in dance music. His latest outlet, É Soul Cultura, has grown from a label to a globe-spanning events series with Luke holding residencies and embarking on tours across the world from Japan and Australia to America and Europe.
“For me, the dancefloor was never about a one-dimensional, thudding, 130 BPM beat only. It's a much more dynamic, broader vision than that. I cut my teeth in an era where a 100 BPM record had as much impact, excitement, and energy as a 134 BPM dancefloor jazz funk or techno record”, Luke mentions. É Soul Cultura Volume 3 is the perfect embodiment of that notion: “It’s about four decades in the trenches playing dance music, the late-night afters, the shebeens, the basements, warehouse parties, the eight-hour journeys in East London, through to festival sets at Houghton and We Out Here. It’s music unconstrained by genre or tempo and more about making your body move”.
But this isn’t simply a collection of disparate dance tracks; they carry meaning and soul. “It’s less about escapism, more about reconnection. My experience of post-covid has been the coming together of all the clans in various clubs and gatherings. A reaction to a very toxic world out there, where the aggro rhythms of division have sought to divide us, and people don't meet as often. The coming back together face-to-face in clubs has encouraged a real love in the air, there's a real togetherness and collective spirit”.
Opening up the compilation is a track that channels that very message, the transcendental, soul-rousing Harris & Orr ‘Spread Love’. Joining the dots from there, to the low-slung deep house closer of Fatdog ‘Remember’, you’ll find electronic drum machine Nigerian funk, sitting side by side with dancefloor Cape Verdean brilliance, a post-punk cover of Fela Kuti, rubbing shoulders with cosmic electro, and an Una-championed, 8-minute, kickless DJ Harvey remix. There’s jazz funk in various guises moving from boogie synth to astral travelling, slo-mo acidic raw techno, and a ‘79 soul stepper, alongside swirling percussive Italo disco and tribal-charged house. All infused with an innate ability to bring people together.
As society becomes increasingly fractured, É Soul Cultura Volume 3’s message is more than movement. It’s about dance music’s power to unify people from all walks of life and break down the barriers that divide us.
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
Ricardo Eddy Martínez - Expreso Rítmico
2
Ricardo Eddy Martínez - Tambo Iya
3
Ricardo Eddy Martínez - Yeya Son
4
Ricardo Eddy Martínez - Te Quedas
5
Ricardo Eddy Martínez - Que La Tristeza Se Fue
6
Ricardo Eddy Martínez - Mi Conga Es La Que Es
7
Ricardo Eddy Martínez - Mas No Me Falta Fe
8
Ricardo Eddy Martínez - La 132
9
Ricardo Eddy Martínez - Este Tumbao
10
Ricardo Eddy Martínez - De Mis Razones
Next up in our Cuban Classics series, one of the jewels of record label Areito’s extensive and sought-after catalogue. Ricardo Eddy Martinez’s Expreso Ritmico from 1978 is a prized album fusing funk, disco, and orchestrated influences with Afro-Cuban percussion, Latin breaks, and lush vocal harmonies.
Whilst maintaining its distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, José Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US.
Produced by Adolfo Pichardo, who worked on much of Areito’s output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. ‘Que La Tristeza Se Fue’ was expertly sampled and looped by Jazzanova on their 2008 song ‘Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, ‘Tambo Iya’ has an Afro-funk, Soul Makossa-esque groove, while tracks such as ‘Te Quedas’, ‘Mi Conga Es La Que Es’ and ‘La 132’ run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of ‘Este Tumbao’ for a spacey journey that blends and morphs through genres.
A record that was ahead of its time, Expreso Ritmico is a superb and unique album that merges western influence with Cuban flair. It comes housed in a replica of its original Cuban sleeve design.
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Whilst maintaining its distinctive Cuban identity, Expreso Ritmico is one of the more American / Western-influenced Cuban titles of the time drawing inspiration from jazz funk, disco, and library music. The album was directed, written, and orchestrated by keyboardist and drummer Ricardo Eddy Martinez, who was also the mastermind behind the orchestration of the Los Reyes 73 album (that was recently reissued by Mr Bongo). Martinez would later go on to work with international musicians and singers such as Gloria Estefan, José Feliciano, Chick Corea, and many more, whilst also working as a sound engineer in the US.
Produced by Adolfo Pichardo, who worked on much of Areito’s output, Expreso Ritmico is packed with gold. The opening title track carries a loose, breezy Latin-disco-funk vibe that breaks into a brilliant Afro-Cuban workout. ‘Que La Tristeza Se Fue’ was expertly sampled and looped by Jazzanova on their 2008 song ‘Look What You Are Doing To Me, featuring Phonte from the hip hop group Little Brother. Elsewhere, ‘Tambo Iya’ has an Afro-funk, Soul Makossa-esque groove, while tracks such as ‘Te Quedas’, ‘Mi Conga Es La Que Es’ and ‘La 132’ run with a heavy pulsating Latin-funk sound. Head to the sultry psych funk of ‘Este Tumbao’ for a spacey journey that blends and morphs through genres.
A record that was ahead of its time, Expreso Ritmico is a superb and unique album that merges western influence with Cuban flair. It comes housed in a replica of its original Cuban sleeve design.
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DE - 22113 Hamburg
Germany
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1
Jorun Bombay - Wild Style Megamix Part 1
2
Jorun Bombay - Wild Style Megamix Part 2
In celebration of Arrow Films' new 4K restoration of the seminal hip hop film Wild Style, Azorean-Canadian producer and DJ Jorun Bombay steps up with a specially commissioned megamix cut across two sides of a 7”. Featuring recently discovered unreleased material, cut up with sections of the remastered soundtrack, expert turntablism, and added live instrumentation, Jorun shines a new light on this pioneering piece of hip hop history.
Having released music since the mid-‘80s on labels such as Soundweight, Diggers With Gratitude, and JBOR Records, Jorun also produces and scores music for film and television in the USA. He’s been hosting his influential DJ podcast ‘Funkbox Reload’ for over a decade, regularly showcasing his DJ and remixing skills, which have landed him several key production jobs, including for the documentary ‘Mixtape’ directed by Omar Acosta on Paramount Plus.
It's through ‘Funkbox Reload’ that Arrow Films became aware of Jorun’s talents. They reached out and suggested Jorun put together a megamix, giving him access to the masters and unreleased material.
Given the opportunity to remix such an iconic slice of hip hop’s heritage, Jorun has treated the project with the care and respect it warranted. As he states, “Seeing Wild Style in the 1980s was a life changer simply for the fact that it introduced the world to an art form that most people outside of New York didn't know existed or could exist. This culture was called ‘hip hop’, and it was the first time a form of music was made out of everything surrounding it and turned into a collage. Wild Style was the first of its kind, probably in the history of American music.”
The film served as a gateway to hip hop culture and the elements it was made up of, be it rapping, DJing, breakdancing, or graffiti writing, and watching it, whether at the cinema, on rental VHS, or a bootleg copy from a friend, was a truly inspirational moment for many. One of the most important scenes for future DJs, as outlined by Jorun and DJs including the UK’s Mr Thing, is the kitchen scene and DJ routine featuring Grandmaster Flash. As Jorun mentions, “the scene with Grandmaster Flash in the kitchen was the epitome of what the culture stood for and where it was about to go from 1983 onward - home studios. It made the goal achievable thanks to that scene influencing so many kids at the time.”
More than a simple DJ megamix, Jorun hasn’t limited himself to the use of just two turntables. Instead, he has added live instrumentation, such as bass, Rhodes, and conga hits to the ‘basketball rap’, “to give it more of a blaxploitation ‘rumble in the street’ mood”, alongside using the unreleased material to masterful effect. “I don't like to be strictly tied to just turntablism. There are no rules when making music”, he reflects. Using the same ethos of freedom and individual musical expression of the time, Jorun has delivered a respectful, authentic, and inspired homage to the legacy of the film and its soundtrack.
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DE - 22113 Hamburg
Germany
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Having released music since the mid-‘80s on labels such as Soundweight, Diggers With Gratitude, and JBOR Records, Jorun also produces and scores music for film and television in the USA. He’s been hosting his influential DJ podcast ‘Funkbox Reload’ for over a decade, regularly showcasing his DJ and remixing skills, which have landed him several key production jobs, including for the documentary ‘Mixtape’ directed by Omar Acosta on Paramount Plus.
It's through ‘Funkbox Reload’ that Arrow Films became aware of Jorun’s talents. They reached out and suggested Jorun put together a megamix, giving him access to the masters and unreleased material.
Given the opportunity to remix such an iconic slice of hip hop’s heritage, Jorun has treated the project with the care and respect it warranted. As he states, “Seeing Wild Style in the 1980s was a life changer simply for the fact that it introduced the world to an art form that most people outside of New York didn't know existed or could exist. This culture was called ‘hip hop’, and it was the first time a form of music was made out of everything surrounding it and turned into a collage. Wild Style was the first of its kind, probably in the history of American music.”
The film served as a gateway to hip hop culture and the elements it was made up of, be it rapping, DJing, breakdancing, or graffiti writing, and watching it, whether at the cinema, on rental VHS, or a bootleg copy from a friend, was a truly inspirational moment for many. One of the most important scenes for future DJs, as outlined by Jorun and DJs including the UK’s Mr Thing, is the kitchen scene and DJ routine featuring Grandmaster Flash. As Jorun mentions, “the scene with Grandmaster Flash in the kitchen was the epitome of what the culture stood for and where it was about to go from 1983 onward - home studios. It made the goal achievable thanks to that scene influencing so many kids at the time.”
More than a simple DJ megamix, Jorun hasn’t limited himself to the use of just two turntables. Instead, he has added live instrumentation, such as bass, Rhodes, and conga hits to the ‘basketball rap’, “to give it more of a blaxploitation ‘rumble in the street’ mood”, alongside using the unreleased material to masterful effect. “I don't like to be strictly tied to just turntablism. There are no rules when making music”, he reflects. Using the same ethos of freedom and individual musical expression of the time, Jorun has delivered a respectful, authentic, and inspired homage to the legacy of the film and its soundtrack.
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1
P.J. City - Straight Forward (Non-Stop) (DJ Nature Re-Edit)
2
Grupo Los Yoyi - Del Copacabana A 34 (DJ Nature Re-Edit)
3
Antoniou - Sound On Sound (DJ Nature Re-Edit)
4
Marxist Love Disco Ensemble - Dust (DJ Nature Re-Edit)
Stepping up next in our Mr Bongo 12” Edits series, we’ve invited another legend of the game, DJ Nature, to craft a special EP of signature edits. Following editions by Dan Tyler and Nick The Record, Luke Una, and Danny Krivit, DJ Nature selects four prime cuts spanning modern soul, psychedelic funk, boogie, and leftfield disco, giving each his trademark tweak for today’s dancefloor.
In 1989, Bristol-born DJ Nature moved to New York, a city where he knew his raw and textured aesthetic would be more appreciated at the time. He immersed himself in the NY scene, frequently attending underground house and disco clubs to hear pioneers such as Larry Levan (The Choice), Louie Vega (Sound Factory Bar), and Tony Humphries (Zanzibar). That same year, being surrounded by a wealth of underground dance music, DJ Nature set up an export company to supply the Japanese market. “I have had a connection with Japan for over 40 years, beginning when I visited as part of Ray Petri’s Buffalo fashion house as a DJ. From there, I linked up with the Major Force crew and others,” he explains.
Having already been a record collector for 20 years, DJ Nature launched his own label, Ruff Disco Records, in 1992, releasing productions under his early moniker, Natureboy. Since then, Nature has gone on to become an underground DJ/producer legend himself, touring the world and releasing records on esteemed labels such as Golf Channel Recordings, Jazzy Sport, Hot Biscuit Recordings, and Futureboogie Recordings.
Reflecting his love of raw, independent disco, jazz fusion, and early house music, DJ Nature has chosen four tracks from the Mr Bongo archive that he felt had club-ready production ripe for an edit. First up, is an extended rework of the ultra-rare Chicago modern soul/disco joint ‘Straight Forward (Non-Stop)’ by P.J. City from 1986. Staying true and respectful to the original, DJ Nature tweaks and extends it so it feels like a longer take lifted from the original recording session. Next is a sublime version of Cuban band Grupo Los Yoyi’s 1977 track ‘Del Copacabana A 34’. Here, Nature extends and enhances the song, looping the more driving, hypnotic, spacey sections to let the energy brew and bubble to boiling point.
On the B-side, DJ Nature revamps a lesser-known gem from the Elite Records catalogue. Originally produced by Andy Sojka, Antoniou’s pulsating 1982 electronic disco groover ‘Sound On Sound’ is transformed into a peak-time cosmic boogie whirlwind. Rounding off the EP, he turns to the mysterious Marxist Love Disco Ensemble’s 2022 album ‘MLDE’, re-editing the quirky leftfield disco winner ‘Dust’ into a more DJ-friendly club track.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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In 1989, Bristol-born DJ Nature moved to New York, a city where he knew his raw and textured aesthetic would be more appreciated at the time. He immersed himself in the NY scene, frequently attending underground house and disco clubs to hear pioneers such as Larry Levan (The Choice), Louie Vega (Sound Factory Bar), and Tony Humphries (Zanzibar). That same year, being surrounded by a wealth of underground dance music, DJ Nature set up an export company to supply the Japanese market. “I have had a connection with Japan for over 40 years, beginning when I visited as part of Ray Petri’s Buffalo fashion house as a DJ. From there, I linked up with the Major Force crew and others,” he explains.
Having already been a record collector for 20 years, DJ Nature launched his own label, Ruff Disco Records, in 1992, releasing productions under his early moniker, Natureboy. Since then, Nature has gone on to become an underground DJ/producer legend himself, touring the world and releasing records on esteemed labels such as Golf Channel Recordings, Jazzy Sport, Hot Biscuit Recordings, and Futureboogie Recordings.
Reflecting his love of raw, independent disco, jazz fusion, and early house music, DJ Nature has chosen four tracks from the Mr Bongo archive that he felt had club-ready production ripe for an edit. First up, is an extended rework of the ultra-rare Chicago modern soul/disco joint ‘Straight Forward (Non-Stop)’ by P.J. City from 1986. Staying true and respectful to the original, DJ Nature tweaks and extends it so it feels like a longer take lifted from the original recording session. Next is a sublime version of Cuban band Grupo Los Yoyi’s 1977 track ‘Del Copacabana A 34’. Here, Nature extends and enhances the song, looping the more driving, hypnotic, spacey sections to let the energy brew and bubble to boiling point.
On the B-side, DJ Nature revamps a lesser-known gem from the Elite Records catalogue. Originally produced by Andy Sojka, Antoniou’s pulsating 1982 electronic disco groover ‘Sound On Sound’ is transformed into a peak-time cosmic boogie whirlwind. Rounding off the EP, he turns to the mysterious Marxist Love Disco Ensemble’s 2022 album ‘MLDE’, re-editing the quirky leftfield disco winner ‘Dust’ into a more DJ-friendly club track.
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Germany
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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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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
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Hollie Cook - Sugarwater Dub
Black Vinyl Repress coming soon!
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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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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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
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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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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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Germany
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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
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
“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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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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.
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
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.
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
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.
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
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
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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.
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
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.
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
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LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL - NON RETURNABLE.
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
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
LIMITED INDIES ONLY OPAQUE PINK + WHITE VINYL - NON RETURNABLE.
Listen to new single:
https://daphni.lnk.to/Butterfly
Waiting So Long youtube:
https://daphni.lnk.to/WSL_Video
Pitchfork https://pitchfork.com/news/daphni-announces-new-album-butterfly-shares-songs-listen/
Brooklyn Vegan https://www.brooklynvegan.com/daphni-caribous-dan-snaith-announces-new-album-butterfly-hear-waiting-so-long-lucky/
Exclaim https://exclaim.ca/music/article/daphni-and-caribou-finally-become-one-for-new-album-butterfly
Stereogum https://stereogum.com/2479460/caribous-dance-music-alter-ego-daphni-announces-new-album-butterfly-hear-waiting-so-long/music
At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track 'Unidos' alongside Sofia Kourtesis), he dropped 'Sad Piano House'. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry's 'Cloudy' and its subsequent Kelbin remix, something in that song's makeup having a profound effect when played on dancefloors by Snaith and countless others. 'Sad Piano House' deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.
Though a sizeable gap for Daphni releases, between Cherry and Butterfly however of course sits Honey, the latest Caribou album and one that saw the more instantaneous and dancefloor leaning traits of Daphni peaking through the cracks more than ever before. This blurring of the lines leads to an intriguing collaboration in Butterfly's lead single 'Waiting So Long (feat. Caribou)'. An unlikely duo - in that both artists are the same man, Dan Snaith - 'Waiting So Long' is not so much an identity crisis, ego trip, or the result of a chemical spill in the Snaith laboratory. It's simply a track that Snaith felt for the first time belongs to both aliases, and might appeal to fans of both. He has never sung on a Daphni track before, and did not set out with the intention to do so this time, and yet this strange billing was born.
Daphni music has always been Snaith's way of hitting directly to the core of the dancefloors he spends so much of his time playing to, and those dancefloors have been steadily expanding as his name grows, with the music following suit. This album however also draws from further back with a definite kinship to the very first Daphni album, the invigorating bag of ideas that was Jiaolong.
Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like 'Clap Your Hands' which picks up the energy of 'Sad Piano House' and flips it, exposing the gritty and intoxicating underbelly of Snaith's hitmaking side, while retaining the playful urgency that runs through all of his work of late. Meanwhile 'Hang''s comic-strip horns are unpinned by gleeful force, unrelenting and thrillingly unshakeable. Elsewhere though comes a clutch of other tunes that might creep out somewhere more off the beaten path, a path Snaith has never stopped seeking in amongst his larger billings. 'Lucky' is squirmy and elusively intoxicating, 'Invention' skitters down meandering, inviting corridors, 'Talk To Me' grumbles and broods in the murk, and 'Miles Smiles' could roll on endlessly, so confident in its groove. There are no obvious peaks in these tracks or unifying moments, in fact many of them really have no business being on the dancefloor at all, and yet in the right setting, they could be the most fun to be had all night.
One such club is a good microcosm for the ethos of Butterfly as a whole. "Around the time I was finishing up this album I played a long set in a club called Open Ground in Wuppertal, Germany." Snaith recalls, "It's kind of, in one sense, the platonic ideal of the kind of club I'd want to play in. Every single decision has been taken, at great expense, with the aim of making the perfect sounding medium sized club room. But on top of it being the perfect acoustic environment it also is run by an amazing collection of people in a way that gives it a sense of community that dance music at its best provides. It is an absolute pleasure to play in that room to a crowd of people who come from all over. Playing in there you feel like you can play anything, and I played works in progress of pretty much every track on this album in my set there. Don't get me wrong, I love playing a short set at a festival or in a more raw warehouse kind of club where you bang it out and only really functional music works but on record I guess the point of these Daphni records is to keep in mind a more expansive idea of dance music where the parameters are broad and the church is broad. I think that actually, putting really functional stuff next to weirder tracks (both on an album and in a dj set) might be the thing that's still most interesting to me."
This is the feeling that's most palpable on Butterfly, and in every single time you see Snaith DJ. Right from the inception of the Daphni alias - and even before that - the thrill of trying stuff out, pushing at the boundaries has always been there and on Butterfly is present in all its twists and turns. It leaps all over the place and yet it hangs together, never feeling like a grab bag of dancefloor utilities but rather a distillation of all the strings to Snaith's bow, exhilaratingly human and unified by one singular concept - simple and joyful exploration.
Vinyl Tracklist:
A1 Sad Piano House A2 Clap Your Hands A3 Hang A4 Lucky
B1 Waiting So Long B2 Napoleon's Rock B3 Goodnight Baby B4 Talk To Me
C1 Two Maps C2 Josephine C3 Miles Smiles C4 Goldie
D1 Caterpillar D2 Shifty D3 Invention D4 Eleven
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
DJ Absolutely Shit - 50 Inch Subwoofer
2
DJ Absolutely Shit - Magic
3
DJ Absolutely Shit - Warning
4
DJ Absolutely Shit - Automatic
5
DJ Absolutely Shit - Datz Disgusting
6
DJ Absolutely Shit - Cat Strangler
7
DJ Absolutely Shit - Ale'D Up N Tha (Featuring SL8R)
8
DJ Absolutely Shit - 8 Bit Bash
9
DJ Absolutely Shit - Bulletproof
10
DJ Absolutely Shit - Pharaoh De Janeiro
11
DJ Absolutely Shit - All I Need
12
DJ Absolutely Shit - Ghetto
300 copies, triple vinyl - tri-fold sleeve.
Irlam's dastardly duo are back with another bonza bucket of bass, breaks and badness as they fire up Studio Krust for another high octane session.
Sure to top the Fairground charts and further enrage the Hell's Angels, 'Synthetic Stupidity' sees the pair unleash their full force unabashed, as they hit a purple patch full of new found and frankly quite surprising productivity (rumours of a European-wide sputnik shortage are the likely catalyst).
Fractionally distilling their many collective years of dance music experience into 12 refined pieces of advanced club kinetics that skirt between the syncopated intricacies of breakbeat science and maxed-out 4/4 propulsion.
More hyped-up vox & frantic sampling, more tension, tons of one-finger keyboard melodies, and - as usual - moments of sonic tomfoolery to flummox the assumers.
With their drug debts paid off and a forced clarity of mind, 'Synthetic Stupidity' is a more expansive, deeper and unhurried project; allowing Bosco and Metrodome the space and time to truly deliver the zenith of their sound.
This, is DJ ABSOLUTELY SHIT!!!
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
Irlam's dastardly duo are back with another bonza bucket of bass, breaks and badness as they fire up Studio Krust for another high octane session.
Sure to top the Fairground charts and further enrage the Hell's Angels, 'Synthetic Stupidity' sees the pair unleash their full force unabashed, as they hit a purple patch full of new found and frankly quite surprising productivity (rumours of a European-wide sputnik shortage are the likely catalyst).
Fractionally distilling their many collective years of dance music experience into 12 refined pieces of advanced club kinetics that skirt between the syncopated intricacies of breakbeat science and maxed-out 4/4 propulsion.
More hyped-up vox & frantic sampling, more tension, tons of one-finger keyboard melodies, and - as usual - moments of sonic tomfoolery to flummox the assumers.
With their drug debts paid off and a forced clarity of mind, 'Synthetic Stupidity' is a more expansive, deeper and unhurried project; allowing Bosco and Metrodome the space and time to truly deliver the zenith of their sound.
This, is DJ ABSOLUTELY SHIT!!!
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
Ini Kamoze - Trouble You A Trouble Me
2
Ini Kamoze - World-A-Music
3
Ini Kamoze - Them Thing Deh
4
Ini Kamoze - General
5
Ini Kamoze - Wings With Me
6
Ini Kamoze - Hail Me Idrin
Repress!
A true hot stepper and one of the best of its kind, this 1984 masterpiece from Ini Kamoze is heavy, real and authentic. It was actually Jamaican born artist Cecil Campbell's debut album and features spacious, slow motion dubs that invite you deep within their cavernous drums. The chattery percussion, echoing hits and loose percussion all make a real mark. "World-A-Music" has a beat fans of Damien Marley will recognise, and "General" features some of Campbells more vulnerable vocal work. For fans old and new, this is a perfect roots album with a unique perspective.
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
A true hot stepper and one of the best of its kind, this 1984 masterpiece from Ini Kamoze is heavy, real and authentic. It was actually Jamaican born artist Cecil Campbell's debut album and features spacious, slow motion dubs that invite you deep within their cavernous drums. The chattery percussion, echoing hits and loose percussion all make a real mark. "World-A-Music" has a beat fans of Damien Marley will recognise, and "General" features some of Campbells more vulnerable vocal work. For fans old and new, this is a perfect roots album with a unique perspective.
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
Montecarla - L'Insegnante
2
Montecarla - Doing It
3
Montecarla - Tempi Caldi
4
Montecarla - Grazie Nonna
5
Montecarla - Malizia Erotica
6
Montecarla - Io Valentino
7
Montecarla - Interno Notte
8
Montecarla - Bye Bye Donna
9
Montecarla - La Supplente
10
Montecarla - Il Sesso Della Strega
Montecarla is a new Italian duo born from the idea of creating the soundtrack to a film that doesn’t exist. Blending modern disco, Italian library music and playful cinematic flair, they turn the sensual and ironic mood of 70s/80s erotic soundtracks into something fresh and contemporary.
Their debut album, “Primo Appuntamento,” introduces the Montecarla universe: a fictional Mediterranean city where elegance, desire and mischief shape the music’s identity. Real instrumentation, theatrical details and a refined groove transform each piece into a miniature scene familiar, yet entirely reinvented.
Montecarla position themselves at the crossroads of nostalgia and innovation, offering a stylish, compact sound ideal for playlists exploring Italian groovers, nu-disco, lounge atmospheres and retro-future aesthetics.
“Primo Appuntamento” is both an introduction and an invitation seductive, cinematic, unmistakably Italian.
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
Their debut album, “Primo Appuntamento,” introduces the Montecarla universe: a fictional Mediterranean city where elegance, desire and mischief shape the music’s identity. Real instrumentation, theatrical details and a refined groove transform each piece into a miniature scene familiar, yet entirely reinvented.
Montecarla position themselves at the crossroads of nostalgia and innovation, offering a stylish, compact sound ideal for playlists exploring Italian groovers, nu-disco, lounge atmospheres and retro-future aesthetics.
“Primo Appuntamento” is both an introduction and an invitation seductive, cinematic, unmistakably Italian.
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
SOPHIE - BIPP
2
SOPHIE - ELLE
3
SOPHIE - LEMONADE
4
SOPHIE - HARD
5
SOPHIE - MSMSMSM
6
SOPHIE - VYZEE
7
SOPHIE - L.O.V.E.
8
SOPHIE - UNISIL
9
SOPHIE - GET HIGHER
10
SOPHIE - OOH
11
SOPHIE - JUST LIKE WE NEVER SAID GOODBYE
Pink Vinyl!
To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.
This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.
SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.
‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.
SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.
The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.
‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.
A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).
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
To mark 10 years since SOPHIE’s game-changing singles collection PRODUCT, Numbers are celebrating with a special edition featuring 11 songs across Deluxe Vinyl and Compact Disc.
This anniversary release includes bonus tracks, track-by-track slide posters, and a SOPHIE PRODUCT Card. Physical editions are now available for pre-order and released on 11th July 2025.
SOPHIE classics ‘BIPP’, ‘LEMONADE’ and ‘VYZEE’ are joined by two immaculate PRODUCT-era songs ‘OOH’ and ‘GET HIGHER’ recorded and produced at the time, each with colourful single artwork completing the set.
‘OOH’ is one of SOPHIE's earliest productions that has been through several revisions since 2011. It was one of three original tracks that Numbers had signed when SOPHIE uploaded the song alongside 'BIPP' and 'ELLE' to her Soundcloud, and while it had been through several iterations and speed changes, this finalised version was completed by SOPHIE in 2019.
SOPHIE once described ‘OOH’ as “hi tech club dance pop”. Musically speaking, the earworm hook is carved out by her signature portamento-infused synths and candy-coated lyrics, a firm cult classic approved by AG Cook and Charli XCX. Initially titled 'MAKE RESPECT', the track was first performed live by SOPHIE in 2011 to a handful of lucky people at a beach afterparty surrounding Sonar Festival, Barcelona and later that year at Manhattan's New Museum. The vocal was recorded as the first track in the same one-day recording session as SOPHIE's debut single 'NOTHING MORE TO SAY', released on the Huntley & Palmers label, where Sophie's songwriting was performed by the London vocalist Jaide Green.
The genesis of the ‘OOH’ and ‘NOTHING MORE TO SAY’ recording session is lore-worthy in its own right: after watching Jaide Green perform live with Olly Murs during the sixth series of The X Factor in 2009, SOPHIE reached out and invited Jaide to record in her home bedroom studio.
‘GET HIGHER’ was born during joyous sessions in 2013, when SOPHIE’s beat was introduced to the vocalists Cassie Davis and Sean Mullins. The track feels like a visionary precursor to ‘Vroom Vroom’, and doesn't sound out of place next to the sub-clang intensity of SOPHIE’s ‘HARD’ and ‘MSMSMSM’. Striking a playful balance between blissed-out hyperpop and club-ready Atlanta trap, it showcases SOPHIE’s signature, laser sharp sound design. Originally released as a bonus track on the Japanese CD edition of PRODUCT, ‘GET HIGHER’ has remained a hidden gem.
A groundbreaking producer, songwriter and performer, SOPHIE's visionary approach reshaped the landscape of pop and electronic music. Emerging in the early 2010s, SOPHIE introduced a hyper-detailed, futuristic sound defined by metallic textures, elastic basslines, and an uncanny blend of synthetic and emotional tones. Collaborating with artists including Charli XCX, Madonna, Vince Staples and Arca, SOPHIE helped pioneer a new pop movement while challenging conventions around identity, genre and production. SOPHIE's work continues to resonate deeply, leaving a lasting impact on a generation of artists and listeners alike. Discography: PRODUCT (2015), OIL OF EVERY PEARL'S UN-INSIDES (2018), SOPHIE (released posthumously, 2024).
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
Ismistik - Cassis
2
Acid Junkies Feat. The Doctor - Telephone Terror
3
China White - No Sell Out
4
Greyhawk - Epidemic Future
5
Storm - Takaru
6
Hexagone Burning - Trash Floor
7
Phase Phorce - Complications
8
Mike Dearborn - Raw Acid
9
Mike Dearborn - Outer Limits (Trance Mixx)
10
Planet Gong - Eight Miles High
11
Group X - Tranze X
12
Edge Of Motion - La Orilla
13
Random XS - Aftermath V1.2
14
Miss Djax - Killer Train
Delsin is pleased to announce an extensive compilation series combing through the catalogue of landmark Dutch techno label Djax-Up-Beats. The series, curated by Rush Hour co-founder Christiaan Macdonald, launches with a look at the label's legacy in the development of acid music through the 90s. In total, this first entry in the Djax-Up-Beats 1990-2005 series comprises 20 tracks, presented as a main triple-vinyl album plus two additional 12" EPs. The compilation also features all-new illustrations from Alan Oldham, the Detroit-rooted visual artist who gave Djax-Up-Beats a distinctive visual identity from very early on, and design by Lost Communication. Each volume of the series also features liner notes from music journalist Oli Warwick. Crucially, every track featured on the series has been carefully mastered by Johanz Westerman, bringing the best out of tracks that often had very little post-production treatment before they were originally pressed to wax. Volume 1 - The Acid Trip focuses on an area the label is best known for - acid house and techno. After the pioneering breakthroughs Chicago-based producers made with the Roland TB-303 in the late 1980s, acid music creation was starting to become more widespread when Djax-Up started in late 1990. The rebellious, rave-ready sound was an instant draw for label founder Miss Djax, and so her label ended up reflecting the development of acid as it spread from the Chicago roots across the world. Volume 1 - The Acid Trip looks at the diverse approaches to acid taken by artists on Djax-Up. Tracks on the compilation include an early outing from Ludovic 'St Germain' Navarre and Bjorn Torske's Ismistik alias, as well as Dutch pioneers such as Edge Of Motion, Spasms, Random XS and Acid Junkies, and Chicago heavyweights Mike Dearborn and Gene Hunt. With five more, equally extensive, volumes to come in this series, Djax-Up-Beats 1990-2005 is a thorough exploration of a true totem of techno culture - a renegade label that operated on its own terms and carried surprises and slammers in equal measure.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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
Vinyl LP + insert
An electrified meeting of minds, Candy Girl is a lost 1975 session by jazz pianist Mal
Waldron, recorded in Paris with core members of the mighty Lafayette Afro Rock Band, the
American funk unit who had made France their home and whose deep grooves would later
be mined by generations of hip-hop producers.
TRACKLIST
A1. Home Again 05:20
A2. Red Match Box 09:35
B1. Bits And Things 09:05
B2. Dedication To Brahms 06:20
B3. Candy Girl 03:30
Listen: listen.k7.com/98feffb8-7b4b-432b-a986-4de530e35d2d
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
An electrified meeting of minds, Candy Girl is a lost 1975 session by jazz pianist Mal
Waldron, recorded in Paris with core members of the mighty Lafayette Afro Rock Band, the
American funk unit who had made France their home and whose deep grooves would later
be mined by generations of hip-hop producers.
TRACKLIST
A1. Home Again 05:20
A2. Red Match Box 09:35
B1. Bits And Things 09:05
B2. Dedication To Brahms 06:20
B3. Candy Girl 03:30
Listen: listen.k7.com/98feffb8-7b4b-432b-a986-4de530e35d2d
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
Strut presents Mulatu Plays Mulatu, the first major studio album in over 10 years from the father of Ethio-jazz, Mulatu Astatke.
Tracklist
Vinyl:
A1. Zelesenga Dewel
A2. Kulun
A3. Netsanet
B1. Yekermo Sew
B2. Chik Chikka
B3. Motherland
B4. Yekatit
Listen: listen.k7.com/ae404432-cbfc-45cf-8ee4-958f2945bef9
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
Tracklist
Vinyl:
A1. Zelesenga Dewel
A2. Kulun
A3. Netsanet
B1. Yekermo Sew
B2. Chik Chikka
B3. Motherland
B4. Yekatit
Listen: listen.k7.com/ae404432-cbfc-45cf-8ee4-958f2945bef9
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
The Sorcerers' latest long player lands in perfect time for the summer, offering a further progression into their unique take on Ethio-inspired jazz. Other Worlds and Habitats is, of course, released on ATA Records and is blessed with the analogue recording and painstakingly loving production we have come to expect from this boutique studio. This, The Sorcerers eagerly anticipated fourth LP, follows on from the success of I Too Am A Stranger, a record which garnered praise from BBC Radio 2’s Jamie Cullum, “I love this, this is so good!”, Ethio-jazz legend Mulatu Astatke, “I like the grooves, and it is good to see The Sorcerers interpret Ethio jazz in their own unique way”, and Nightmares on Wax, “This sounds great! Love the way it's recorded”.
Listen: https://listen.k7.com/c818ca27-8f1b-41bc-aecb-b693b7c240f7
Tracklisting:
SIDE 1 (A)
1. ECHOES OF EARTH
2. ANCESTRAL MACHINES
3. ABANDONED SATELLITES
4. THE GREAT BELL
SIDE 2 (B)
1. BENEATH THE DUNES
2. THE GHOSTS OF THE BLACK
DRIFT 3. THE INFINITE
4. THE LAST TRANSMISSION
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
Listen: https://listen.k7.com/c818ca27-8f1b-41bc-aecb-b693b7c240f7
Tracklisting:
SIDE 1 (A)
1. ECHOES OF EARTH
2. ANCESTRAL MACHINES
3. ABANDONED SATELLITES
4. THE GREAT BELL
SIDE 2 (B)
1. BENEATH THE DUNES
2. THE GHOSTS OF THE BLACK
DRIFT 3. THE INFINITE
4. THE LAST TRANSMISSION
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
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.
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
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.
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
2LP Green splatter
Tracklisting
1 Sound then Words
2 We would lift our Voice...
3 We are calling out in this moment…
4 The Water is Rising / as we surpass the firing squad…
5 We have work to do... (speaking after the concert)
Saul Williams meets Carlos Niño & Friends at TreePeople is the first collaborative
album from poet/vocalist Saul Williams and percussionist/producer Carlos Niño.
The album was recorded live underneath black oak and walnut trees in Coldwater Canyon Park, Los Angeles, on December 18, 2024.
The performance, which was organized by Noah Klein of Living Earth on the grounds of longstanding conservationist organization TreePeople, was the first of its kind for Williams and Niño, who have been friends since the late 1990s.
For the occasion, Niño assembled and directed an ensemble of frequent collaborators including Nate Mercereau (Guitar Synthesizer, Live Sampling with Midi Guitar, Sample Sources), Aaron Shaw (Flute, Soprano Saxophone with Pedals, Tenor Saxophone), Andres Renteria (Bells, Congas, Egyptian Rattle Drum, Hand Drums, Percussion), Maia (Flute, Vibraphone, Voice), Francesca Heart (Computer, Conch Shell, Sound Design), and Kamasi Washington (Tenor Saxophone). Available Friday September 19th, 2025.
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
Tracklisting
1 Sound then Words
2 We would lift our Voice...
3 We are calling out in this moment…
4 The Water is Rising / as we surpass the firing squad…
5 We have work to do... (speaking after the concert)
Saul Williams meets Carlos Niño & Friends at TreePeople is the first collaborative
album from poet/vocalist Saul Williams and percussionist/producer Carlos Niño.
The album was recorded live underneath black oak and walnut trees in Coldwater Canyon Park, Los Angeles, on December 18, 2024.
The performance, which was organized by Noah Klein of Living Earth on the grounds of longstanding conservationist organization TreePeople, was the first of its kind for Williams and Niño, who have been friends since the late 1990s.
For the occasion, Niño assembled and directed an ensemble of frequent collaborators including Nate Mercereau (Guitar Synthesizer, Live Sampling with Midi Guitar, Sample Sources), Aaron Shaw (Flute, Soprano Saxophone with Pedals, Tenor Saxophone), Andres Renteria (Bells, Congas, Egyptian Rattle Drum, Hand Drums, Percussion), Maia (Flute, Vibraphone, Voice), Francesca Heart (Computer, Conch Shell, Sound Design), and Kamasi Washington (Tenor Saxophone). Available Friday September 19th, 2025.
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
Roy Ayers - Green and Gold (Delfonic Rework)
2
Roy Ayers - What's The T? (Delfonic Edit)
3
Roy Ayers - Sugar (Delfonic Rework)
4
Roy Ayers - Oh What A Lonely Feeling (Delfonic Rework)
A soulful rework story – from an edit to an official releasev Berlin’s own Delfonic kicks off a very special series of Roy Ayers reworks with this four-track EP on BBE Music. Originally sparked by a spontaneous edit of “What’s the T?”, which Delfonic shared with BBE’s Pete Adarkwah, the project quickly gained momentum. With listeners asking for a vinyl version, this initial idea soon grew into an official release – and the beginning of a larger tribute.
Drawing from BBE’s 2004 compilation Virgin Ubiquity—a treasure trove of previously unreleased Roy Ayers recordings from 1976 to 1981—Roy Ayers – Delfonic Reworked #1 offers a fresh take on the legendary vibraphonist’s sound, rooted in soul, jazz and groove. The EP opens with Green and Gold, followed by the original spark What’s the T? featuring the incredible Merry Clayton. Also featured are Sugar with Carla Vaughan and Oh What a Lonely Feeling, again showcasing Clayton’s emotive vocals—all reimagined with Delfonic’s signature flair for rhythmic depth and dancefloor flow.
Known for his extensive output of remixes and EPs on respected disco and edit labels, Delfonic brings a deep understanding of groove and arrangement to these respectful yet
forward-thinking versions. His connection to Roy Ayers’ musical universe is evident in every bar. Mastered by Frank Merritt at the Grammy-nominated The Carvery, Roy Ayers – Delfonic
Reworked #1 is available on vinyl and digital download—a must for fans, collectors and groove connoisseurs alike.
Vinyl tracklist:
A1. Green and Gold (Delfonic Rework)
A2. What's The T? (Delfonic Edit)
B1. Sugar (Delfonic Rework)
B2. Oh What A Lonely Feeling (Delfonic Rework)
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
Drawing from BBE’s 2004 compilation Virgin Ubiquity—a treasure trove of previously unreleased Roy Ayers recordings from 1976 to 1981—Roy Ayers – Delfonic Reworked #1 offers a fresh take on the legendary vibraphonist’s sound, rooted in soul, jazz and groove. The EP opens with Green and Gold, followed by the original spark What’s the T? featuring the incredible Merry Clayton. Also featured are Sugar with Carla Vaughan and Oh What a Lonely Feeling, again showcasing Clayton’s emotive vocals—all reimagined with Delfonic’s signature flair for rhythmic depth and dancefloor flow.
Known for his extensive output of remixes and EPs on respected disco and edit labels, Delfonic brings a deep understanding of groove and arrangement to these respectful yet
forward-thinking versions. His connection to Roy Ayers’ musical universe is evident in every bar. Mastered by Frank Merritt at the Grammy-nominated The Carvery, Roy Ayers – Delfonic
Reworked #1 is available on vinyl and digital download—a must for fans, collectors and groove connoisseurs alike.
Vinyl tracklist:
A1. Green and Gold (Delfonic Rework)
A2. What's The T? (Delfonic Edit)
B1. Sugar (Delfonic Rework)
B2. Oh What A Lonely Feeling (Delfonic Rework)
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