Juno Recommends International October 2020

Review: In 1983 a group of Nigerian musicians in London headed into a studio in Hoxton Square and recorded their sole LP: a boogie and disco-infused set called 'Electric Murder'. The album was released the same year on a tiny Nigerian label, meaning that copies of this obscure classic have been sought after ever since. As this beautifully packaged and produced reissue proves, 'Electric Murder' has lost none of its lustre. Highlights come thick and fast throughout, from the slap-bass heavy celebration of opener "Funky Boogie Woogie" and the deep disco brilliance of "Electric Murder", to the low-slung, delay-laden disco-funk gem "Shake" and sugary, synth-laden slow jam "April's Girl", a track that boasts some suitably super electric piano solos.

Review: During the late 1960s and early 70s, New York's Latin music scene was the envy of the world, with a swathe of immigrant musicians from Central and Southern America joining forces to perform and record new variations on traditional themes and hybrid fusions of multiple styles, most notably Harlem-born Boogaloo. This Rocafort Records release pays tribute to some key NYC Latin combos of the period, delivering two tracks apiece from three acts over a trio of seven-inch singles. It's a hugely vibrant and enjoyable set, with highlights including the jaunty salsa of Orquestra Olivieri's 'Los Muchachos De Belen', two fiery boogaloo heaters from Ozzie Torrens and his brilliantly named "Exciting Orchestra", and the carnival-ready rush of Brooklyn Sounds' 'Guaguanco Tropical'.

Review: Brazilian songwriter Milton Nascimento has a remarkable catalogue behind him, beginning in the late 60s and running continuously since. Originally released alongside the recently repressed Maria Maria, here the 2002 album Ultimo Trem (Last Train) stands on its own as a startlingly beautiful body of work steeped in Brazilian folk. There are tracks that drift through scenes with expressive ease, such as the spellbinding acoustic suite "A Viagem". The haunting grace of "A Lua Girou" will stay with you long after the last note plays, and so runs an album packed throughout with such moments.

Review: It was way back in 1998 when Japan's undisputed King of Diggin', DJ.producer/mix-maker and dedicated record collector Muro, first released 'Han-Tome'. These days, it's regarded as a Japanese hip-hop classic, and listening back to this reissue it's easy to see why: the beats are dope, the producer's jazz and orchestral samples beautifully incorporated into the backing track, and the combination of Japanese rap verses and R&B style sung choruses every bit as good as those you'd expect on big-name American tracks from the same period. As it did first time around, the track comes backed by the superb 'Flutestrumental Mix'. This adds sun-kissed keyboard stabs and flighty flute solos to Muro's formidably head-nodding beats..

Review: Beastie Boy Mike D Edit has decided to rework Malian artists Idrissa Soumaoro and L'Eclipse De L'I.J.A. and their track 'Nissodia' - from the 1978 album Le Tioko-Tioko - for this new one on Brighton label Mr Bongo, the second time it has landed on the label, having previously been on The Original Sound Of Mali in 2017 Both tunes are pumping, full flavour Afro jams with screeching melodies and big, jangling, angular guitars all powered by funky beats. Each one is guaranteed to light up any cultured dancefloor.

Review: This is the only album by mysterious Lui Williams (Lui), released in 1978. He and his band used to play at Maui Surf Hotel along Kaanapali Beach in Maui, Hawaii. (The hotel appears in the front cover.) This is a Hawaiian album, but his original "Oh, Oh (Think I'm Fallin' Love)" got popular among Soul / AOR lovers, and now the rare original LP is traded at a high price among collectors. It includes another his original "My Lover", Hawaiian cover of jazz standard "My Funny Valentine", Hawaiian traditional "Hawaiian Wedding Song" and so on. P-Vine reissued it as CD in 2018, and now we present it as vinyl.

Review: Far Out Recordings have singled-handedly made 70s fusionists Azymuth one of the most acclaimed bands of the modern era, with high profile headlines sets at cult festivals around Europe and an endless stream of quick to sell out records. Now they shine more light on the virtuosos instrumentalists with this 7" featuring two more home-recorded demo tracks. Jazz, funk, psched out sounds and rich Moog bass make these some for heir more mind expanding cuts. The a-side is actually a take on an iconic pop song from the 60s by Jovem Guarda, and the reverse is a weird space oddity for hardcore cosmic adventurers.