1
Rubel - O Velho E O Mar
2
Rubel - Mascarados
3
Rubel - Pearl
4
Rubel - Quando Bate Aquela Saudade
5
Rubel - Ben
6
Rubel - Nuvem
7
Rubel - Quadro Verde
Mr Bongo proudly presents a first-time worldwide vinyl and CD issue of Rubel’s debut album Pearl. Self-released on YouTube in 2013, the album quietly became a huge hit in Brazil with the lead single and accompanying video for ‘Quando Bate Aquela Saudade’ amassing over 85 million views to date. Pearl laid the foundations for Rubel’s path to greatness - a first glimpse into the brilliance of a modern-day troubadour and ever-evolving Brazilian artist who deftly mixes classic and contemporary influences. Fusing MPB, folk, pop, and indie, it charts Rubel at his purest and most personal.
The journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.
The spirit of Pearl has a timeless nostalgia; it feels familiar from the outset, and whether a Portuguese speaker or not, the songs touch your soul. It’s an unpretentious album, with Rubel putting himself, his musicianship and his songwriting upfront and centre. The epic ‘O Velho e o Mar’ delicately layers acoustic guitar, banjo and vocal harmonies, as the track builds with a simmering intensity and an accordion drifts in across its final stages. Elsewhere, title track ‘Pearl’ has a global singer-songwriter aesthetic and could be Thom Yorke at his most acoustic.
At nearly seven minutes, ‘Quando Bate Aquela Saudade’ is an unlikely breakthrough single, but its message really resonated with the Brazilian / Portuguese-speaking audience. Anyone who has witnessed Rubel live has felt the energy and interplay between musician and audience, with the crowd making this song as much their own as it is Rubel’s. A true modern-day classic.
‘Ben’ echoes and channels the Brazilian greats; Caetano Veloso comes to mind whilst listening to this stripped-down tender ballad. The folk-leaning tones of the banjo make a return on the closing ‘Quadro Verde’. A cinematic and anthemic track that could easily be imagined soundtracking a Wes Anderson film.
Now a global, Latin-Grammy nominated star, Rubel is one of those rare artists who can straddle both mainstream pop success with the humbleness of an independent, underground recording artist. Those roots are on show here on Pearl, embodying an authenticity and rawness that spoke to a generation. We are proud to be able to give a worldwide release to this authentic and unpretentious first chapter in Rubel’s story.
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 journey of Pearl begins with Rubel in his early 20’s studying film in Austin, Texas. Immersing himself in the city’s vibrant DIY music scene and surrounded by countless musicians who he shared a large house with, he set up a home studio with an assortment of rented gear and recorded the album without any expectations. It was inspired by an environment of youth, music and experimentation Rubel found himself within. The seven songs are an attempt to record and take with him a little of what he lived and learned whilst there. He uploaded the album to YouTube, didn’t think much of it and continued to pursue a career in film in LA. Over the next few years however it became a viral hit in Brazil, with a subsequent Brazil only vinyl and CD issue, drawing him both back to Rio and a trajectory to musical stardom.
The spirit of Pearl has a timeless nostalgia; it feels familiar from the outset, and whether a Portuguese speaker or not, the songs touch your soul. It’s an unpretentious album, with Rubel putting himself, his musicianship and his songwriting upfront and centre. The epic ‘O Velho e o Mar’ delicately layers acoustic guitar, banjo and vocal harmonies, as the track builds with a simmering intensity and an accordion drifts in across its final stages. Elsewhere, title track ‘Pearl’ has a global singer-songwriter aesthetic and could be Thom Yorke at his most acoustic.
At nearly seven minutes, ‘Quando Bate Aquela Saudade’ is an unlikely breakthrough single, but its message really resonated with the Brazilian / Portuguese-speaking audience. Anyone who has witnessed Rubel live has felt the energy and interplay between musician and audience, with the crowd making this song as much their own as it is Rubel’s. A true modern-day classic.
‘Ben’ echoes and channels the Brazilian greats; Caetano Veloso comes to mind whilst listening to this stripped-down tender ballad. The folk-leaning tones of the banjo make a return on the closing ‘Quadro Verde’. A cinematic and anthemic track that could easily be imagined soundtracking a Wes Anderson film.
Now a global, Latin-Grammy nominated star, Rubel is one of those rare artists who can straddle both mainstream pop success with the humbleness of an independent, underground recording artist. Those roots are on show here on Pearl, embodying an authenticity and rawness that spoke to a generation. We are proud to be able to give a worldwide release to this authentic and unpretentious first chapter in Rubel’s story.
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
More records from Rubel
1
Rubel - Intro
2
Rubel - Colégio
3
Rubel - Cachorro
4
Rubel - Pinguim
5
Rubel - Casquinha
6
Rubel - Batuque
7
Rubel - Mantra Ft. Emicida
8
Rubel - Passagem
9
Rubel - Explodir
10
Rubel - Sapato
11
Rubel - Chiste Ft. Rincon Sapiência
12
Rubel - Fogueira
13
Rubel - Partilhar
14
Rubel - Santana
Brazilian artist Rubel isn’t one to be pigeonholed and typecast into staying in one sound. Casas, the follow-up to his debut album Pearl from 2015, brought a bigger, more epic, and richer production quality to the table. Fusing the worlds of MPB and hip hop, Rubel’s sophomore LP built on the momentum of its predecessor, gaining a Latin-Grammy nomination along the way. Mr Bongo is proud to be giving Casas its first worldwide release on vinyl and CD outside of Brazil and Japan.
The cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.
Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.
One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.
Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.
Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.
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 cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.
Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.
One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.
Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.
Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.
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
Rubel - Feliticeiro Gozador
2
Rubel - A Janela
3
Rubel - Carolina
4
Rubel - Ouro
5
Rubel - Azul
6
Rubel - Bebê
7
Rubel - Pergunta ao Tempo
8
Rubel - Noite de Réveillon
9
Rubel - Carta de Maria
10
Rubel - Praticar a Teimosia
11
Rubel - Reckoner
For his fourth studio album, Brazilian troubadour Rubel returns to his roots with a sublime, stripped-back, singer-songwriter classic. Beleza. Mas agora a gente faz o que com isso? which translates to “Beauty. But now what do we do with it?”, was produced at home by Rubel and reconnects with his acoustic side: the idea of predominantly using simply vocals, guitar, and strings. A bossa nova and MPB-leaning body of work at its core, the album is a deeply personal and introspective journey, with the focus directed at the beautiful, simple essence of the songs.
Comprising seven original compositions penned by Rubel, the album also contains two majestic covers. 'A la Ventana, Carolina' by El David Aguilar is reworked into Portuguese by Rubel under the title ‘A Janela, Carolina’ with the air of a long-lost classic. To close out the album, Rubel puts his distinctive spin on Radiohead’s ‘Reckoner’, with the revered Brazilian maestro Arthur Verocai adding to the beautiful, melancholic textures through his string and horn arrangements.
The new record brings listeners back to Rubel’s origins, focusing on an intimacy and immediacy through voice and guitar that were unveiled on his debut LP Pearl from 2015, and refined on 2018’s Casas. The result is a personal and revealing repertoire that contrasts with his last album, the bold, innovative, and collaboratively focused As Palavras Vol. 1 & 2 from 2023.
Dealing with themes such as the passage of life, time, love, friendships, losses, and gains, the album is rich in delicate and honestly composed songs. The album opener 'Feiticeiro Gozador' instantly draws you in. Tender and soul-baring, it’s perfectly accompanied by a luscious string arrangement and graceful piano, giving a timeless nature to the track. Elsewhere, a future classic is found on the seductive and cinematic 'Ouro' that must be one of Rubel's finest songs. A heartfelt beauty that morphs into a hip-hop-tinged beat sure to touch your soul. That contemporary edge follows on ‘Azul, Bebê’, a drum-infused song that has that MPC sample feel of the golden beatmaker era.
With this fourth album, Rubel is becoming one of the key writers and performers of his generation, on a trajectory heading up to the heights of João Gilberto, Jorge Ben, Caetano Veloso, and the classic Brazilian songbook. He has managed to achieve that rare balance of appealing to both the mainstream and the underground in one celestial and cinematic swoop.
Both vinyl variants come in a gatefold sleeve with poster insert. CD has a 6-panel fold-out insert.
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
Comprising seven original compositions penned by Rubel, the album also contains two majestic covers. 'A la Ventana, Carolina' by El David Aguilar is reworked into Portuguese by Rubel under the title ‘A Janela, Carolina’ with the air of a long-lost classic. To close out the album, Rubel puts his distinctive spin on Radiohead’s ‘Reckoner’, with the revered Brazilian maestro Arthur Verocai adding to the beautiful, melancholic textures through his string and horn arrangements.
The new record brings listeners back to Rubel’s origins, focusing on an intimacy and immediacy through voice and guitar that were unveiled on his debut LP Pearl from 2015, and refined on 2018’s Casas. The result is a personal and revealing repertoire that contrasts with his last album, the bold, innovative, and collaboratively focused As Palavras Vol. 1 & 2 from 2023.
Dealing with themes such as the passage of life, time, love, friendships, losses, and gains, the album is rich in delicate and honestly composed songs. The album opener 'Feiticeiro Gozador' instantly draws you in. Tender and soul-baring, it’s perfectly accompanied by a luscious string arrangement and graceful piano, giving a timeless nature to the track. Elsewhere, a future classic is found on the seductive and cinematic 'Ouro' that must be one of Rubel's finest songs. A heartfelt beauty that morphs into a hip-hop-tinged beat sure to touch your soul. That contemporary edge follows on ‘Azul, Bebê’, a drum-infused song that has that MPC sample feel of the golden beatmaker era.
With this fourth album, Rubel is becoming one of the key writers and performers of his generation, on a trajectory heading up to the heights of João Gilberto, Jorge Ben, Caetano Veloso, and the classic Brazilian songbook. He has managed to achieve that rare balance of appealing to both the mainstream and the underground in one celestial and cinematic swoop.
Both vinyl variants come in a gatefold sleeve with poster insert. CD has a 6-panel fold-out insert.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
1
Rubel - Forró Violento (Instrumental)
2
Rubel - Grão De Areia
3
Rubel - Não Vou Reclamar De Deus
4
Rubel - Toda Beleza
5
Rubel - Put@ria!
6
Rubel - Rubelía
7
Rubel - Posso Dizer
8
Rubel - Vinheta As Palavras
9
Rubel - As Palavras
10
Rubel - Forró Violento
11
Rubel - Torto Arad
12
Rubel - Lua De Garrafa
13
Rubel - Na Mão Do Palhaço
14
Rubel - Doutor Albieri
15
Rubel - Samba De Amanda E Té
16
Rubel - Amor De Mãe
17
Rubel - Vinheta As Palavras II
18
Rubel - Assum Preto
19
Rubel - Forró No Escuro
20
Rubel - Toda Beleza (Pelos Loirinhos)
Released on 2xLP cut at 45RPM in gatefold sleeve with 6 panel fold-out poster.
Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.
From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.
The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.
The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.
Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.
At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.
Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.
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
Some albums are game-changers in a genre. Take OutKast's Speakerboxxx / The Love Below or Primal Scream's Screamadelica, they observe, study, and then flip what an album can mean to a genre or moment in time.
From the very first listen of Rubel’s Latin Grammy-nominated third album As Palavras, Vol. 1 & 2, you can feel its transformative force for the MPB genre. Here we see one of Rio’s brightest stars, fusing the contemporary with the classic, soaking up the richness of Brazil’s musical heritage. The result is a marauding 20-track epic, incorporating traditional styles such as forró, MPB, pagode and samba with modern baile funk, rasteirinha and hip-hop.
The album exudes a sense of freedom and creativity, playfully and provocatively juggling the familiar with the forward-thinking. The tracks are divided across two records, navigating feelings of love, heartbreak and discovery, whilst balancing themes of violence, passion, irony and affection. Collaborating with some of the country’s most esteemed artists such as Gabriel do Borel, Liniker, Luedji Luna, Tim Bernardes and Ana Caetano, Rubel takes this fusion of styles, subjects and flavours to the global stage.
The grand, forró-blending, choral opener, ‘Forró Violento (Instrumental)’ sets the tone for the album, with references and links between tradition and modernity everywhere to be seen. From the Ana Frango Elétrico produced, funk flexing, samba-soul brilliance of ‘Não Vou Reclamar de Deus’, to the album’s title cut ‘As Palavras’, in collaboration with Tim Bernardes, that melds MPB influences with electronic elements and hip-hop touches.
Across both sides of the album, Rubel’s story-telling gift is given space to shine. ‘Torto Arado’ featuring Liniker and Luedji Luna, beautifully references the racial injustice, tragedy, hope and ambition found in one the most celebrated Brazilian novels of recent times by Itamar Vieira Júnior. Elsewhere, ‘Na Mão do Palhaço’ manifests a satirical march about a suicidal conservative middle-aged man, who is rescued by the miracle of the carnival.
At times the album is gentle and intimate with tracks like ‘Toda Beleza’ featuring Bala Desejo, or the ode to friendship ‘Lua de Garrafa’, composed with the legendary Milton Nascimento. At others, the grooves hit harder, with sounds from the favelas laced within. ‘Put@ria!’, explores the universe of baile funk, with BK’ and MC Carol trading off on the mic, as ‘Rubelía’ moves between reggaeton, funk, and hip hop. The latter is a tribute to a key influence of the album, Spanish star Rosalía and her parallel mix of current with classic.
Ultimately though the beauty of this album lies in its concept. In the midst of a country divided, ‘As Palavras Vol. 1 & 2’ sets out to bring together genres and generations, grounded in rhythms and words that have helped define Brazil through the ages.
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
More records from Mr Bongo
1
Rubel - Intro
2
Rubel - Colégio
3
Rubel - Cachorro
4
Rubel - Pinguim
5
Rubel - Casquinha
6
Rubel - Batuque
7
Rubel - Mantra Ft. Emicida
8
Rubel - Passagem
9
Rubel - Explodir
10
Rubel - Sapato
11
Rubel - Chiste Ft. Rincon Sapiência
12
Rubel - Fogueira
13
Rubel - Partilhar
14
Rubel - Santana
Brazilian artist Rubel isn’t one to be pigeonholed and typecast into staying in one sound. Casas, the follow-up to his debut album Pearl from 2015, brought a bigger, more epic, and richer production quality to the table. Fusing the worlds of MPB and hip hop, Rubel’s sophomore LP built on the momentum of its predecessor, gaining a Latin-Grammy nomination along the way. Mr Bongo is proud to be giving Casas its first worldwide release on vinyl and CD outside of Brazil and Japan.
The cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.
Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.
One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.
Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.
Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.
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 cliché they say is that the second album is always the trickiest; however, Rubel doesn’t seem to have had any problems on Casas. It’s a fountain of creativity and originality, marking an artist in full flow.
Conceived after Rubel spent six months living in Los Angeles, Casas is MPB-leaning at its core but is also driven by a hip hop inspired pulse. There is a clear influence from hip hop’s aesthetic across the 2010s woven subtly but fundamentally throughout. Nods to Frank Ocean, Kendrick Lamar and Tyler, The Creator can be heard across an album full of playful edge and personality. Luscious string-led arrangements and tracks that explore the rich folkloric rhythms of Brazil, sit next to songs with low-fi drum machines and features from acclaimed Brazilian rappers.
One of the highlights of the album, ‘Mantra’, starts with a traditional Brazilian rhythm that morphs into a hazy hip hop beat. A sublime song with a hooky call and response chorus, it features a guest appearance and verse by the Brazilian MC Emicida. Another highlight is the epic ‘Colégio’ (College) which further showcases the melding of stripped back drum machine beats with cinematic, sweeping arrangements. Elsewhere, ‘Partilhar’ is a swaying, heartwarming hug. A tale of longing and love that has become a singalong fan favourite at Rubel’s concerts.
Casas also shines a light on a string of key players in Brazil’s new vanguard, such as Pedro Fonte, Gus Levy, and Brazilian rapper / poet Rincon Sapiência to name a handful. The record has pop sensibilities yet also feels underground. It beats with the heart of a singer-songwriter, a feeling that was felt so strongly on Pearl, yet this time is bolstered by a level of arrangement and richness of sound that take it to another dimension - soaring horn and string sections elevating the songs from home recording to stadium-ready anthems. Keeping that intrinsic beauty and simplicity of a well-constructed song yet reframing it within a pop context is the true gift of this album.
Casas cemented Rubel’s status as one of Brazil’s leading contemporary talents and a key figure enriching the country’s already effervescent scene.
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
Bobby Williams - Funky Superfly (Part 1 & 2)
2
Bobby Williams - Morning Of Love
3
Bobby Williams - Let's Jam
4
Bobby Williams - Teach Me
5
Bobby Williams - Soul Brother Party (Part 1 & 2)
6
Bobby Williams - Get Into It
7
Bobby Williams - Make Yourself Funky
8
Bobby Williams - Fair Trade
Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.
For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.
Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.
The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.
Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.
Housed in a tip-on sleeve.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.
Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.
The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.
Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.
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
The Carmets - Silver Moon Beach
2
Ryo Kawasaki and The Golden Dragon - You Are Like The Sunlight
3
Angela Bofill - Under The Moon And Over The Sky
4
Keiko Nosaka & George Murasaki - Oritatamu Umi
5
Fred Bryan & The All Stars - Apartheid Must Go
6
O'Donel Levy - I Am, I Am
7
Joseph - Three O'Clock In The Morning
8
Super Special Band - Lady Lady
9
Harari - Harari
10
Stamp Heat Band - Drum Drops
11
Steve Verdugo - Martinique
12
Pat Wells - The Seeker
13
Band X - Trullion Alastor 2262
14
Yasuko Agawa - L.A. Night (Ambient Mix)
Welcome to Coconut Dreams, a mythical, utopian retreat nestled in the most exquisite of settings, crafted and conjured up by esteemed collector, producer and DJ, Skyrager. At the heart of the experience is a soundtrack evoking this tropical paradise, with an undercurrent of serenity that carries you gently away from the familiar into the expansive. A collection of pleasure-heavy tracks to lean into and get lost within, journeying through sun-drenched folk, dream-inducing soul, astral ambience, AOR breeziness, and much more in between.
Known to many as one half of the illustrious Psychemagik, Danny McLewin has spent decades releasing acclaimed original productions, cherished compilations and touring the world DJing. A collector at heart, he’s been unearthing hidden gems in record shops and private collections everywhere he goes. With a taste second to none, he is no stranger to curating a compilation. Psychemagik’s Magik series and his Traces of Illusion comp under the Skyrager alias are all must-haves for any collection. Coconut Dreams is an embodiment of everything Skyrager is all about - a deep-diving, soft-focused drift that sweeps you up to a place far, far away.
Each track has been chosen with care and consideration and is sequenced to take the listener on a peaceful, dreamlike journey. Every song conveys its own message, but the overarching thread is an invitation to slow down, be present and appreciate the moment. The compilation begins with the crashing waves of The Carmets ‘Silver Moon Beach’ as you check in and leave your hectic day-to-day life behind. The gentle chimes, hypnotic synths and divine female vocals of ‘You Are Like the Sunlight’ and Angela Bofill’s mesmerising soul jazz masterpiece ‘Under The Moon And Over The Sky’ further reset your body and brain, ready to lose yourself in an immersive experience from the very first song to the last.
Alongside the ethereal dreamers there’s also power and pertinence. Keiko Nosaka & George Murasaki's koto-infused prog rock number ‘Oritatamu Umi’ leads into the insistent and ever relevant ‘Apartheid Must Go’ by Fred Bryan & The All Stars. O’Donel Levy’s otherworldly tale of heartache and longing ‘I Am, I Am’ then explodes into a tropical fiesta jam.
You may find yourself moving between states, between memory and imagination, between the known and something just beyond it. Joseph’s soul-rousing, soft rock epic ‘Three O’Clock In the Morning’ and the cosmic-leaning ‘Lady, Lady’ marry with the bird calls and organic feel of ‘Harari’ and the galactic synth-laden ‘Drum Drops’.
Landing you softly back down to earth is a run of celestial brilliance. Those ever-present waves lap up against you on ‘Martinique’, as Pat Wells’ heavenly folk heart-melter ‘The Seeker’ and the glistening bassoon-led ‘Trullion Alastor 2262’ form a blissful penultimate double-header. You return from your tropical paradise escape, lighter and calmer, carried by the sea swell and the ethereal ambient mix of Yasuko Agawa’s ‘LA Nights’.
Unplug, relax and ease into an alternate reality… return trips to Coconut Dreams are essential.
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
Known to many as one half of the illustrious Psychemagik, Danny McLewin has spent decades releasing acclaimed original productions, cherished compilations and touring the world DJing. A collector at heart, he’s been unearthing hidden gems in record shops and private collections everywhere he goes. With a taste second to none, he is no stranger to curating a compilation. Psychemagik’s Magik series and his Traces of Illusion comp under the Skyrager alias are all must-haves for any collection. Coconut Dreams is an embodiment of everything Skyrager is all about - a deep-diving, soft-focused drift that sweeps you up to a place far, far away.
Each track has been chosen with care and consideration and is sequenced to take the listener on a peaceful, dreamlike journey. Every song conveys its own message, but the overarching thread is an invitation to slow down, be present and appreciate the moment. The compilation begins with the crashing waves of The Carmets ‘Silver Moon Beach’ as you check in and leave your hectic day-to-day life behind. The gentle chimes, hypnotic synths and divine female vocals of ‘You Are Like the Sunlight’ and Angela Bofill’s mesmerising soul jazz masterpiece ‘Under The Moon And Over The Sky’ further reset your body and brain, ready to lose yourself in an immersive experience from the very first song to the last.
Alongside the ethereal dreamers there’s also power and pertinence. Keiko Nosaka & George Murasaki's koto-infused prog rock number ‘Oritatamu Umi’ leads into the insistent and ever relevant ‘Apartheid Must Go’ by Fred Bryan & The All Stars. O’Donel Levy’s otherworldly tale of heartache and longing ‘I Am, I Am’ then explodes into a tropical fiesta jam.
You may find yourself moving between states, between memory and imagination, between the known and something just beyond it. Joseph’s soul-rousing, soft rock epic ‘Three O’Clock In the Morning’ and the cosmic-leaning ‘Lady, Lady’ marry with the bird calls and organic feel of ‘Harari’ and the galactic synth-laden ‘Drum Drops’.
Landing you softly back down to earth is a run of celestial brilliance. Those ever-present waves lap up against you on ‘Martinique’, as Pat Wells’ heavenly folk heart-melter ‘The Seeker’ and the glistening bassoon-led ‘Trullion Alastor 2262’ form a blissful penultimate double-header. You return from your tropical paradise escape, lighter and calmer, carried by the sea swell and the ethereal ambient mix of Yasuko Agawa’s ‘LA Nights’.
Unplug, relax and ease into an alternate reality… return trips to Coconut Dreams are essential.
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
1619 Bad Ass Band - Love To Love
2
1619 Bad Ass Band - I Am Mine
3
1619 Bad Ass Band - Step Out
4
1619 Bad Ass Band - Where Do I Go From Here
5
1619 Bad Ass Band - Nothing Can Stop My Loving You
6
1619 Bad Ass Band - Just For You
7
1619 Bad Ass Band - Rain (Always Finds Me Crying)
8
1619 Bad Ass Band - For A Taste Of Your Love
9
1619 Bad Ass Band - Nobody
Mr Bongo presents a reissue of the 1619 Bad Ass Band’s self-titled album, originally released in 1976 on the ultra-rare tax-scam imprint TSG Records. Formed by Khalid Abdul Shalid, the record was the only album released by the group, and has since become a mythical, highly sought-after prize for collectors and DJs, ranking among the most coveted albums on the 1970s rare soul scene.
This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.
Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain (Always Finds Me Crying)’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.
Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.
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
This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.
Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain (Always Finds Me Crying)’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.
Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.
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 - 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.
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 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)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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.
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
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.
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
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.
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
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.
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
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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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
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
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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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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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
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.
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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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DE - 22113 Hamburg
Germany
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Bobby Williams - Funky Superfly (Part 1 & 2)
2
Bobby Williams - Morning Of Love
3
Bobby Williams - Let's Jam
4
Bobby Williams - Teach Me
5
Bobby Williams - Soul Brother Party (Part 1 & 2)
6
Bobby Williams - Get Into It
7
Bobby Williams - Make Yourself Funky
8
Bobby Williams - Fair Trade
Mr Bongo reissue Bobby Williams’ coveted deep funk rarity Funky Super Fly from 1974. Rich in raw, gritty, from-the-heart grooves, the influence of James Brown is strong, yet the tracks are distinctly Bobby. Oozing style and substance, the album is full of fiery horn sections, strutting guitars and infectious basslines tracked by plenty of prime breakbeats. Front to back stacked with highlights, cuts from the album have been famously sampled by DJ Shadow, Coldcut, and more.
For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.
Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.
The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.
Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.
Housed in a tip-on sleeve.
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Germany
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For years Funky Super Fly has been a funk aficionado favourite. It’s a sensational set of recordings from vocalist and bandleader Bobby Williams, with plenty of cherished raw-funk heaters in the mix. ‘Funky Superfly’, ‘Soul Brother Party’, and ‘Let’s Jam’, are three standouts that have all the ingredients to ignite even the most subdued of dancefloors. The unprocessed natural energy in these songs speaks to your very soul – Bobby grooving over his captivating funk-fuelled band with dynamism and class. Both ‘Funky Superfly’ and ‘Soul Brother Party’ appear on the album as one continuous track, whereas on the 7” versions they were cut into parts 1 & 2.
Alongside the uptempo dancers on the album, Bobby goes deep on the soul ballad ‘Morning Of Love’, which simmers with intensity and heartache. The album's closing instrumental track, ‘Fair Trade,’ has a wah-wah guitar-driven Blaxploitation film soundtrack sensibility, and is a slept-on gem off the album nestled amongst the big hitters.
The use of Bobby’s music has been sampled decades later, immortalising him for a new audience of record collectors and sample hunters. The pulsating title track ‘Funky Superfly’ was used as a sample source for DJ Shadow’s ‘The Number Song’ off his iconic Endtroducing..... album in 1996. In addition, ‘Soul Brother Party’ was used a year later on Coldcut’s fantastic ‘More Beats & Pieces’ album. This turned a whole new audience onto the magnetism of Bobby Williams' music and added to the frenzy of hungry DJs in the ‘90s looking to unearth obscure funk 45s.
Funky Super Fly is for those who like their funk and soul at its purest. It’s no-nonsense, electrifying and one of the jewels of ‘70s funk, perfect for fans of James Brown and Charles Bradley.
Housed in a tip-on sleeve.
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1
Novos Baianos - Brasil Pandeiro
2
Novos Baianos - Preta Pretinha
3
Novos Baianos - Tinindo Trincando
4
Novos Baianos - Swing De Campo Grande
5
Novos Baianos - Acabou Chorar
6
Novos Baianos - Mistério Do Planeta
7
Novos Baianos - A Menina Dança
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Novos Baianos - Besta É Tu
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Novos Baianos - Um Bilhete P'ra Didi
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Novos Baianos - Preta Pretinha
Repress!
Official Mr Bongo reissue.
** Voted No. 1 in the ‘Top 100 Brazilian Albums Ever’ in Rolling Stone Magazine, Brazil **
'Acabou Chorare' is the second album from 'Novos Baianos’, who formed in Bahia, Brazil in the 1960’s. They are considered to be one of the most important and revolutionary groups in Brazilian music.
'Acabou Chorare’ was originally released in 1972 by Som Livre after the success of their first LP 'É Ferro na Boneca’ in 1970. It is considered to be one of the most important and influential albums of all time, charting at number one in a Rolling Stone Brazil's 'Top 100 Brazilian Albums Ever’ chart. 'Preta, Pretinha’ placed 20th in the same publications list of the greatest Brazilian songs of all time. Upon release, 'Acabou Chorare' stayed near the top on the album charts for more than thirty weeks, and received huge radio support across the country. It also became very popular in Europe shortly afterwards.
The unique sound of this record is a result of the fusion of samba, MPB, rock ‘n’ roll and bossa nova, and strong influences from Gilberto Gil, who frequently played with the group, and bossa nova legend Joao Gilberto.
The album was written by Moraes Moreira, Luiz Galvão, Jorginho Gomes, Assis Valente, Pepeu Gomes and Paulinho Boca de Cantor.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Official Mr Bongo reissue.
** Voted No. 1 in the ‘Top 100 Brazilian Albums Ever’ in Rolling Stone Magazine, Brazil **
'Acabou Chorare' is the second album from 'Novos Baianos’, who formed in Bahia, Brazil in the 1960’s. They are considered to be one of the most important and revolutionary groups in Brazilian music.
'Acabou Chorare’ was originally released in 1972 by Som Livre after the success of their first LP 'É Ferro na Boneca’ in 1970. It is considered to be one of the most important and influential albums of all time, charting at number one in a Rolling Stone Brazil's 'Top 100 Brazilian Albums Ever’ chart. 'Preta, Pretinha’ placed 20th in the same publications list of the greatest Brazilian songs of all time. Upon release, 'Acabou Chorare' stayed near the top on the album charts for more than thirty weeks, and received huge radio support across the country. It also became very popular in Europe shortly afterwards.
The unique sound of this record is a result of the fusion of samba, MPB, rock ‘n’ roll and bossa nova, and strong influences from Gilberto Gil, who frequently played with the group, and bossa nova legend Joao Gilberto.
The album was written by Moraes Moreira, Luiz Galvão, Jorginho Gomes, Assis Valente, Pepeu Gomes and Paulinho Boca de Cantor.
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1
Burnier & Cartier - Só Tem Lugar Pra Você
2
Burnier & Cartier - Aldeia Global
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Burnier & Cartier - Lejos De Mi
4
Burnier & Cartier - Lembrando Ed Kleiger
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Burnier & Cartier - Deixa Mudar
6
Burnier & Cartier - Parte Capital
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Burnier & Cartier - Mirandolina
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Burnier & Cartier - Ai É Que Tá
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Burnier & Cartier - Aventura Espacial
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Burnier & Cartier - Barranco
11
Burnier & Cartier - Europanema
12
Burnier & Cartier - Marcante
Sought-after Brazilian LP from 1974 that touches on MPB, soul, jazz, disco and boogie, reminiscent of Steely Dan in places. Deep guitar arrangements intertwine with layered vocals creating an airy, floating vibe.
Extremely expensive theses days, this one has been on our list for a while. As sampled by Andres on his ‘Sing About It’ collaboration with Kenny Dixon Junior aka Moodymann and on Kaytranada’s Janet Jackson flip, ‘Alright’. Championed by the likes of Jazzanova, Floating Points, Dego 2000 Black, Benji B, Gilles Peterson, Hunnee and co. The record features Arthur Verocai and Luis Bonfa (composer Octavio Burnier’s uncle) on production/arrangement.
Official Mr Bongo reissue. Replica original artwork. Licensed from Sony.
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Extremely expensive theses days, this one has been on our list for a while. As sampled by Andres on his ‘Sing About It’ collaboration with Kenny Dixon Junior aka Moodymann and on Kaytranada’s Janet Jackson flip, ‘Alright’. Championed by the likes of Jazzanova, Floating Points, Dego 2000 Black, Benji B, Gilles Peterson, Hunnee and co. The record features Arthur Verocai and Luis Bonfa (composer Octavio Burnier’s uncle) on production/arrangement.
Official Mr Bongo reissue. Replica original artwork. Licensed from Sony.
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DE - 22113 Hamburg
Germany
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1
Arthur Verocai - Caboclo
2
Arthur Verocai - Pelas Sombras
3
Arthur Verocai - Sylvia
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Arthur Verocai - Presente Grego
5
Arthur Verocai - Dedicada A Ela
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Arthur Verocai - Seriado
7
Arthur Verocai - Na Boca Do Sol
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Arthur Verocai - Velho Parente
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Arthur Verocai - O Mapa
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Arthur Verocai - Karina (Domingo No Grajaú)
Repress!
New half-speed mastering!
Taken from the original Continental master tapes, transferred under supervision by Arthur Verocai. Original replica gatefold artwork.
A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.
The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.
The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.
The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More
New half-speed mastering!
Taken from the original Continental master tapes, transferred under supervision by Arthur Verocai. Original replica gatefold artwork.
A complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.
Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, but this album gave him the chance to do his thing in it’s most pure form.
The 29 minute masterpiece, perfect in it’s arrangement and fusion of sonics, epitomises the sound of Brazil at the time; strings, guitars, pianos, break beats, bass lines, synthesizers, vocals from the wonderful Célia, Carlos Dafe and Oberdan (Banda Black Rio), plus percussion from Pedro Santos and Paulo Moura on sax. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.
The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it; MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat?, Dibiase and Action Bronson amongst others.
The original Continental version of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur’s supervision.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Hozan Yamamoto with Sharps & Flats - Kokiriku Bushi
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Hozan Yamamoto with Sharps & Flats - Sado Okesa
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Hozan Yamamoto with Sharps & Flats - Tairyo Utaikomi
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Hozan Yamamoto with Sharps & Flats - Soma Bon Uta
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Hozan Yamamoto with Sharps & Flats - Komoro Mago Uta
6
Hozan Yamamoto with Sharps & Flats - Nanbu Ushio Uta
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Hozan Yamamoto with Sharps & Flats - Itsuki No Komori Uta
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Hozan Yamamoto with Sharps & Flats - Hietsuki Bushi
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Hozan Yamamoto with Sharps & Flats - Yasuki Bushi
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Hozan Yamamoto with Sharps & Flats - Yosakoi Bushi
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Hozan Yamamoto with Sharps & Flats - Kuroda Bushi
Seminal Japanese jazz album from 1971. Journeys through jazz fusion, soul and big band moods. Impossible to obtain in its original format, these days.
Hozan Yamamoto was recognised as a "living national treasure" by the Japanese government in 2002. This highly sought-after album from the Japanese wood flute player is more upbeat and swinging than some of his other records. The big band he recorded this album with (Sharps & Flats) played a big part in the genesis of the album’s groove. Forming in 1951, they helped to make jazz popular in Japan after World War II. Yamamoto's flute lines weave over the heavy brass sound and groove, creating an MPS label blending of funky jazz and Japanese vibes. The closest comparison would be Dorothy Ashby's grooviest albums for Chess / Cadet – substituting Yamamoto’s flute for the harp.
Licensed courtesy of Universal Music Group Limited.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Hozan Yamamoto was recognised as a "living national treasure" by the Japanese government in 2002. This highly sought-after album from the Japanese wood flute player is more upbeat and swinging than some of his other records. The big band he recorded this album with (Sharps & Flats) played a big part in the genesis of the album’s groove. Forming in 1951, they helped to make jazz popular in Japan after World War II. Yamamoto's flute lines weave over the heavy brass sound and groove, creating an MPS label blending of funky jazz and Japanese vibes. The closest comparison would be Dorothy Ashby's grooviest albums for Chess / Cadet – substituting Yamamoto’s flute for the harp.
Licensed courtesy of Universal Music Group Limited.
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Germany
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1
Minas - Num Dia Azul (In A Blue City)
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Minas - Sinal Verde (Green Light)
3
Minas - So Danço Samba (I Only Dance the Samba)
4
Minas - Calma Mulher (Cool It Woman)
5
Minas - Canção Da Chuva (Song of the Rain)
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Minas - Samba Walk
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Minas - Choro Sambaião
Minas 'Num Dia Azul' is a sublime slice of private press bossa nova meets jazzy MPB perfection. Warm and bubbling with youthful spirit, the music is simultaneously loose in swagger, yet slick and tight. The album was originally released in 1983 and reflects the great music coming out of Rio at the time, yet 'Num Dia Azul' wasn't recorded in Rio, but actually in the USA.
Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.
For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Recorded in North Carolina just after Patricia and Orlando Haddad had graduated from the North Carolina School of the Arts, the record was only released for the Brazilian market on their own Blueazul Records imprint. As with most private press labels, they could only afford to have it pressed in small quantities. To add to its later obscurity, hundreds of copies were also destroyed in a house fire. They say cream always rises to the top, and fast forward to the 2010s, the word amongst collectors and DJs was spreading about this mythical under-the-radar recording. People from across the globe were contacting Patricia and Orlando for more information, hoping to secure themselves a copy. Luckily the original tapes had remained with the artists and were in great condition, so in 2016 the pair ran a successful Kickstarter campaign to have it remastered and repressed.
For this Mr Bongo 2023 re-issue, we have tried to keep it as close to the original 1983 version as possible, both in the packaging and audio presentation. The CD version comes with bonus tracks. We are super proud to keep Patricia and Orlando's serene recordings in the circulation that they deserve to be. One for fans of Brazilian artists such as Burnier & Cartier, Edu Lobo and Joyce. We are sure those fans will lose themselves in the alluring textures of 'Num Dia Azul'.
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Hozan Yamamoto & Yu Imai - Fuenarinu
2
Hozan Yamamoto & Yu Imai - Kaendaiko
3
Hozan Yamamoto & Yu Imai - Tsubakishishaku no yuigon
4
Hozan Yamamoto & Yu Imai - Tengindoujiken
5
Hozan Yamamoto & Yu Imai - Kindaichikousuke nishie yuku
6
Hozan Yamamoto & Yu Imai - Ougonno Furuuto (Flute)
7
Hozan Yamamoto & Yu Imai - Yubi
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Hozan Yamamoto & Yu Imai - a=x, b=x a=b
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Hozan Yamamoto & Yu Imai - Chi to suna
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Hozan Yamamoto & Yu Imai - Tabiyukumonoyo
11
Hozan Yamamoto & Yu Imai - Akuma fuewo fukite owaru
We've got a bit of an obsession with Hozan Yamamoto here at Mr Bongo! A legend of Japanese jazz, he is rightly regarded as a true master and was recognised as a "living national treasure" by the Japanese government in 2002. Over five decades he pushed the genre into new directions, absorbing fusion, funk, spiritual jazz and many other sounds, resulting in a discography studded with gems of rare beauty. Exploring his back catalogue has taken us on an engrossing journey that now sees us reissuing another work from this ground-breaking musician.
Though not translating perfectly into English 'Akuma Ga Kitarite Fue Wo Fuku', (kitarite has not been a modern expression in Japanese) roughly means 'The Devil Comes Playing The Flute' / 'The Devil Is Coming While Blowing The Whistle' or 'Devils Flute’. It is the original soundtrack to Kôsei Saitô’s 1979 mystery and suspense movie, ‘Devil’s Flute’. The film is based on a story by the famous author, Seishi Yokomizo, and is centred around a much-loved fictional Japanese detective, Kosuke Kindaichi. A Japanese Sherlock Holmes that has been popular for generations.
Hozan Yamamoto was invited to compose the soundtrack directly by the producer of the film, Haruki Kadokawa. Mr Kadokawa also hired keyboard player and producer Yu Imai as an assistant producer on the project, resulting in a stunning cosmic, breaks and beats-laden, funk, disco soundtrack extravaganza.
When it comes to the soundtrack and the technology of the time, Hozan Yamamoto and Yu Imai got inventive, tripped out, funked up, and experimented, creating a quirky soundtrack masterpiece that needed to be heard more outside of Japan. Differing from the more traditional Japanese music orientation of some of his other albums such as 'Beautiful Bamboo-Flute' (also released on Mr Bongo) the album showcases a number of genres, from lush atmospheric incidental music to disco and funk grooves, experimental nuggets, drum and flute workouts, to neo-classical and more.
A special record that showcases the further depths of this wonderful musician's talents.
Tracklist:
1. Fuenarinu
2. Kaendaiko
3. Tsubakishishaku no yuigon
4. Tengindoujiken
5. Kindaichikousuke nishie yuku
6. Ougonno Furuuto (Flute)
7. Yubi
8. a=x, b=x a=b
9. Chi to suna
10. Tabiyukumonoyo
11. Akuma fuewo fukite owaru
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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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Though not translating perfectly into English 'Akuma Ga Kitarite Fue Wo Fuku', (kitarite has not been a modern expression in Japanese) roughly means 'The Devil Comes Playing The Flute' / 'The Devil Is Coming While Blowing The Whistle' or 'Devils Flute’. It is the original soundtrack to Kôsei Saitô’s 1979 mystery and suspense movie, ‘Devil’s Flute’. The film is based on a story by the famous author, Seishi Yokomizo, and is centred around a much-loved fictional Japanese detective, Kosuke Kindaichi. A Japanese Sherlock Holmes that has been popular for generations.
Hozan Yamamoto was invited to compose the soundtrack directly by the producer of the film, Haruki Kadokawa. Mr Kadokawa also hired keyboard player and producer Yu Imai as an assistant producer on the project, resulting in a stunning cosmic, breaks and beats-laden, funk, disco soundtrack extravaganza.
When it comes to the soundtrack and the technology of the time, Hozan Yamamoto and Yu Imai got inventive, tripped out, funked up, and experimented, creating a quirky soundtrack masterpiece that needed to be heard more outside of Japan. Differing from the more traditional Japanese music orientation of some of his other albums such as 'Beautiful Bamboo-Flute' (also released on Mr Bongo) the album showcases a number of genres, from lush atmospheric incidental music to disco and funk grooves, experimental nuggets, drum and flute workouts, to neo-classical and more.
A special record that showcases the further depths of this wonderful musician's talents.
Tracklist:
1. Fuenarinu
2. Kaendaiko
3. Tsubakishishaku no yuigon
4. Tengindoujiken
5. Kindaichikousuke nishie yuku
6. Ougonno Furuuto (Flute)
7. Yubi
8. a=x, b=x a=b
9. Chi to suna
10. Tabiyukumonoyo
11. Akuma fuewo fukite owaru
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Cesar Mariano & Cia - Metrópole
2
Cesar Mariano & Cia - Estação Do Norte
3
Cesar Mariano & Cia - Fábrica
4
Cesar Mariano & Cia - Poluição
5
Cesar Mariano & Cia - Imigrantes
6
Cesar Mariano & Cia - Metrô
7
Cesar Mariano & Cia - Litoral
8
Cesar Mariano & Cia - Futebol De Bar
Repress!
One of the finest Brazilian jazz funk fusion albums ever recorded; thoroughly deserving of its cult status. First official reissue outside of Brazil.
Cesar Camargo Mariano is a celebrated Brazilian jazz pianist, composer and producer, born in Sao Paulo in the 1940’s. He has played and worked with the likes of Elis Regina (to whom he was married at one point), Som Tres and Sambalanco Trio and still plays very regularly today.
‘Sao Paulo Brasil’ saw Mariano and co. step deep into jazz funk/fusion territory – and nail it. Tight, tough drum grooves, intricate arrangements, layers of synthesisers, percussion and FX transport and tell a story from the first beat.
Official Mr Bongo reissue. Licensed from Sony Music.
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Germany
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One of the finest Brazilian jazz funk fusion albums ever recorded; thoroughly deserving of its cult status. First official reissue outside of Brazil.
Cesar Camargo Mariano is a celebrated Brazilian jazz pianist, composer and producer, born in Sao Paulo in the 1940’s. He has played and worked with the likes of Elis Regina (to whom he was married at one point), Som Tres and Sambalanco Trio and still plays very regularly today.
‘Sao Paulo Brasil’ saw Mariano and co. step deep into jazz funk/fusion territory – and nail it. Tight, tough drum grooves, intricate arrangements, layers of synthesisers, percussion and FX transport and tell a story from the first beat.
Official Mr Bongo reissue. Licensed from Sony Music.
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Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
1619 Bad Ass Band - Love To Love
2
1619 Bad Ass Band - I Am Mine
3
1619 Bad Ass Band - Step Out
4
1619 Bad Ass Band - Where Do I Go From Here
5
1619 Bad Ass Band - Nothing Can Stop My Loving You
6
1619 Bad Ass Band - Just For You
7
1619 Bad Ass Band - Rain (Always Finds Me Crying)
8
1619 Bad Ass Band - For A Taste Of Your Love
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1619 Bad Ass Band - Nobody
Mr Bongo presents a reissue of the 1619 Bad Ass Band’s self-titled album, originally released in 1976 on the ultra-rare tax-scam imprint TSG Records. Formed by Khalid Abdul Shalid, the record was the only album released by the group, and has since become a mythical, highly sought-after prize for collectors and DJs, ranking among the most coveted albums on the 1970s rare soul scene.
This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.
Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain (Always Finds Me Crying)’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.
Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.
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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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This New Jersey soul-funk gem captures the raw energy of mid-‘70s underground funk and soul. Its journey began in relative obscurity having been released on TSG, one of several US “tax-scam” labels operating at the time. These labels exploited loopholes in the tax system by inflating production costs to create write-offs against their tax bills, meaning commercial success was never the objective. Records were often pressed in extremely limited quantities, with little to no promotion or distribution and in many cases, artists were unaware their music had even been released. While this led to the 1619 Bad Ass Band’s album slipping into obscurity upon release, it later cemented its status as a holy grail for diggers and DJs. Unfortunately, like many releases of its kind, it also meant the band never received the recognition they deserved at the time.
Musically, the album is a unique listen with a varied palette that will appeal to fans of a broad range of tastes. From the luscious, dreamy ballad ‘Rain (Always Finds Me Crying)’, which will melt even the stoniest of hearts, to the raw, drum-heavy funk of ‘Love To Love’, it showcases the group’s depth and versatility. Highlights include the string-laden, floaty stepper ‘Just From You’, and ‘Nothing Can Stop My Loving You’, with its spacey synth lines, which will be a joy for modern soul fans. Elsewhere, ‘Step Out’ opens with a heavy drum break (later sampled on Latyrx’s ‘Interlude’ from their 1997 debut) before unfolding into a brilliant male-female vocal exchange.
Every track on here is a winner and it’s criminal that the band never received the publicity or credit they deserved when it was first released. Alongside the TSG Records release in 1976, the album was later released again in 1978 with alternate cover art on another tax-scam label, Graham International. Both versions have since become highly collectable and over time, the album has steadily gained the recognition it always deserved. This reissue by Mr Bongo offers a wider audience the chance to experience a truly special record, one that stands as a testament to the overlooked brilliance of the era’s underground soul and funk scene.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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1
Hollie Cook - Shadow Dub
2
Hollie Cook - Used To Be Dub
3
Hollie Cook - That Very Night Dub
4
Hollie Cook - And The Beat Goes On Dub
5
Hollie Cook - Crying Dub
6
Hollie Cook - For Me You Are Dub
7
Hollie Cook - Milk & Honey Dub
8
Hollie Cook - Baby Dub
9
Hollie Cook - Walking In The Sand Dub
10
Hollie Cook - Sugarwater Dub
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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WAS - Word and Sound Medien GmbH
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DE - 22113 Hamburg
Germany
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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.
Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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1
Antonio Carlos & Jocafi - Você Abusou
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Antonio Carlos & Jocafi - Se Quiser Valer
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Antonio Carlos & Jocafi - Kabaluerê
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Antonio Carlos & Jocafi - Conceição Da Praia
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Antonio Carlos & Jocafi - Hipnose
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Antonio Carlos & Jocafi - Mudei De Idéia
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Antonio Carlos & Jocafi - Quem Vem Lá
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Antonio Carlos & Jocafi - Nord West
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Antonio Carlos & Jocafi - Morte Do Amor
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Antonio Carlos & Jocafi - Deus O Salve
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Antonio Carlos & Jocafi - Galena
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Antonio Carlos & Jocafi - Bonita
A truly fantastic record that sounds the way it looks – psychedelic rock, samba-funk and tripped out MPB. Features ‘Kabaluerê’ as sampled by Marcelo D2 on his hit ‘Qual e?’. Arranged by Rogerio Duprat, featuring legendary guitarist Lanny Gordin.
Antonio Carlos & Jocafi were a very successful and famous Brazilian writing duo, born in Bahia. They worked with the likes of Wilson Simonal, Rosinha De Valença, Trio Mocotó, Milton Banana, Toquinho and more. Originally released on RCA Brazil in 1971, this was the duo’s debut LP.
Two versions of the album cover exist in Brazil – this, the psyched-out, burnt out version, and a much less exciting photograph of the chaps, pressed to include the single ‘Desacato’ which became a popular hit in Brazil and several European countries.
Available on vinyl LP and CD. Original master, supplied by Sony/RCA. Artwork restored by Andy Edwards.
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
Antonio Carlos & Jocafi were a very successful and famous Brazilian writing duo, born in Bahia. They worked with the likes of Wilson Simonal, Rosinha De Valença, Trio Mocotó, Milton Banana, Toquinho and more. Originally released on RCA Brazil in 1971, this was the duo’s debut LP.
Two versions of the album cover exist in Brazil – this, the psyched-out, burnt out version, and a much less exciting photograph of the chaps, pressed to include the single ‘Desacato’ which became a popular hit in Brazil and several European countries.
Available on vinyl LP and CD. Original master, supplied by Sony/RCA. Artwork restored by Andy Edwards.
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
Ana Frango Elétrico - Electric Fish
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Ana Frango Elétrico - Dela
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Ana Frango Elétrico - Nuvem Vermelha
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Ana Frango Elétrico - Coisa Maluca
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Ana Frango Elétrico - Boy Of Stranger Things
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Ana Frango Elétrico - Camelo Azul
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Ana Frango Elétrico - Insista Em Mim
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Ana Frango Elétrico - Let's Go To Before Again
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Ana Frango Elétrico - Debaixo Do Pano
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Ana Frango Elétrico - Sabe Tudo
Second Pressing, Fanzine is now printed on the innersleeve.
With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.
At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.
The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.
“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production."
“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.
“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.”
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
With two critically acclaimed albums and a swathe of award-winning production turns under their belt, Ana Frango Elétrico present their most confident and accomplished work to date: Me Chama De Gato Que Eu Sou Sua / Call Me They That I’m Yours. Gesturing to a tradition of Brazilian boogie music, but bouncing with modern pop ebullience, the album sees the Rio artist evolve from a captivating upstart into a surefooted scene leader in full stride.
At just 25, the prolific artist and producer has already garnered worldwide admirers. Ana’s sophomore Little Electric Chicken Heart was nominated at the 2020 Latin Grammys. Since then, standalone singles have received the WME ‘Best Music Producer’ Award, recognising Ana’s deep passion for music production – a passion which has led to collaborations with nascent Brazilian stars Dora Morelenbaum, Illy and Sophia Chablau. Most recently, Ana was hailed for their co-production of Bala Desejo’s 2022 Latin Grammy-winning album Sim Sim Sim.
The new album finds Ana at their most assured and full voiced. Album opener “Electric Fish”, with funky bass and shimmering backing vocals, sets a buoyant tone. “Boy of Stranger Things” is its bombastic counterpart. It’s the grooviest Ana has ever sounded. And the most brazen. Lyrically, where Ana was once oblique on personal matters, they are now forthright – lucidly exploring their gender identity, citing accessible cultural references, and often singing in English.
“I started this album in 2021 with the intention of showing, in means of sound, understandings and feelings about queer love, subjectively exposing myself,” the non-binary artist states – before qualifying that though “feeling was its driving force, the album is really about musical production."
“There’s so many references to different decades,” Ana explains. “Seventies drums with eighties processing … Going back, getting beyond … Testing the limits of organic sounds”. Characteristically playful, on Me Chama, Ana takes vivid and rewarding detours through funk-inflected R&B (“Dela”) and art pop (“Dr. Sabe Tudo”). “Nuvem Vermelha” is a cinematic chanson with lush strings that recalls Arthur Verocai. Then, “Coisa Maluca” loafs with the indie insouciance of Canadian slacker Mac Demarco. Later, “Let's Go Before Again”, is a full-on drum machine workout evocative of Stereolab.
“Even if people don't find my own references here, they'll find theirs,” observes Ana. “Maybe that’s this record’s biggest goal.”
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