Pellegrino presents his new project “Zodyaco”.Inspired by the ancient mythology of the stars and their deep influence on the sea life, the record is the result of nocturnal jams in the wake of the Italian jazz-funk tradition, exotic fusion and Mediterranean mysticism.A tribute to the stars and their reflections on the sea.
Gathered for the first time and including what can safely be called a holy grail of Gospel music is the very best of Joy, compiled from their albums “I Feel The Spirit” and “The Time Is Right”.
Consisting of members of the St. Stephen's Church of God in Christ in San Diego, Joy was a performing Gospel band spreading the word of God throughout the local community and opening for renowned Gospel artists such as Danniebelle Hall, Jessy Dixon and Sandra Crouch. Led by producer/musician Matt Anderson, the two albums were recorded in ’78 and ’83 and feature an impressive array of very talented contributing artists such as bass player Michael-Kae and multi-instrumentalist Clarence Bell, also known for his work with Stevie Wonder and Patrice Rushen.
Restored and remastered from the original master tapes, the compilation is available on a high quality vinyl pressing and includes the masterpiece “The Time Is Right” among a collection of lesser known but equally powerful and timeless pieces of music.
YĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).
After capturing widespread attention with their beloved debut album The Rabbit That Hunts Tigers (2019) and its acclaimed follow-up The Age Of Aquarius (2022), the Dutch quartet YĪN YĪN returns with their third LP Mount Matsu, and an expansive new sonic direction. While their earlier releases were a result of the chemistry between its founding members, drummer Kees Berkers and multi-instrumentalist Yves Lennertz (who recently left the band), the group’s lineup change has brought forward a more democratic creative mode. Members Remy Scheren (bass), Robbert Verwijlen (keys) and Erik Bandt (guitar) from the onset joined Berkers in the songwriting process, making the music on Mount Matsu much more than a sum of its kaleidoscopic influences.
“Art and ideas are personal and precious and the process of doing this truly together has been about more than just making an album. It was also a study of how collectives work,” notes Scheren, YĪN YĪN’s bass player since day one. “It’s sometimes hard seeing your own artistic ideas challenged as a member of a group, but we’re very proud of the result. When you truly co-create, literally every sound on a record has been tested through and through,” keyboardist Verwijlen adds. The process of creation, which took place in their studio in Belgium, felt like a long but satisfying ascent, hence the title Mount Matsu. The mountain itself is fictional but in Japanese matsu means pine tree and is (among other things) a symbol for rebirth and hope for the future.
Their mostly instrumental songs, still deeply rooted in the Southeast psychedelia Asian and funk from the 60́s and 70s, are occasionally embellished with hushed vocal harmonies, adding even more depth to their soulful expression. “We’ve decided to only sparsely use vocals, which leaves plenty of room for the listener’s imagination. You can really let your fantasy run wild as you listen and dance to it,” says drummer Berkers. And while off-kilter disco tunes with a trans-local character, neo-Thai psych funk jams and folk-styled soul ballads remain central to their sonic identity, the influx of fresh ideas results in an even more eclectic and effervescent sound image.
There are moments where the Dutch quartet flirts heavily with the dancefloor. Idiosyncratic nu-disco songs like ‘Takahashi Timing’, ‘Pia Dance’ and ‘Tokyo Disko’ conjure a welcoming hands-in-the-air vibe worthy of any digger’s vinyl crate. In the song ‘The Perseverance of Sano’, the worlds of Dick Dale and Wong shadow collide, creating a powerful neo-surf rock anthem worthy of a Tarantino soundtrack. The band’s essence remains unspoilt, though, particularly in ‘The Year of the Rabbit’, a signature moody YĪN YĪN tune that harkens back to their debut album, and the laid-back jam ‘Tam Tam’, a perfect backdrop to your morning coffee rituals. There’s also the trademark tune ‘White Storm’, boasting a spiralling 6/8 Afrobeat groove, floaty synth motifs and shimmering guitar licks.
Elsewhere, they rely on more dulcet tones. The erotic lullaby ‘Komori Uta’, with its shiver-inducing Birkin-esque female whispers, and ‘Shiatsu for Dinner’, with its tear-jerking guitar melodies and softly sung verses, tug at your heartstrings. Their knack for melodious psychedelia comes to the fore in the chaotic dreamlike bass-guitar dialogue of ‘The Year of The Tiger’, while closer ‘Ascending to Matsu's Height’ comes across as a heartfelt tribute to the traditional sounds of the guzheng (Chinese harp).
Mount Matsu marks a step back from the occasionally more Moroder-esque, rhythm-machine and synth-heavy production style of their second album towards a more organic, 70s live band aesthetic. This is encapsulated in the analogue warmth of their valve amp guitar sounds, vintage synth lines and acoustic percussion timbres, evoking the buzz of being in the rehearsal space with the band. “It was a real adventure trying to capture the new ‘YĪN YĪN’ sound,” notes guitarist Bandt, and that sense of discovery is keenly felt in the compelling music the band created.
Occupying a no man’s land between Khruangbin and Kraftwerk, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku), Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds!
The 80s Italo disco /proto-house classic ‘MBO Theme’ by the mighty Klein & MBO, repressed! Comes with a heavy South African version on the flip. Huge Tip! “The MBO Theme” (1983) has been a dance floor favorite since decades, created by Mario Boncaldo and Tony Carrasco - the legendary Italian/US duo Klein & MBO. The track got support in NYC and Chicago by greats as Larry Levan, Frankie Knuckles and Ron Hardy. The rare version on the flip is created by a South-African band called Warrior. Rush Hour explain how they came across the track: “We bumped into this version on a South African record digging trip. It took us a few months to realize the scarcity of this version. Ian Osrin, a well respected engineer in South-Africa who was involved in many 80ties and 90ties Bubblegum, Kwaito and South African disco records, explained us about music distribution in South Africa during apartheid. Because the country was culturally banned at the time, a lot of releases weren’t imported or exported. Even when a track was huge, like “The Klein & MBO Theme”. So South African musicians would create their own versions which were sold locally. We got in contact with Tony Carrasco from Klein & MBO. He also hadn’t heard Warrior’s version before, but he liked it as much as we do!”
Pure Wicked Tune is a mixtape-style collection of extracts & cut-ups, taken from DIY cassette recordings featuring rare groove and "soul blues" soundsystems playing at early morning house parties and blues dances - mostly in South & East London - between the mid 1980s & early 90s.
Sounds like Funkadelic, Touch of Class, Latest Edition, JB Crew, Manhattan, 5th Avenue (and the many more featured on this tape) originally began to form in the mid-1980s. With lovers rock dwindling, and the reggae scene becoming dominated by harder digital-style dancehall, these sounds provided a tight but loyal crowd with a potent alternative - playing a mixture of killer rare soul, funk and boogie records in an inimitably reggae soundsystem style, complete with toasting, sirens and effects aplenty.
They were most well-known for playing at house parties and blues dances, typically in small flats or warehouses, with timing of such events generally running from the early morning hours until late the next afternoon. Though the popularity of the sounds faded following the dance music explosion of the early 1990s, there has been continued demand for revival sessions ever since. Whilst the influence of key British reggae & dancehall soundsystems on subsequent UK sounds like hardcore & jungle is relatively well documented, a similar line can just as easily be drawn from these sounds and the aforementioned styles' tendency toward sampling popular rare groove cuts, particularly well evidenced in the work of Tom & Jerry, 4hero, Reinforced & LTJ Bukem among others.
This represents the first outing in a series of collections exploring the sounds of UK soundsystem culture, via extracts from archival DIY cassette recordings of blues parties, dances & clashes made between the late 70s and early 90s. Often duplicated and shared widely, these ruff and ready "sound tapes" provided keen ears with music that wasn't otherwise readily available on the airwaves or in the record shops, and would go on to leave a deeply-rooted but too often overlooked influence on the UK's musical landscape.
This is the second full-length album by Quasimoto and Madlib, following The Unseen. Further Adventures plays something like a smoked-out comedy/crime Blaxploitation flick, and continued to cement Madlib's reputation as one of the most creative and fearlessly skewed creators in hip-hop.
MF DOOM is featured on "Closer." MED is featured on "The Exclusive." Several tracks on the album were created with source material from one of Quasimoto's main inspirations, Melvin Van Peebles. Cover art by Jeff Jank.
Iconic album from Erykah Badu, and the first out of two. Comes with productions by Madlib (check 'The Healer' and 'My people', a take on the classic Eddie Kendricks track) Roy Ayers (for a take on a Ramp track), Shafiq Husein & Om'Mas Keith (Sa-Ra) & Kariem Riggins. Writing and muscician credits here go out to the likes of Georgia Anne Mulrow, Questlove, James Poyser, Bilal etc.
Burial lands on XL Recordings with the new single Dreamfear / Boy Sent From Above. Outside of a handful of collabs and singles, Burial has been a bastion of Hyperdub’s impressive roster since its 2005 inception, so what better way to shake up the 2024 news cycle than a surprise drop on XL Recordings and bring back the hazy club soundscapes.
Dreamfear is a tag team of sample-suffused dancefloor quakers: the invigorating beats of the title track thump at breakneck pace, with lightning charged rave synths and breakbeats contorted to match that epic cinematic feel, while ‘Boy Sent From Above’ is a club panacea of jittery vocal samples, electro-adjacent rhythms, and stuttering synth wizardry.
A welcome return from the nocturnal hero of the South London boroughs, kicking off 2024 in style.
2023 marks the tenth year of Music From Memory; a decade of groundbreaking archival releases, cross-generational collaborations and long-standing creative partnerships with our ever-expanding community of artists.
To celebrate this milestone, earlier this year we asked our roster of artists to submit a piece of music for an anniversary compilation. As submissions gradually came in, we were blown away by what we received and slowly began to piece them together into what was to become “10”.
Featuring work from artists who were present during the formation of the label, such as Gigi Masin, Joan Bibiloni and Michal Turtle, as well as artists like The Zenmenn, RAMZi and Dea, who have helped the label expand over subsequent years, “10” serves as a natural bookmark of where we are musically, whilst simultaneously reflecting on the label's rich musical past.
In keeping with the Music From Memory ethos, the music of “10” spans both time and space, with submissions ranging from Vito Ricci's 'Da Hamptons' (1985) to Yu Su & J. Wilson's 'Mitti Atar' (2023). It crosses the globe, with a total of 10 countries represented across 17 tracks. The final result is an immersive musical compilation that flows perfectly from start to finish.
Tragically, during the last few weeks of finalising MFM066, label co-owner Jamie Tiller passed away in a sudden accident. “10” was always intended to be a way to reflect on the journey of Music From Memory. The fact that it is now also one of the last releases that the team all worked on together adds a whole other level of reflection and makes it all the more special.
* incl. insert liner notes by John Gómez) Artwork by Bráulio Amado. Design by David McFarline.
After reissuing Hedzoleh by Hedzoleh in 2022, a collaborative effort by Meakusma and Soundway, this new 12inch features remixes by Jimi Tenor, Mark Ernestus, Gavsborg and Waltraud Blischke, transporting and transfusing Hedzoleh's tracks into new spheres and circumstances. Hedzoleh Soundz were one of the first and most original ‘Afro’ bands from 1970s Ghana, playing an unusual mix of traditional music and western rock as part of the West African Highlife scene.
The music for the Hedzoleh album was used by legendary South-African trumpeter Hugh Masekela as the backbone to his afrojazz classic, “Masekela – Introducing Hedzoleh Soundz”.
The Hedzoleh Soundz Remixes 12inch features an eloquent, deep, deeply poppy even, dub by Mark Ernestus, Jimi Tenor taking the original Rekpete track into even more joyous territory, adding some subtly hypnagogic touches at the end, Gavsborg transforming Y Yes Baa Gee Wo into a beat-based drone of sorts, a toolin the right hands, and a majestic experimental twist by Waltraud Blischke, sampling one Hedzoleh track and one unreleased solo track by Sascha Todd, son of Hedzoleh bass player and vocalist Stanley Todd.
This record came about with the support of Ostbelgien.
Fredrik Lager. Red Astaire. Freddie Cruger. Whatever name you know the renowned Swedish beat maestro by, his catalogue of dancefloor fillers has made him a firm favourite of DJs and dancers alike.
With fans including the likes of Gilles Peterson, Jazzy Jeff, Norman Jay and Erykah Badu, Freddie’s tunes have rung out from Sweden to the South Pacific, and everywhere in between, for decades.
Seminal cuts like the reggae-laced ‘Running From Love’ (Jugglin’ Records) and anthemic bossa and soul D’Angelo flip ‘Follow Me’ (GAMM) are still a staple in many a DJ’s crate to this day, showing and proving that good music is timeless.
Freddie sadly passed away in June 2022, leaving family, friends and fans to mourn the passing of a man described by many as a tremendous talent and person, in equal measures.
But in what’s a fitting tribute to a lost friend, a previously unreleased Red Astaire remix is about to see the light of day through The Elephant, an independent record label with roots in Aotearoa and the UK.
Red’s hallmark production, steeped in warmth and rhythm, are in full force on his remix of ‘The Future’, a low-slung track by DRW — a mysterious bohemian Balearic singer/songwriter who was based between London and Ibiza in the noughties.
Originally set to be released on 12” vinyl in 2006 — backed with a remix from the one and only Russian percussionist DJ Vadim — the record never saw the light of day, shelved due to the rise of digital formats and DJing.
Now, in 2023, Freddie’s work will be getting the release it deserves, with The Elephant releasing ‘Future’ remixes on 12” vinyl and digital formats via Bandcamp in August 2023.
Freddie Cruger x The Elephant
A chance meeting between Freddie and Vishal ‘DJ Vee’ Vasan at the legendary Jazz Café in London was the beginning of a firm friendship.
It was also the beginning of The Elephant, an independent label Vee founded in 2004 with the aim of bringing artists and their tunes from around the world and into the light.
“Freddie was DJing, and as a fan I went to see him,” remembers Vee.
“A chance meeting in the Jazz Café toilets after the show, followed by an after party, led to an invite to Stockholm.”
“A week later, I booked flights and went to stay with him and his family. He played me all his unreleased music, and I told him I was wanting to start a record label. We selected two tracks to release, and The Elephant was born.”
Freddie’s ‘I Love To Rap’ b/w ‘Take Me To The Limit’ was the label’s first release, and helped pave the way for Freddie to tour New Zealand and Australia in the summer of 2008.
With shows at the world-renowned Splore Festival on the shores of Tāpapakanga Regional Park, and headline slots in Auckland, Wellington, Melbourne and Sydney, Freddie’s music became the sound of a summer.
Freddie, with a DV camera in tow, documented the tour. These lost tapes have formed the base of a poignant music video for Red Astaire’s remix of ‘Future’. Directed and edited by Mark ‘Phooey’ Trethewey of creative agency BearSuit, it offers a glimpse into the impact Freddie’s music had on so many.
“The format is 4:3 and much of the media had badly degraded, so the video concept embraced that,” says Mark. "I was inspired by what I had to do back-in-the-day VJ'ing — where you just overlayed a bunch of media to make some happy noise to throw on a wall.”
NDATL rounds out the year with a release from South African producer June Jazzin'. The EP starts off with the warm & mellow sound of Funky Monkey ft sparse keys from Oliver Portal. Gogo's Stove Smoke is the signal that things are getting deep! On the B Side we start off with the gem Valerie shufflin beats laced with a grand piano that will get the dancers swinging. June wraps up the EP with Harming Man a bouncy groove interlaced with synth stabs & rolls from the Rhodes. This EP will definitely be a welcomed addition to any deep house connoisseur's collection.
Paris via Lyon based Planet Trip family GFH drop their first EP and the freaky 13th disc on the labels forever expanding catalogue. 5 diverse cuts dialling into deep downtempo chuggers and breezy tropical trips, plus a peak time heater on the flip given the magic touch remix treatment by everyone's favourite Lipelis. Another heavy disc with moods and grooves for all hours of the dance.
The Dutch icon Orlando Voorn is releasing his second album for Deeptrax Records sublabel Contrafact! Having started his career in the early 80s with major influences of Parliament, Kraftwerk, Motown and P funk, he is now widely recognized as an ingenious (Detroit) house and techno producer with former releases on Juan Atkins’ Metroplex records and Kevin Saunderson’s KMS. "The Master 2" is an album that is heavily influenced by the deeper sounds of soul and funk.. Orlando Voorn has used aliases in the past to present and release various styles of music without limiting himself and is one of the most versatile producers out there. We are proud to team up with Voorn and release this album that captures soulful jazz, funk rhythms and perfectly fused with passionate vocals in a real jazzy Detroit vein.
The latest Mahogani Music by the legendary Andres aka Dj Dez. Moodymann's Mahogani Music might be one of the most influential labels for us, so we couldn't be happier to see new music coming out just before the end of year.
V, a true follow-up to previous records on Mahogani: going back to the sampler and flipping in all different styles. Pushing it with new dance tracks but also reflecting back to his Slum Village-era. A broad oversight of what musics are going on for Andres!
Cuts on here for whatever mood you're into.
Since 2014, Brighter Days has been a part of the rich tapestry of Amsterdam nightlife – a semi-regular party promoting positivity and inclusiveness run by resident DJs Kamma and Masalo. On the back of the platform provided by the party, the duo has notched up a string of memorable club and festival appearances, a regular Brighter Days show on Gilles Peterson’s Worldwide FM, and a memorable Boiler Room set streamed live from Dekmantel Festival.
Now Kamma and Masalo have taken the next step and curated a Brighter Days compilation for Rush Hour, a collection that does a terrific job in offering up slept-on and unreleased gems – including a clutch of their own tried-and-tested re-edits – while also accurately representing the sound, style and ethos of the event that inspired it.
Like Kamma and Masalo’s event, which invariably takes place in intimate dancing spaces in Amsterdam, the Brighter Days compilation offers up an open-minded, club-friendly soundtrack that joins the dots between crate-digging obscurities from the recent and distant past, fresh cuts, ‘secret weapons’ and previously unreleased music from young, local producers who have become regular faces on Brighter Days dancefloors.
Across nine tracks, Kamma and Masalo deliver an enticing blend of tactile and colourful house, disco, basement-ready throb-jobs, inspired dancefloor dubs and righteous boogie jams, some of which are appearing on vinyl for the very first time (see Haroumi Hosono and Yasuhiko’s ‘Turquois’, an exceedingly rare, CD-only chunk of deep, throbbing tribal house intoxication).
There are highlights everywhere you look, from the piano-house rush of the ‘Subterranean Mix Edit’ of S’Xpress’s overlooked 1990 single ‘Nothing To Lose’ and the South African Kwaito-boogie brilliance of Cisco The Champ’s ‘Move On’, to the Italo-disco excellence of Hugh Bullen’s ‘Alisand’, and Mr Fingers’ jacking 1988 remix of ‘We’re Gonna Work It Out’ by fellow Chicagoan house producers North/Clybourn.
Kamma and Masalo’s remixing and re-editing skills are put in the spotlight, too. There’s the edit of Discotheque’s 1982 Dutch-Belgian disco classic ‘For Your Love’ and a previously unreleased ‘dub’ edit of French-Cameroonian artist Anyzette’s 1984 gem ‘Baladoun’, a low-slung slice of drum machine-rich body music that blurs the boundaries between Italo-disco, Afro-boogie and proto-techno.
Completing the package are two cuts that demonstrate the duo’s love of showcasing tracks by young and little-known Dutch producers. Peffa’s ‘Routine’, an immersive and emotive treat that blends elements of deep house and Detroit techno, is just one of numerous unreleased tracks by the producer that Kamma and Masalo has been showcasing in their sets in recent years, while Desmon – whose ‘Submerge’ is a woozy, off-beat deep house treat – has been a regular on Brighter Days dancefloors since the start. It’s a fitting nod to what makes Brighter days special: a close-knit community of dancers and inspired, lesser-known music old and new.
Tokyo DJ’s sonic memoir spanning two decades of life and music in Japan - Japan Vibrations Vol. 1 will transport listeners in time to energetic nights at Japan’s legendary club venues and delight with a spirited journey of musical discovery and reflection.
Dive into the exhilarating era of Japan’s electronic dance music scene from the mid ’80s to the mid ’90s with Japan Vibrations Vol. 1. The hand-picked collection by DJ and musical storyteller Alex from Tokyo pays homage to the trailblazers and innovators who shaped the landscape.
Set for release this autumn, the compilation serves as a time capsule recording a vibrant point in Japan’s modern music history. Likewise, a love letter from someone who lived it.
11 newly remastered tracks spanning ambient, downtempo, dub, world beats, deep house, new jazz, and techno. Together they showcase the creative ingenuity and energy of a paradisiac era marked by a symbiotic fusion of international sounds with distinctively Japanese influences. Experience the vibrations of pioneers Haruomi Hosono, Ryuichi Sakamoto, and Yasuaki Shimizu. Of culture-shaping forces Hiroshi Fujiwara and Kan Takagi (T.P.O./Major Force), Susumu Yokota (Prism), Silent Poets, Mondo Grosso and Kyoto Jazz Massive. And of new-generation artists CMJK (C.T. Scan), Mind Design, Okihide, and Hiroshi Watanabe (Quadra). The evolution of a scene, a moment, presented with the progression of a DJ set.
Pt. 9 of the 'Dub Me Crazy' series by Mad Professor.
Reggae meets twisted electronics for wild dub trips!
Originally released in 1989 on the same Ariwa imprint.
True D.I.Y. business from this UK dub pioneer.
180g Pressing
The debut solo album from Ronnie Lion, one half of Ambient Warrior, is a homage to Spanish Town the capital of St Catherine in Jamaica. As the title suggests the Spanish guitar features heavily from both Ronnie and lead guitarist Sean Wilkinson. The album has a reggae palette at its core with the rhythm section of Ronnie on Bass and Horseman on drums providing a rock solid foundation for the intricate and memorable hooks provided by Sean’s Spanish Guitar. The album’s fusion of Reggae with Bossa Nova & Flamenco Guitar creates another special album that will appeal to fans of Ambient Warrior and beyond.
Pressed on 180g Heavyweight Vinyl.
Welcome to ‘Instrumental Dubs #2’, a deep dive into the world of the Dub version and beyond. The A side has a distinct boogie feel, starting slow with a George Kerr produced cut from 1984 followed by a Brit Funk-esq instrumental from Harold Melvin & the Bluenotes originally released on the Philly World label (home to ‘Voice of Q’). The B side closes with the ‘Sweeter’ instrumental mix of Boogie bomb ‘Loving Sweet Devotion’ by Idiater Edwards.
The B side opens with ‘H2S04’ from Mad Professor that defies categorisation, sitting somewhere between Electro, Disco and Dub. Last but by no means least there’s an uptempo Dub mix of Original Rockers ‘Push Push’ making its first appearance on Vinyl having only been on the CD single release first time around.
UK Lovers Rock holy grail 12” from Sonia Whittingham, produced by Glen Sloley and originally released in 1988. ‘When I look into your eyes I feel a sweet sensation. I know our love is true ‘cos you make me happy'.
A 140gram pressing in full colour sleeve designed by Bradley Pinkerton.
Pt. 2 of the 'Dub me crazy' series by Mad Professor. Reggae meets twisted electronics for wild dub trips!
Originally released in 1982 on the same Ariwa imprint.
True D.I.Y. business from this UK dub pioneer.
Auckland production maestro Christoph El Truento with a remastered edition of 2019s ten-track offering 'peace maker dub’. A dedication to the pioneering producers of reggae music in Jamaica, the collection features guest spots from local high flyers Julien Dyne, JY Lee, borrowed cs and Lord Echo. As the title suggests, peace maker dub recalls the round bass tones and bud-bothering liquid delay-fests conjuring ideal summer vibes for our sun-soaked January.
Tracklist
Fishermans Dub
Bath Tub Skank
Stormy
Pep’s Chant
Bush Walk Dub
Give Me Dub
Night Train
First Sight Dub
Can’t Stand the Pressure
Don’t Rock the Boat
The Ghetto Brothers’ “Power-Fuerza” (1972), one of the best Latin funk albums ever recorded… Out of print for quite some time now, this obscure Latin funk gem is available again!
Produced by boogaloo don Bobby Marin, this masterpiece is a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage.
The Bronx in the 1970s, marked by the presence of notorious gangs, presented a complex and challenging urban landscape. Amidst the crumbling infrastructure and economic decline, neighborhoods bore the scars of disinvestment, reflected in abandoned buildings and neglected public spaces. The prevalence of street gangs, such as the Ghetto Brothers, contributed to an atmosphere of heightened tension and occasional violence. Graffiti adorned subway cars and buildings, expressing both social unrest and the vibrant creativity of the community.
Despite the challenges, there was a resilient spirit among residents, evidenced by grassroots efforts to address social issues. The Bronx during this era was a dynamic yet tumultuous mix of cultural expression, social struggle, and the determined spirit of a community facing adversity.
The Ghetto Brothers, originating from the Melendez family who moved from Puerto Rico to the South Bronx in the 1950s, faced challenges involving violence and crime. Despite this, Benjy, a key figure, directed the group towards community improvement.
The Ghetto Brothers embraced music, crafting a potent, NYC-flavored musical fusion that caught the attention of record mogul Ismael Maisonave (Salsa Records). Their collaboration resulted in the recording of eight tracks in a single electrifying day at Manhattan's Fine Tone Studios, skillfully produced by Latin studio maestro Bobby Marin (Harvey Averne, La Lupe, Brooklyn Sounds…).
This musical odyssey showcases the band's ability to seamlessly blend genres, creating a NYC-flavored stew that captivates listeners with its authenticity. The hypnotic rhythms, infectious guitar riffs, and impassioned vocals reflect the Ghetto Brothers' commitment to expressing their unique experiences and uplifting their community through the universal language of music.
"Power-Fuerza" is not just an album; it's a sonic testament to the Ghetto Brothers' fusion of resilience, cultural richness, and musical innovation. Each track is a vibrant tapestry, weaving together the raw energy of the South Bronx streets and the soulful melodies born from the trio's Puerto Rican heritage.