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Recorded in Brazil after spending the late 70s in the US, Marcos Valle brought together his innate talent and diverse influences on this irresistible record bursting with groove. Among a selection of top musicians, the line-up features Lincoln Olivetti & Robson Jorge and Leon Ware. Includes the Brazilian boogie anthem ›Estrelar‹, Marcos Valle's biggest hit from the 80s and one of the most celebrated songs in his entire career.

The album is full of soaring disco tracks, killer vocal boogie numbers and blissing instrumentals over a well-balanced tracklist that satisfies both the listening pleasure and the dancefloor needs. Essential! Presented in facsimile artwork.

It comes as no surprise to discover we are massive fans of Marcos Valle here at Mr Bongo, but this forgotten and obscure gem from the Brazilian maestro has proven to remain elusive to us until very recently.

'Girassol' is a lost Brazilian-boogie stunner from 1983. It was originally released as an ultra-rare promo only 7”. Composed by Marcos Valle, Paulo Sérgio Valle and Ribeiro José Francisco, this all-too-short nugget (under 2 minutes) was recorded and pressed on the Valle, Ribeiro & Associados Ltda. imprint for Rede CB De Supermercados. It was a promotional item to be distributed to customers of a supermarket chain as a gift. Due to not having any conventional distribution channels this resulted in the 7" becoming a slippery customer to find.

It’s a smooth AOR / Brazilian boogie joint with an uplifting chorus. The vibe is reminiscent of the much loved ‘Estrelar' era of Marcos Valle’s glorious recording career, and certainly one for fans of the Lincoln Olivetti, Robson Jorge production sound.

"Another Italo Disco Pearl, Vega Synthauri! One the most spontaneous and genuine tracks of the first half of 80s. The song, written by composer Daniele Pace (co-author Corrado Conti), is a futuristic and galactic dance floor piece with a heavy rhythmic focus where the main melodic line has a classical music feel to it. A lovely combination! This track by Donna Laser is one of the most significant electronic tracks of the entire Italo-Disco scene even beyond the mid-80s, was arranged by the talented Mark Owen (aka Marco Colucci). His synthesizer skills are a true art! This release was mixed at the renowned Trafalgar Recording Studios of Rome by Gaetano Ria, one of the most accredited technicians of the country in that period. "Grace Kelly's Song" on the flip is a very beautiful quiet nostalgic piece, that could fit perfectly into an Italian dramatic film of the late 70s or early 80s, a cute and delicate track to unwind after the monster killer on side A! Masterpiece created by the young visionary DJ Marco Marati. Stunning release!"

“Django” and “Japanese Funk Machine” are 2 mid80s outstanding avant-garde dance tracks released by UnknownmiX, a Swiss avant-experimental group with unique vocal, punkish/art-pop/minimal wave atmosphere, solid synth and percussions in an anarchic world.

At the center of the project were the very talented vocalist Magda Vogel and the well-known experimental composer Ernst Thoma, who with this radical project sought to push boundaries and explore extremes with sounds that moved between tribal and distorted far ahead of their time.
The remixes were made by cosmic wizard Daniele Baldelli, assisted by the faithful Marco Dionigi, and Delphi (half of Tiger & Woods).

Returning for Volume 4 of the sought-after series, Glitterbox Jams is back with another red-hot delivery of dancefloor gems, ready to become a record box essential for all discerning disco DJs. The A-Side features two remixes of an early noughties dancefloor gem, as two esteemed disco editors Moplen and Dr Packer both take on ‘Love Will Be Our Guide’ from Mark Picchiotti presents Jersey Street. On the flip come two productions from Italian-Belgian producer Vito de Luca, donning his Aeroplane alias for a disco-infused remix of Marco Faraone & Greeko’s hip-house pumper ‘Armaghetton’, before swapping over to his Flush pseudonym to deliver the playful Balearic joy of ‘Come Back Baby’.

Brazilian mid tempo boogie double header. We’ve been playing these two out for the last couple of years and they are firm favourites.
‘E Novamente Mas Que Nada’ is the opening track from Reseda’s 1979 album on Som Livre. An ultra catchy vocal hook, boogie guitars and synths lead into a piano and cuica breakdown and horns to finish. One of the finest in the genre in our opinion.
‘Ginga’ is taken from Robson Jorge & Lincoln Olivetti’s self-titled masterpiece, reissued on Mr Bongo. Arguably the most immediate and club friendly track from the album, it always turns heads. Another premium example of Brazilian boogie from the masters of the sound and producers for the likes of Rita Lee, Erasmo Carlos, Don Beto, Marcos Valle, Tim Maia, Gilberto Gil, Gal Costa, Sandra Sa, Painel de Controle and many more.

When producer, songwriter and multi-instrumentalist Diogo Strausz arrived in France for the first time, he already had an impressive CV. First, as part of the duo Balako, his music was released on Razor-NTape, Barefoot Beats and Greco-Roman after gaining the attention of Joe Goddard of Hot Chip. His tracks also have been played by Gilles Peterson on BBC 6. He also produced Brazilian indie artists such as Castello Branco and Alice Caymmi and remixed a track by Brazilian legend Gal Costa. Arrived in France, it is by signing the co-production of the disc "Les Bruits de la Ville" of Voyou or tracks for Julia Jean-Baptiste that he drew attention. Freshly signed on Goutte d'Or Records, affiliated label of Cracki Records, to whom we can thank for Agar Agar, Saint DX or Alma Elste, Diogo Strausz will present his first EP Flight of Sagittarius in April 2022. Flight of Sagittarius is both retro and current. Between the old school boogie of Marcos Valle and the jazz funk of Azymuth but also the sunny groove of Nu Genea or the electro-funk productions of Guts.

Multi-instrumentalist, composer and producer Alex Puddu (Al Dente/Schema Records) with a solo release discography of 16 albums, among which stand out the three original volumes of the red-light soundtracks of Danish films ” The Golden Age Of Danish pornography", and also known for his collaborations with Edda Dell'Orso (Maestro Ennio Morricone's legendary vocalist,) Joe Bataan, Lonnie Jordan of L.A funk band War, and Gene Robinson Jr of Breakwater.

Alex Puddu will follow the previews singles Texas Blonde and Pullover Grigio releasing after the summer, for the first time a brand new album in Italian language, called ”Deliria” proposing a new sound that drags us into the Italian funk music of the late seventies and early 80s, and the new music from the italian indie pop and new disco scene, within names like, Nu Genea, Pellegrino. Viscardi & Il Duo Magnetico, Frah Quintale, Marco Castello and up to the electronic sounds, between adult oriented soul and disco that are part of the unmistakable style of Alex Puddu's writing and production.

New Parisian label, Disques Messager, presents its first release and not the least. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which begins rather well, with the official reissue of these two stirring titles by Brazilian singer and composer Cristina Camargo. Native of Rio De Janeiro, Cristina Camargo had quite a short career, releasing only 2 albums in 1980 and 1981, but still enough to collaborate with some of the best composers, musicians and producers at that time. Her first self-titled album was therefore produced by Robson Jorge & Lincoln Oliveti and recorded with some of the finest musicians. “Moral Tem Hora” comes from this same LP and is a perfect example of the unique alchemy that emerged when the Disco and Boogie invaded the Brazilian music scene. A quite hard to find Boogie killer, composed by famous brothers, Marcos and Paulo Sérgio Valle. On B side comes “Minas Do Rei Salomão”, a more chilled-out title extracted from Cristina’s 2 nd album, Santa Maravilha. With its funky slapped bass, airy keyboards and the sweet vocals of Cristina, the song seems made to sip a nice cocktail at Ipanema.

close to NM

“Déjà Vu”, a true labour of love project featuring 5 previously unreleased songs from two of Brazil’s most celebrated artists, Robson Jorge and Lincoln Olivetti. Recorded between 1982 and 1986, these tracks take off from the legendary boogie-disco, jazz-funk fusion sound they presented in their first – and only – album together and allow us to have a glimpse of what their planned second volume would sound like. This collection of songs is a must-have for DJs, Brazilian music fans, and music aficionados alike.

Robson Jorge and Lincoln Olivetti have been influential figures in the Brazilian music scene for decades, with their innovative and groovy sound inspiring many artists in Brazil and beyond. They participated in more than 1,000 records, including groundbreaking work with Tim Maia, Marcos Valle, Gilberto Gil, Gal Costa, Rita Lee, and Jorge Ben, either arranging, producing and/or playing in their albums. This release offers a unique opportunity to experience some of their never-heard-before material, each song expertly restored and remastered from Lincoln Olivetti’s vaults to ensure that the original recordings were preserved.

For disco DJs, this record is a treasure trove of dancefloor gold, specially the opening track “Suspira”, certified material to get any party started. Brazilian music fans worldwide will appreciate the unique blend of Brazilian rhythms with disco and funk elements. And for music aficionados, this release is a rare gem, offering a peek into the creative process of two legendary musicians and producers. In the end, this very special release has the potential to be a hit with a wide range of music lovers.

Comes with an 8-page insert with photo's and liner notes in portuguese and english.

The first instalment in our new ‘Mr Bongo Record Club’ compilation series – a
selection of favourites, recent discoveries and sought after obscurities, which
form the basis of our DJ sets and our radio show of the same name. Including
cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie
Laverne, Barbosa and more.
The original concept for ‘Mr Bongo Record Club’ was a radio show that allowed
us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions,
not constrained by the need to beat-mix every record, a space where we could
play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl.
We have always DJ’d across-the-board, but playing in an eclectic way hasn’t
always been easy. Recently DJ’s such as MCDE, Floating Points, Nick The Record,
Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and
Young Marco – to name a few – have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco,
boogie, jazz, house, techno and beyond.
We’re seeing a rare groove like sensibility. A shift towards the attitude of
legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson,
where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people
have a progressive attitude and a thirst for new-old music. It is a vibrant and
exciting time – we are proud to be a part of it.

New single by legendary Brazilian singer DI MELO, 40 years after his classic self-titled Samba-Soul LP. Performed and produced by French brilliant combo COTONETE, this single and collaboration will be followed by a full album early 2019.
Florian Pelissier speaks about the project: “On tour in Brazil with Cotonete, we had a few days off in Sao Paulo and I really hoped to make a collaboration with an important artist or band from the Brazilian funk scene. We had thought of Marcos Valle, Meta Meta or Ed Motta... but Rafaela Prestes our Brazilian "sound ingineer/genious" told me: "I worked for the return of Di Melo in Rio 2 years ago. He rocks, he’s adorable and he lives in Sao Paulo, here’s his number, he would be perfect for Cotonete."
No sooner said than done. I'm a huge fan of Di Melo and had already tried to contact him for Cotonete 6 years ago. The next day, on a Sunday, he arrives at our house with Jo, his wife, and Gabi, his daughter. He takes the guitar in front of us in the kitchen, and gives us a private show of 3 hours… we cried the tears of joy.
He had 400 original songs never recorded, a gold mine. On the same night, we started working the arrangements for 2 days, followed by a rehearsal and two small gigs in Sao Paulo. Immediately after, we recorded in the magical Epsilon B studio. All with the participation of Gabi, his 10-year-old daughter, and future star.
This album is the summary of this moment, of these 5 days of madness spent together between “the best band in the world” and the legend Roberto Di Melo… Simple, beautiful, Brazilian-French, human music…”

‘And The Beat Goes On’ remains unpublished for 33 years until when Devil Dee decides to bring it to light by exploiting his own talent and that of the jazz-blues singer Joan Faulkner, former supporting voice of Boney M and Milli Vanilli, also known by her stage name ‘Dee-Vah’. Yes, Devil Dee is Davide Mancori - a cinematograph, son of filmmakers, with a flattering career as a club-dj from 80s-90s onwards - who lovingly produced the track which differs considerably from most of the vinyls released by Best Record. ‘And The Beat Goes On’, written in Germany in 1989 by Leonie Gane and Ryan Paris, detaches itself from most European and American productions, but winking at the "boogie" made in USA thanks to the soulful contribution of Joan Faulkner ‘The Voice’, at that time defined by the music producer Frank Farian "The best black voice in Europe!".

Nobody is worried doing a ‘step back’ laying the crucial foundations again for an evolutionary thrust of the disco-music - identical to projects that emerged in the 2nd half of the 70s - because at the same time, still for certain themes, this is a ‘step forward’ for the ’Italic vein’ movement which at the end of the 80s was been considered obsolete, defunct. In fact, the track is also referring to the latest Italo-Disco which entirely covered the scene of the 1980s with furious activity.If the meeting between Devil Dee and the famous interpreter of ’Dolce Vita’ creates the alchemy, the explosive mix is completed with the precious work of Marco Magrini, the last of the brood, but already important DJ-remixer. His extended and re-edited version is sublime, certainly more exciting to listen to than to describe it. The arrangement by Pierluigi Cerin and the executive work of Claudio Casalini close the magic circle

Five friends and a great singer from Indiana to fill the dance floors all over Europe, while the images of the provocative and surreal video-clip capture the audience by splitting in two. There are those who do not want to see certain issues publicized and those who appreciate their cheekiness, such as Best Record which by publishing the vinyl celebrates the 40 years of activity, with the aim of making ‘And The Beat Goes On’ one of the most covered and danceable songs of the year.

The motor hasn’t had time to cool down and the belt drive is feeling the fatigue. But Charles Maurice is the kind of DJ who just can’t let a turntable rest. After steaming up the slipmat with three sexy compilations of French Boogie, Charles Maurice is back with Volume 4.
In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.
In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…
But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).
With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.
Charles Maurice, where French elegance meets uncompromising musical taste.

The motor hasn’t had time to cool down and the belt drive is feeling the fatigue. But Charles Maurice is the kind of DJ who just can’t let a turntable rest. After steaming up the slipmat with three sexy compilations of French Boogie, Charles Maurice is back with Volume 4.
In the late 70s and early 80s, while France was still firmly tuned into variety-show pop, a few enlightened ears and souls picked up the hypnotic beat of funk from across the Atlantic. These first warrior monks spread the good word in discotheques, jumped on newly available frequencies to fill the airwaves and, in some cases, took up instruments themselves to unabashedly build on the U.S. model.
In a short decade stretching from the late 70s to the late 80s – just a blip on the scale of music history – they turned out material in abundance. Lush productions with colorful covers, groovy typeface and creative photo shoots…
But first and foremost, they made music weaned on, spoon-fed and imbued with funk. Music defined by a groove with a robotic beat (Djeneba) that clearly hears hip-hop banging on the door, where layers of synthesizers, handclaps (Eric Chotteau), horns and African percussion line up and follow the all-powerful lead of the swelling slap bass (Cyrill). Music that tells everyday stories, both humorous and lovelorn (Serge Delisle), and often packed with pheromones just waiting to be released on the dance floor or sofa (Chris O’Hara). Shaped by synthetic textures, these productions are also spiced with Caribbean and Creole arrangements that reflect the West Indies’ critical contribution to French Boogie (Wai Kop, Acayouman).
With his immaculate tailoring, slicked back hair and clipped moustache, Charles Maurice has once again transformed himself into a HiFi stylus to explore the groove traced by this specifically French musical style. From 45 to 33 rpm, he has traveled the black spiral to bring us a new selection that proudly features a number of rarely heard pieces and even an unreleased track by Marco Attali. True to form, Monsieur Charles carefully crafted this fourth volume from his personal collection of impeccably restored and mastered vinyl recordings.
Charles Maurice, where French elegance meets uncompromising musical taste.

Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further. Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers merging in a unique musical blend. Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu Genea's hometown, Napoli, becomes a true place of encounter. You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast. Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté", where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song, giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic, deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multitextured instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’ Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions. Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions, they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to unexpected musical journeys.

Four years after Nuova Napoli, Nu Genea are back with Bar Mediterraneo, a new album and journey, which projects the sounds of the Neapolitan duo formed by Massimo Di Lena and Lucio Aquilina even further. Nu Genea's Bar Mediterraneo is an idea of a shared place where people meet and fuse together; a space that leaves its doors open to travellers and their lives, always exposed to the whims of fate. Some of this can be experienced through the multitude of sounds that come together in the tracks, layers of different acoustic instruments, voices and synthesizers merging in a unique musical blend. Opening up to the voices of many different people, separated by languages but united by the sea and the music, Nu Genea's hometown, Napoli, becomes a true place of encounter. You can hear this all along. In "Gelbi", a gorgeously deep and propulsive Ney flute plunges into murky waters of the melancholic Tunisian dialect sung by Marzouk Mejri. In "Marechia'", unbridled happiness and sun ooze from the delicate vocals of Célia Kameni and create an acrobatic bridge between French and Neapolitan language. In "Straniero", your soul is arrested from the moment the slow spell-binding mandolin ignites the hypnotic patterns recorded by the legendary Afrobeat drummer Tony Allen. In "Bar Mediterraneo", the title track, bittersweet guitar’s riffs, analog waves and choirs are overwhelming the song giving you what you would like to hear on a boat trip along the Amalfi Coast. Nu Genea couldn't afford to overlook their firmly anchored roots into the Neapolitan culture and its dialect with "Tienaté", where the power of neapolitan language (interpreted by Fabiana Martone) supports those quarter-tone strings and the uncessant folk-disco groove that spreads to the entire song. In "Praja Magia", repetitive mandolin riffs lead the song, giving space to a choral yet tight vocal line that speaks of Varcaturo, a village close to Napoli. In "Rire", a volley of poetic, deceptively laidback, lyrical fury interpreted by Sicilian Marco Castello intimately combines with a highly musical, multitextured instrumental backbone and the swoon of a chanson in its heart. In "La Crisi'', the lyrics of a Raffaele Viviani’s poem from 1930 have been adapted to a laidback jazz-funk groove in full NG style. In "Vesuvio", revaluing the evocative verses and powerful mantra of Vesuvio, Nu Genea re-adapted to the dancefloor a folk song by the working-class band E’ Zezi from Pomigliano D'Arco, combining the voices of a school choir with Jupiter-6 arpeggios and bold percussions. Bar Mediterraneo is the place where people constantly return to transform curiosity into participation, tradition into sharing, unfamiliar into familiar. When travellers come through its “doors”, carrying their treasures of words and emotions, they aren’t strangers any more. They take part in a shared experience, enriching themselves and others by leading to unexpected musical journeys