Pop & Rock News

Sergio Mendes started his career with 1961's Dance Moderno and the groups Bossa Rio and the Sergio Mendes Trio. From the mid-60s to the late-70s, Mendes established his legendary status by taking numerous albums and singles to the top of the charts. But it was Sergio Mendes and Brasil '66 which sparked global stardom. Performing "The Look of Love" at the 1968 Oscars, their version went Top 10, quickly followed by the hits "The Fool on the Hill" and "Scarborough Fair." Enjoying immense popularity, Mendes added soul and funk to his jazz and pop, but always with a Brazilian rhythm. His earlier single, "Mas Que Nada," marked the first time that a song sung entirely in Portuguese hit Billboard's Pop chart in the U.S. Mendes' signature mix of bossa nova/samba and his distinctive pop instrumentation features melodies with distinct sophistication and alluring sexiness that ultimately came to define Brazilian music. 1970's Greatest Hits gathers Sergio Mendes and Brasil '66's finest '60s fare which in addition to the aforementioned classics includes "Night and Day," "Like a Lover" and "So Many Stars."

Favorite Recordings proudly presents Combattant, first EP by Pat Kalla produced by Bruno Patchworks' Hovart (aka VOILAAA).

PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one...

After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), and several acclaimed titles on the two albums by Voilaaa, he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa.

Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti & The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others. We could talk about Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..."

Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

This very productive trumpeter and bandleader hails from El Paso, Texas. 'Mucha Salsa' from 1978 is essentially an obscure salsa set from Ray Camacho - an artist who always seems willing to mix up styles in his music. That's definitely the case here, as Ray mixes straighter Latin modes with a few border touches - creating a hybrid of New York and Mexican modes that's pretty unique - but which also has some occasional funk and soul currents that are probably the record's strongest suit. Ray plays trumpet off course and the rest of the group includes guitar, trombone, and plenty of percussion - plus sax and piano from Manuel Palafox, who also handles arrangements. Titles include a great cover of "Low Rider", dubbed "El Pachuco", the Latin funk number "Tomas Al Timbal" and a funky take on Brass Construction's "Movin On". Plus the o so sweet cover of Aaron Neville's classic ballad 'Tell It Like It Is' here named 'Dime La Verdad'. This carefully prepared record is the first proper reissue in 40 years of this amazingly diverse project. In all it's original glory! - Based on a review of the ever amazing

Recording this record in Cuba was a special moment in my life', Louie says. For the first time Elements Of Life, Anané Vega, Josh Milan, Luisito Quintero, Gene Perez, Axel Tosca and Louie Vega

embarked on a trip to Cuba to participate in Two Beats One Soul' album on RVMK Records. The Results were four tracks on the album and one of them a very unique song Music And Life' featuring the sultry and angelic voice of Anané Vega. The song was penned by Josh Milan, and Louie Vega contributed with the music. Gene Perez on Electric Bass, Josh & Axel Tosca on Keyboards, and Luisito Quintero on Percussion. Released as a digital single recently, it's now on many radio and club charts worldwide, as well featured on compilations. On top of all this momentum Vega Records, then reached out to RVMK Records and licensed the track for a special picture vinyl release. The picture vinyl is a collectors piece, get your hands on it fast as there will be a limited number made. Anané Vega on the picture vinyl with her signature as well, colorful and sonically delicious! Release Date is May 25, 2018 at a vinyl store near you.

Soul Jazz Records' latest album 'Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria' is newly recorded in Lagos, Nigeria. The album is co-produced by Soul Jazz Records label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo). Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa. 
The enormous impact of Yoruba and West African music and culture is worldwide - from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s - Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms - from New Orleans jazz to Bronx rap, gospel, soul and more.
This album features songs honouring the Nigerian gods of the Yoruba traditional religion - Yemoja, Obatala, Ogun, Sango and others - as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography included in the 40-page outsize booklet/gatefold double vinyl + inners showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.
Watch out for a limited edition remix of the project by Osunlade, also forthcoming on Soul Jazz Records.

Re-issue by Mr Bongo as part of their 'Classic African Recordings' series

Combo Lulo is that rare possibility of true magic moments manifested. Embodying the classic sentiment of a New York supergroup with an ensemble of friends and like-minded musicians whose resume is too full of credits and accolades to grasp in one shot, the band is a testament to what can happen when locked together for a two-day session in a Brooklyn studio.

Drawing inspiration and direction from band leader, composer and multi-instrumentalist Mike Sarason, Combo Lulo moves side to side from effortless Jamaican foundation rhythms into the further reaches of Caribbean influence...incorporating a natural transition between Jamaican classics and the essence of Afro-Latin ritmo. It's a musical match made in heaven and, more importantly, it's carried out with the gentle and deft touch of veteran studio musicians with deep appreciation and nuanced understanding. Together with Names You Can Trust, it's a locked in groove that is a perfect slice of roots, collaboration & present day experimentation that is sure to have any listener feeling nice.

One Of The Great Forgotten Sounds Of Mid-70s Funk Was The Washington D.c.-based Ensemble Experience Unlimited. (later Shortened To Eu.) Though Best Later Known As Pioneers Of The "go-go" Subgenre Of Dance/funk, And For Their Billboard-charting Hit "da Butt" In The Late-80s, The Group Was A Potent Collective Of Jazz-funk Musicians, In The Vein Of Innovators Like War, Earth, Wind, & Fire, And Similarly Overlooked Dc Contemporaries Oneness Of Juju. Experience Unlimited Were Renowned For Their Ostentatious Instrumentals, Winding And Precise Rhythms And Grooves, And Party-ready Jams, All Of Which Are On Full Display On Their Debut Record Free Yourself, Which Came More Than A Decade Before Their Greatest Commercial Success, But Is No Less Heavy On The Classic Deep Funk Sounds.

Matasuna Records is delighted to reissue this Peruvian masterpiece by Otto de Rojas - one of the best Piano players from Peru. In 1976 he and his band Los Ultra 76 released this superb single mixing Latin with Funk, Jazz and Disco. Both tracks getting remastered to provide the best possible sound - even better than on the original 45! A 7inch not to be missed.

Choca Las Caderas keeps its promises: with this tune the hips certainly won't stay still! The song builds its vibe with a funky guitar riff, a groovy bass line and Roja's virtuoso piano playing. The horn section and the vocals drive the tune to its climax: pure fire for the dance floor!

On the flipside there's another jewel: Al Ritmo del Bump Bump - a Peruvian cover version of "Soulful Strut" by the US Soul-Jazz band "Young-Holt Unlimited". Otto de Rojas and his Ultra 76's adapt the original in their own groove-oriented way of playing: faster rhythm, amazing wah-wah guitars, layers of electric piano over a funky bass and brass. Another heater for the floors!

Hotline Bling' / Doombia' is the much antcipated follow up single from renowned NY-based producer and musician Will Quantc' Holland's Los Mitcos del Ritmo acordeon band.
On this latest ofering, a sonidero special of Drake's Hotline Bling' is paired with original footwork hybrid Doombia'.
Heading up the A-Side, the catchy pop lines in Drake's Hotline Bling' lend themselves perfectly to the cumbia percussion and rhythms of Quantc's phenomenal instrumental cover, to create something magnetc and unforgetable. Elevatng the traditonal use of instruments like the accordion, alegre and guacharaca, Holland hits with a Mexican Rebajada (slowed down or screwed) beat, tuning his accordion by hand, in the tuning style of Calixto
Ochoa. Hotline Bling' was frst played by Holland in his DJ set for Boiler Room in Los Angeles last year, he elaborates:
The show was in a historic discoteca in LA, a city with a big appreciaton for Colombian diasporic music and the infuences of Mexican sonideros.'
Cut to dub specially for the performance, the track won a remarkable reacton from the eager dancefoor and initated a furry of worldwide interest online (200K YouTube views). The B-Side brings an unheard accordion cut in the form of Doombia' - a manifestaton of modern instrumentaton and frenetc
beats. The B- Side is an original, bringing accordion from the Colombian Atlantc closer to the digital footwork/house dance of Chicago. The fute plays an Andean melody with 808 snare keeping the double tme rhythm' Holland explains.

This is the translucent red vinyl format of the 11 track album that was released on CD in January 2018.

Following the reissue of his cult album "Ti jan pou vélo", HS decided to continue their collaboration with Edmony Krater and record a new album! The first one in 30 years! Comes with Insert.

As an avant-gardist percussionist, singer and trumpet player, Edmony Krater has always worked to develop and promote the gwoka music of Guadeloupe and to feed it with different influences, from jazz to reggae.

For A Long Time, Electronic Music Has Been Understood In Terms Of Sounds Rooted In Particular Places: The Styles Of House And Techno Inextricably Wedded To Detroit, Or The Early '90s Jungle Sound Which Carries Echoes Of London. But That's Something Which Is Changing - In Latin America More Than Anywhere Else. A New Project, Led By Gilles Peterson And Rum Maker Havana Club (that Created The Havana Cultura Platform In 2007 To Promote The Island's Contemporary Culture), Shines A Light On Cuba's Fast-mutating, Rhythmically-adventurous Underground. It's A Scene Where Old Ideas Are Transplanted Into New Contexts, And Like-minded Scenes Are Brought Together In New Dialogues.

Havana Cultura: ¡su´belo, Cuba! Showcases An Extended Network Of Like-minded, Forward-thinking Musicians Driving Cuba's Music Forward. Following Repeated Trips To Connect With Venues, Collectives And Djs, Peterson And Will Lv - One Half Of Lv, Who've Released On Hyperdub And Keysound Amongst Others - Linked Up With Dj Jigu¨e, A Much-respected Producer And Dj, Whose Guampara Label Has Charted New Directions For Cuban Music. He's Been Profiled By The Fader And Vice, And The Album Features His Extended Network Of Collaborators, Connecting Afro-cuban Traditions With Contemporary Movements And Ideas.

The Album Provides A Snapshot Of A Unique Club Culture That's Fast Evolving. On The One Hand, It's Indebted To Cuba's Unique Characteristics, Where Regularly-practised Traditions Are Coloured By Intermittently-experienced Cultures From Outside. On The Other, It's Part Of A Global Shift Toward De-centred Club Music, With Homegrown, Influence-grabbing Dance Cultures Tilting Attention From Club Culture's Traditional Epicentres. It Offers A New Side To Havana That's Firmly Rooted In Its Past.

Acid Jazz is pleased to announce that it has teamed up with the legendary Fania Records for our latest 7 inch release.

June 1st will see us release Ray Barretto's Mercy Mercy Baby lifted from his classic album Acid produced by Harvey Averne.

It is backed by an astounding and previously unreleased instrumental version,which is longer than the released version and has a stunning trumpet solo making it a summer dance-floor cooker.

Released on a specially designed label, which pays tribute to the first Gold Fania labels, this will be limited to a run of a 1000.

Sometimes The Unexpected Happens And It Becomes A Gift. Serendipity, Good Fortune. Think Of It As Life Handing You What You Need, Not What You Thought You Wanted. When Malian Singer And Guitarist Samba Touré Was

Planning Wande (the Beloved), His Third Glitterbeat Release, He Had Strong Ideas For The Way It Should Sound. But Once The Sessions Were Over, He Knew He Had Something Entirely Different,

Something Even More Satisfying: A Collection Of Songs Where Warmth Filled The Grooves Of Every Song. An Album That Seemed Like Home. Available As A Cd Or A Gatefold Heavyweight 180gr. Lp Including Digital Download..

Nigeria's "First Lady of Song" , Christiana Uduak Essien-Igbokwe was born in Akwa Ibom State, Nigeria in 1960. Tragically she lost her mother early at the age of 12. In the mid-70s she started singing professionally at a relatively early age in the music clubs of Aba. Extensive TV work soon followed and in 1977 she launched her professional music career with the album "Freedom". Her fourth album "One Understanding" was signed by Afrodisia and released in 1979.

"One Understanding" was produced by Pal Akalonu. It is an infectious mix of Afroboogie ("What Love Is About", "Mind Your Biz"), Swinging afro groove ("You Can't Change A Man") Smooth Afro Soul ("Take Life Easy"), Reggae tinged grooves ("I'll Be Your Man", "Respect Your Man") and -of course- one smooth ballad, "Understanding". Christy's lyrics show a depth of understanding and wisdom way beyond her 19 years (at the time).

Having conquered the music and TV worlds Christy moved on to feature in some of the early Hollywood films such as "Flesh and Blood" and "Scars of Womanhood", both of which addressed issues of child abuse and female circumcision. With a desire to make life better for Nigerian artists. She is also credited as having initiated the first meeting that brought about the formation of the Performing Musicians Association of Nigeria in 1981.

Christy died after a brief illness in 2011. Close to the time of her death, she was involved in numerous successful businesses, organization and running the non-governmental organisation Essential Child Care Foundation involved in child welfare. Christy's achievements and awards are numerous. Too numerous to mention. Perhaps her greatest achievement however is her contribution to building a peaceful and tolerant Nigeria - which, alongside moral uprightness, remain constant themes of her songs.

Nigeria's "First Lady of Song" , Christiana Uduak Essien-Igbokwe was born in Akwa Ibom State, Nigeria in 1960. Tragically she lost her mother early at the age of 12. In the mid-70s she started singing professionally at a relatively early age in the music clubs of Aba. Extensive TV work soon followed and in 1977 she launched her professional music career with the album "Freedom". Her fourth album "One Understanding" was signed by Afrodisia and released in 1979.

"One Understanding" was produced by Pal Akalonu. It is an infectious mix of Afroboogie ("What Love Is About", "Mind Your Biz"), Swinging afro groove ("You Can't Change A Man") Smooth Afro Soul ("Take Life Easy"), Reggae tinged grooves ("I'll Be Your Man", "Respect Your Man") and -of course- one smooth ballad, "Understanding". Christy's lyrics show a depth of understanding and wisdom way beyond her 19 years (at the time).

Having conquered the music and TV worlds Christy moved on to feature in some of the early Hollywood films such as "Flesh and Blood" and "Scars of Womanhood", both of which addressed issues of child abuse and female circumcision. With a desire to make life better for Nigerian artists. She is also credited as having initiated the first meeting that brought about the formation of the Performing Musicians Association of Nigeria in 1981.

Christy died after a brief illness in 2011. Close to the time of her death, she was involved in numerous successful businesses, organization and running the non-governmental organisation Essential Child Care Foundation involved in child welfare. Christy's achievements and awards are numerous. Too numerous to mention. Perhaps her greatest achievement however is her contribution to building a peaceful and tolerant Nigeria - which, alongside moral uprightness, remain constant themes of her songs.

US RSD release we are getting slightly later. Limited White Vinyl Pressing Bundled With A Poster Of The Cover Art. "The Big Break is a masterpiece of Latin music, the kind of formidable artistic statement that established the Fania label as a cultural icon-- going beyond the parameters of a company specializing in crowd pleasing dance music. Needless to say, this is still a great party album, filled with dance friendly classics such as Barrunto' and Abuelita'. At the same time, it crystallizes the Colón/Lavoé aesthetic that the duo had been developing on previous albums (""The Big Break"" was Colón's sixth release on the Fania label.) This session is a roller coaster of intensity-- a symphony of contrasting flavors, colors and feelings. Perhaps the one moment that best encapsulates the transcendental qualities of this collection is the bridge of Panameña'-- the moment when the tune stops on its tracks, Lavoé introduces la salsa de Puerto Rico, el aguinaldo (Puerto Rico's own salsa, the aguinaldo) and all hell breaks loose thanks to Colón's roaring trombone and the spidery piano lines courtesy of the maestro Profesor Joe Torres. The resulting effect is nothing less of apocalyptic. Of the many brilliant LP covers that graphic designer Izzy Sanabria designed for Fania , The Big Break may be the most notorious one. The art capitalized on Colón's 'Malo' image (he was initially called El Malo because the older musicians thought he was a poor trombone player, not a bad kid-- Willie then decided to use the gangster archetype as a gimmick.) This time, Sanabria flew with the idea and devised a cover that replicated a Wanted by the FBI poster. Using the project's limited budget to his advantage, the designer included a cheap photo of Colón and random fingerprints to create a realistic looking poster. After its release, the company was contacted by the real FBI, which requested that the 'Wanted by FBI' text be removed from the cover. Listening to these eight, timeless tracks decades after their original release, the music compels you to ask: how could two young men in their '20 have so much to say How did they manage to record an album of such depth and beauty It may be advisable to stop pondering such heady issues and enjoy the music instead."

Sought-after Brazilian LP from 1974 that touches on MPB, soul, jazz, disco and boogie. Official Mr Bongo reissue. Replica original artwork.
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, Hunnee and co.
The record features Arthur Verocai and Luis Bonfa (composer Octavio Burnier's uncle) on production/arrangement.

Unique Soul Jazz Records' Record Store Day seven-inch box set which brings together a stunning five-single/ ten track selection of mind-blowingly groovy selection of African, Latin, Jazz and Funk music from the Congo. Absolutely killer and essential tracks (mostly unknown) from the masters of the vibrant Congo scene in the 1960s - featuring the groups Franco & OK Jazz, Rock-A-Mambo, African Jazz, African Fiesta and more. Roots African meets Dizzy Gillespie, James Brown, Ray Barretto & more. The bomb!

This unique box-set edition is only available as a one-off pressing especially for Record Store Day 2018.
 

Lorenzo Palacios Quispe "Chacalón" is a myth. More than a musical star, he is both a religious and secular phenomenon for the masses. Every year on his birthday, his tomb becomes a place of fevered pilgrimage where devotees pray, make wishes and ask for miracles, all done over songs, cases of beer, dancing and toasting. In Peru, his figure and music erases the distance between the holy and the profane, the hero and the lumpen. Chacalón is, for many Peruvians, the people's angel, the messiah of the poor, the marginalized 'Inkarri'.

"When Chacalón sings, the hills come down', was one of his favorite phrases and with it he referred to the migrant masses that invaded the hills and beaches that surround Lima like a "ring of fire" (José María Arguedas dixit). It was the early 80s and while bombs and a dirty war exploded in the Andes, in Lima, the new and ever-growing population of migrants climbed down" from their precarious homes and filled venues to dance "chicha" music and to celebrate who they saw as their redeemer.

Despite being a model messianic figure, Lorenzo Palacios had very humble origins. The son of a music dancer from Huancayo and a singer of huayno music (Andean folk) from Ayacucho, Chacalon was born in Lima in 1950. As a teen, he had his debut on stage as the singer of huayno band "The Indios Quechuas". The main requirement to sing that genre of music was to have a powerful ribcage and young Lorenzo seemed to have the needed lung capacity for guapeos', thunderous voice blows that the genre required.


Chicha music is neither a replica or a copy, despite using Western instruments, such as the electric guitar, bass, drums and organs, and mixing them with cymbals, congas and tropical Guiros. Chicha music has indomestizo elements (like Huayno music) tucked deep in his blood. Listen to the powerful cries of Chacalon and you will hear the heartfelt music of Huancayo, listen to his delicate voice breaks and you will hear the sweet music of Ayacucho. The mix of delicacy and strength and rural and cosmopolitan elements, is part of the secret of seduction that chicha music has had over the masses.

Aside from use of electric instruments, rock music has influenced chicha music in other ways. Chacalón's band was called New Cream as a tribute to the British band Cream. Their use of powerful fuzz tones and wah wah pedals for acid riffs and catchy solos, are the echoes of a rebellious music that wanted to silence the noises of a marginalized and exploitative city atmosphere debased by the most savage capitalism. "I seek a new life in this city / where everything is money and there is evil," reads Provinciano', Chacalon's most famous songs.

It's because lyrics like these that people saw Chacalón as a messianic figure who sang about the promise of a new life. He sang about pain, alcohol and betrayal, but also about solidarity, love and hope. Chacalon sang to the most marginalized part of society, the lumpenproletariat, and not the middle class or the wealthy. Lorenzo Palacios did not see differences between those who complied with the law or those who transgressed it, because in marginality, survival is the only rule and the boundaries between good and evil become very subtle. "Eat first, then morals,' said Chacalon.

RIYL: Los Destellos / Los Mirlos / Roots Of Chicha / Los Shapis / Juaneco y Su Combo

* Remastered from Master Tapes
* 8 Pages Booklet
* Gatefold Deluxe
* PVC Plastic Bag
* Rare Photos

Founded in 2018 by DJ and producer Deni-Shain - the man behind acclaimed compilations Space Echo and Pop Makossa -, Atangana Records is the logical follow-up to more than 20 years of travels, constantly on the lookout for new artists and music around the world. As a tropicalist globetrotter', in this new project Deni-Shain, in partnership with Thomas Vicente, co-owner of the French restaurant Le Verre Volé', aims to dig, reproduce & transmit cross-cultural music, usually unreachable and/or less known by the public.

The goal is simple: share the love of music and to rediscover the pleasure of voicings, percussions and sadly forgotten harmonies, whether you find yourself in a jam packed club or the intimacy of your home.

Atangana's first releases will be looking at the Caribbean's Islands, especially into Haiti with the reissue - highly expected by various diggers - of the acclaimed single « Divizion » by singer Fédia Laguerre. Originally released in 1981, this first 12" comes with a remix by Voilaaa and an instrumental cut exclusively based on the additional work by the French afro-collective.

A native of the Caribbean coast of Colombia, Abelardo Carbono achieved legendary status in his country's storied ranks of musical icons by combining the homegrown sounds of cumbia with the chiming guitars of West African soukous, enormously popular with the local tropical sound systems, and drenching the whole thing in his off-kilter, surreal and slightly psychedelic sensibility.

With the exception of a well-received compilation of songs from his 1980s heyday, Carbono has been rarely heard from outside the sweaty dancehalls he still commands in his hometown of Barranquilla. Now, Names You Can Trust has welcomed the reclusive guitarist and singer back to the vinyl format with a simmering Afro-Carib beast of a cut, recorded with the assistance of Will "Quantic" Holland on rhythm guitar and Mario Galeano (Frente Cumbiero, Ondatropica) on keys and in conjunction with Lucas SIlva of Palenque Records & Polen Records. It's a true cross-generational and international collaboration that is uniquely possible via Colombia. The first release of this expansive & power packed studio session is a cover of vallenato pioneer Guillermo Buitrago's La Piña Madura. This updated take veers heavily towards Africa on a rock solid foundation of bass and drums, with Abelardo's trademark guitar and quirky vocals leading the way.

The legendary 1972 album from Celia, arranged by Arthur Verocai.

Célia Regina Cruz recorded four self-titled albums for Continental between 1971 and 1977, 'Amor' in 1982 plus several more before she sadly passed away late in 2017. Célia was a Brazilian vocalist who worked frequently with master arranger-composer Arthur Verocai in her early years and many other heavyweights
over the course of her extensive career.

This, her second self-titled LP from 1972, features an all-star line up, including Arthur Verocai, Erasmo Carlos, Roberto Carlos, Marcos Valle, Antonio Carlos Jobim, Nonato Buzar and Vinicius de Moraes, among others.

Célia's version of 'Na Boca do Sol' - taken from this album - is arguably her most well-known and well-loved song. An incredible take on Verocai's original, featuring waling fuzz guitars, strings, piano, horns and drums.

Needless to say clean, original versions of this record now change hands for
silly money.

Official reissue in replica of original gatefold artwork.

Sterns Edits is a new collaboration between legendary African & Brazilian label and distributor Sterns Music and London producer and label owner Ben Gomori.

Sterns Music began life as pop-up style record shop housed in the back room of an electrical shop near Warren Street and grew to become the second biggest distributor of music from Africa outside of the continent itself. Over the years they released and distributed hundreds of artists, including household names like Salif Keita, Youssou N'Dour, Baaba Maal, Oumou Dioubate and Orchestre Baobab, building a comprehensive catalogue of music from across the region that spans some six decades. Now located inside a former bank vault underneath Warren Street station, they continue to work with a plethora of African labels, in some cases transferring master tapes to make them available digitally for the first time.

Gomori stumbled across this treasure trove of material when he discovered contemporary Gambian-born, Danish-residing singer and kora player Dawd Jobarteh's propulsive 'Sama Kebbalu' and decided he wanted to create an edit of it for his sets. He decided to see if he could license the track to make for an official release on his label Monologues Records, but soon recognised the bigger opportunity: "I was blown away when I met Robert from Sterns for the first time and he took me down into his vault. Original master reels stuffed into banana boxes, decades of vinyl, cassette tape and CD releases... history everywhere you looked. After exploring their vast catalogue and talking to Robert more, I felt like something could be done to bring some of their music and history into a new context and introduce it to new generations in the process."

Each Sterns Edits release will see Gomori - who has created dozens of much-loved edits of the likes of Marvin Gaye, Leonard Cohen, Sampha and DJ Shadow over the years - rework two tracks from the vast Sterns catalogue, melding these various styles of African music with his own house grooves to make for dancefloor ready weapons.

The intricate kora playing of Dawda Jobarteh makes for a mesmeric trip on this debut release, with 'Sama Kebbalu' ('tomorrow's elders') given a peak-time workout that makes fine use of the rousing, chanted chorus and rolling rhythm, and 'Bright Sky Over Monrovia' cut into a dub that focuses on the stunning finger-picking and passes it through heady delays.(A) A1. Sama Kebbalu (Ben Gomori's Lead By Example Edit)

180g are delighted to release "Souvenir", an album by one of the most promising and talented music makers from today's Japanese underground scene: VIDEOTAPEMUSIC.

Videotapemusic is a young music and video producer from Tokyo who uses old Japanese and Asian VHS tapes collected in dusty recycle shops and closed rental video stores as raw material for his sampling work and video production, creating a singular and highly unique musical world that has created waves on the Japanese scene since 2009. Starting out strong with three self-released albums, followed by two albums on Japanese label Kakubarhythm and a collaboration 12" on EM Records, "Souvenir" is now the first Videotapemusic album released outside of Japan, available as a limited 180g heavyweight vinyl LP edition, and in digital format. The LP comes with a download card.

The eight tracks in "Souvenir" also feature the cream of the crop from the current Japanese scene: Beipana on steel guitar, MC.sirafu on steel pan, saxophonists Satomi Endo, Satoru Takeshima and Kaoru Masuda, trumpetistsTaichiro Kawasaki and Makoto Takahashi, DJ Eskimo, guitarist Yuichi Ushioda, percussionist and hand sonic player Hajime Matsushita, keyboardist Yu Arauchi, Videotapemusic on pianica and vocalists Sansuke Yamada, Toshihiko Ikeda and Ryu Tsuruoka. Dive into a world of musical delight and discover today's best music from Japan!

All Songs Produced by VIDEOTAPEMUSIC.

Recording & Mix : VIDEOTAPEMUSIC, Naoya Tokunou.

Mastering : Naoya Tokunou.

About 180g:

180g is a music agency providing vinyl pressing, distribution and licensing services specialised in the Japanese market. Its strong knowledge of the Japanese music scene and industry allows 180g to bring top quality solutions to the various international labels it is working with, for their development in Japan, and to Japanese labels for their development outside of the country. In addition, 180g runs its own record label.

Picture this: 11 musicians, dancers and dj join forces in 2014. Drawn together by their passion for and hypnotized with the infectious grooves of Salsa, Boogaloo, Afro, in short, the Latin fervor that runs in the veins of those who live with a positive flow in their body and minds. 11 funkateers that go by the name of Banderas. Waving their caliente strut. From Tokyo, Japan.

Matasuna Records is proud to continue its groove-ridden journey with its latest release, served on a must-have 7" platter with two incredible tracks from the Cuban fueled Japanese power combo Banderas led by Kazuma Koseki on piano and former Orquestra de la Luz member Dategen on congas, Naohito 'Temjin 'Yomoda from famed Mountain Mocha Kilimanjaro on wild, loud and fabulous trumpet and Izpon, known for his leading work in Kingdom Afrorocks and collaborations with Tony Allen.

Tema de Banderas is a stomping high speed and incredibly tight Latin barrage of salsa at its spicier! Crisp horn section, relentless percussion and impossible to stay still while listening to it, this is a sure shot tune for every dance floor, anytime, anywhere.

The flipside Banderas Mambo begins by letting you know that another high speed groove chase is ensuing, in a crescendo that immediately grabs you by the hips. A track filled with mouth-watering breaks for the dj and dancer alike, be prepared to be hit by the ritmo. The Banderas rhythm. Universal, proud and scorching hot, a release not to be missed or you just might miss this dance.

Since the release of their critically acclaimed debut album in 2013 on Names You Can Trust, La Mecánica Popular has quietly been contemplating the evolution of the group's sound, philosophy, and overall approach to making music. Band leader Efraín Rozas' experimental nature has continually pushed the boundaries of his own definition of not only Latin American music, but its broader relationship with music's global culture and history. The sound of "psychedelic salsa" that LMP helped capture in their debut was destined for further outside-the-box interpretations, and with the formation of a new quintet lineup over the last few years, LMP began to incorporate a more free, improvised and instrumental-focused performance of Rozas' increasingly radical compositions. The band subsequently took this liberated approach directly into the studio, recording Roza Cruz live, in its entirety. It was a cathartic experience, a necessary methodology for the new album's concept that embraced the intimate performance of its players and did away with standard techniques of isolation and overdubs.

The evolution of the band's sound on Roza Cruz brings forth a blend of styles rarely heard together, a touch reminiscent of electric-era Miles Davis or Eddie Palmieri at his most experimental, as the driving force of timbales and congas provide a bed for a wave of lush, analog amplification that mirrors the dueling leads of fuzz guitar and electric piano. But as far out as those instruments take the listener, the raw rhythm — the clave — always keeps it tethered to the earth and the dance, a cerebral yet visceral gift for the mind and feet.

Obscure Dutch private pressing from 1977. Laid-back instrumental psychedelic / progressive sounds with jazz-funk-groove and abstract / experimental / Latin-indigenous touches. Stoned homemade atmosphere with treated / distorted electric & acoustic guitars, flute, electric piano, primitive drum machines / homemade electronics...Much in the vein of the experimental-underground scene of France & Germany during the early 70s but actually recorded and released in Holland.

Wild Havana was the project of guitar player Johan Smith, helped by his brother Cor on flute. Influenced by artists like Zappa and Herbie Hancock, Johan recorded the Wild Havana' album at his home studio on a 4-track, using effect devices developed by himself, like a modified proto-drum machine taken from a Hammond organ. He also used effects like phase shifter, chorus, etc and experimented with putting wool on the guitar strings and electric effects on the mandolin. The result sounded like nothing else at the time.

Buried for many years, we're excited to bring to life this unique album.

RIYL: HERBIE HANCOCK, RICHARD PINHAS, CHRISTIAN BOULE, OREXIS...

*Insert with liner notes by band member Johan Smit.

...a beautiful, strange psych-prog LP with abstract compositions ,experimental edges and some funk hints' - Mutant Sounds

Let's Make Love was produced by longtme collaborator Frederik
Rubens and came to life over the course of several years. On the album, the band brings a woozy romantcism to many tracks. The
album gets its ttle from the frenetc yet ethereal Let's Make Love,'
a track that takes a more classically arranged form than the band's earlier work. At the same tme, both album and ttle track embody the quintessental spirit of Brazilian Girls: their strange balance of wildness and elegance, cheeky humor and fractured poetry, soulful mystque and libertne wisdom. Right now 'Let's Make Love' seems like a very good message to put into the world,' says Sciubba of the song's inspiraton. It's not even 'Make love, not war'—it's just 'Make love,' and nothing else.'
First single Pirates' is a modern-age new wave love song that
frontwoman Sabina Sciubba describes as, a song about sleeping
and sleeping together. How we should all sleep more and sleep more together. It would change everything. Actually that's what the whole record is about. It may even be the true meaning of life.'
But on songs like the feel-good dance number about social decay, Wild Wild Web,' and Impromptu'—an exquisitely scornful track that Sciubba calls an ant-conformist anthem,' Let's Make Love slips into a defant mood suited to the album's punk-inspired sensibilites.
The electronic stuf we were creatng before has become very
popular, so maybe we should be doing that again,' says Gutman of Brazilian Girls' shif in aesthetc. But 'we should' isn't an idea that exists with us. We do whatever we feel in the moment.'

Mindblowing Afro-Soul music from Ivory Coast served up by Deke Tom Dollard, an obscure artist who only recorded two albums in 1979 and 1981 but who created an original funky fusion with Bété langage. A Selection of four amazing tracks recorded in Abidjan on two different records label called War Records and As Records.

The music here is a mixture of Funk with heavy basslines, traditional percussions, funky guitar riffs, nice horns section and lyrics in Beté. The song Demonde' is inspired by harmonies of the famous Dance to the Drummer Beat' by Herman Kelly.

Those two rare records were found by Afrobrazilero (aka Djamel Hammadi) and never appeared on the vinyl market. It's almost impossible to have infos about this singer and composer neither the musicians involved in the recording sessions. Most of the traces of the recording session were lost by the labels we licensed the tracks with.

Unique, pressed on a deluxe vinyl, remastered by The Carvery, this very Funky album is a must have for all the Afro Funk lovers!

Argentina's Agrupacion Ilegal Los Imparciales makes their triumphant return to Names You Can Trust! This time around the group has set out to record the definitive chicha version of the Beatles' world renown and oft-covered Norwegian Wood composition. An uptempo rambunctious cumbia riff, the instanty recognizable melody is transformed with a smattering of fuzzed out electric guitar and farfisa. The band's playful chorus echos the original's folksy disposition with a much needed frenzy of psychedelic bliss. On the flipside, in a true international collaborative effort, the band's chicha version is slowed down and given a bizarro rock-steady rebajada twist. Featuring drummer extraordinaire Rich Terrana from The Frightnrs and a touch of engineering expertise from NYCT / Daptone fam Victor Axelrod aka Ticklah, this alternate reality dub version imagines what it would have sounded like if the canonized Jamaican version of Norwegian Wood (aka Darker Shade of Black) was influenced from the popular sonidero systems of yesteryear.

An exciting collection from pioneering Thai molam idol Banyen Rakkaen, featuring her most thrilling performances from the early to mid-70s, with innovative genre-bending arrangements and
production from Thepphabut Satirodchomphu.

These tracks, all originally released on 7-inch vinyl, showcase her powerful yet alluring voice, revolutionary yet rooted in tradition. Her exciting performance style was revolutionary and shocked traditionalists, but none could dispute the fact that she was a truly gifted singer, and Theppabut's visionary production skills added to the feeling of freshness and vitality.

The early 1970s saw a growing demand in Thailand for exciting and danceable music, and the recordings compiled in this release filled that demand perfectly. Banyen was one of the great singers of that era who propelled Isan music to nationwide popularity. A true star who in 2013 was designated a living national treasure, Banyen stole hearts with these hard-driving hits, while inspiring a new generation of aspiring singers. Banyen will now steal your heart.

Calling to mind the full bodied sound of past masters Perez Prado and Tito Puente' - NPR

Key Selling Points:

- Album announcement and first single premiere made on NPR. - First spanish language album on Daptone Records.

- A big band collective of the finest musicians in Cuba, featuring members of legendary acts Los Van Van, Irakere and NG La Banda.

- Recorded at Estudios Areito in Havana.

- Full PR Campaigns in UK/FR/DE/IT/SP/Beneluc by same team working on Sharon Jones and James Hunter Six.

- Produced by Jacob Plasse (produced the Latin GRAMMY-winning album Flor de Toloache) and arranged by Mike Eckroth.



* Direct from Cuba! Daptone Records is proud to introduce Orquesta Akokaìn, a big band collective of Havana's top musicians both young and old, joining forces with some of the most creative and spirited talents of New York's Latin music scene.

* Born out of a shared vision by singer Joseì "Pepito" Goìmez, producer Jacob Plasse, and arranger Michael Eckroth, the group reinvigorates the sound of the golden era of Cuban mambo with a bold new energy.

* Featuring all-original music cut live to tape over a three day session at Havana's hallowed state-run Estudios Areito - one of the longest operating studios in the world and where seminal Cuban records have been made since the early '40s, and more contemporarily with the 1997 release of the Buena Vista Social Club album - the group's self titled debut feels like a heartfelt gift from the band to listener. Which is no coincidence being that Akokaìn is a Yoruba word used in Cuba meaning "from the heart", and indeed every song presented here is just that.

* This is a fascinating next step for Daptone, which released the final album by Sharon Jones and the Dap- Kings and mourned the loss of Charles Bradley in 2017. 'Orquesta Akokaìn' finds the label branching outside its own studios to release its first Spanish language album.