Rob J. Madin sounds like a American Football player at an obsurve college in an equally obsure State, but this guy is no Nelson “Salty” Miller, as Miles Away Records release his album, the 6 track 'Monstro' that's a bit of a monster!
We already know from Nelson “Salty” Miller's debut solo album, 'Album #1(see review HERE) that this label loves retro; just check out the cover to 'Monstro' (Ed. is that a still from a Robert De Niro movie?)
Not only that, Mr. Madin tells us,"I’ve been obsessed with the sounds of 70s jazz-funk since discovering Herbie Hancock’s 'Head Hunters' album as a teenager. I love that it seems to be having a resurgence of popularity through bands like Surprise Chef and BadBadNotGood, as well as some great reissues from labels like Miles Away. This EP is a nod to both the old and the new."
Not only that, this is incredible what Rob has done in his studio with him on guitars, bass, keyboards and percussion that's gives a particularly authentic and odd 70s meets library jazz-funk disco beats that Madlib/DJ Shadow would sell their granny for!
'Bouquet Garni' sounds like it should be the title theme for a detective cooking show but it's the lost Rockford Files meets Starsky & Hutch theme: lets get Coloumbo on the case!
Movin' to the dancefloor, there's the soul-funk 'Cherryade' that's sweat as 70s cola (with horns) and the 'big one', 'Callisto Disco' - see you on the islands for some organ vibe funk.
There's a couple of cover versions, Rupa's ‘Ayee Morshume-Reham Duniya’ (the monster track from 1982 'Disco Jazz' album that's been re-issued by Numero Group) and Michael Miglio's ‘Never Gonna Let You Go’ that's perfectly fit Madin's arrangement you'd think that they were originals; especially as the set ends with 'Heartacher' that's off-kilter MIglio-soul-funk.
This is so mad it could be a-issue on Trunk Records - hence, it's going to sell out fast; get on it and bring ya cardy.
CHECK OUT OUR INTERVIEW WITH ROB ABOUT THE ALBUM, SHEFFIELD AND OTHER STUFF HERE!
If Hitchhiker's Guide To The Galaxy was set as a jazz concept album in a computer game setting, Lewis Daniel's 'Defective Disk' wouldn't be too far from a fashionably (choose your own post code) London setting.
Sax player Daniel has put together 13 tracks that with a jazz-core, along with big name mates like Jay Phelps and Nathaniel Cross plus acclaimed actor Jacob Fortune-Lloyd (Star Wars, The Queen’s Gambit) who voices Mason, the imaginary CEO of 'Blink', "a dystopian social media conglomerate controlling governments and news". It's like a post Trump2 update on Soweto Kinch's 'A Life In The Day Of B19: Tales Of The Tower Block' (2006) that was very pre-Social Media in a conscious hip-hop jazz period (Ed. for locational purposes B19 is next to B6, where Aston Villa's Villa Park is).
'Flawed' featuring Natty Reeves is the 'redemption' highpoint but it really is a UK Jazz 'concept' album and I like Daniel's comment, "Artists like Louis Cole, Hudson Mohawke, and Radiohead really inspired me to experiment with production on this album".
As Lewis Daniel is an alumini of The BRIT School, Guildhall School of Music (2013) and Tomorrow’s Warriors (like Soweto before him) so there's no contrieve mix with DnB ('Ships Do Sail') or 'Tech Glitch' or 'Find Your Tribe': can you see the concept connections in the song titles.
With 20 musicians contributing you get everything from neo-soul, fusion synths, jazz skat and Carrib pan drums and you can expect support from Jazz FM, BBC Radio 6 and on Jamie Cullum's BBC Radio 2 show.
This is different to say the least, I had no idea that there's J-Salsa that can be traced back to the 1970s with a tour by the Fania All-Stars and even further back with Latin music pioneers such as Tadaaki Misago's Tokyo Cuban Boys, who played mambo and rumba post-World War II.
We've seen lots of Japan of late, from Mark de Clive-Love's 'love letter to Japan', the album 'past present (tone poems across time - see review HERE), Yasushi Ide's compilation 'The Journey' (see review HERE), Ayane Shino's 'River せせらぎ The timbre of guitar #2 Rei Harakami' (see review HERE), Nick Luscombe's tribute via 'CITY MUSIC TOKYO - see review HERE) and even all the J-Jazz albums compiled by Higgins and Peden that's been championed by BBE; but I didn't think we'd here of a J-Salsa album!
But that is what we've got in Orquesta Del Sol's 'Rainbow Love' that was initiated by Masahito 'Pecker' Hashida who was inspired to go to New York City in 1977 to experience Fania himself (as an aside, his reggae/dub album 'Pecker Power' from 1980 was re-issued last year just to show how influencial he was).
'Rainbow Love' was the debut album and co-produced by Peck and Japanese drummer/band member Shuichi 'Ponta' Murakami sung in Japanese, Spanish and English. The original 8 track album has it's first worldwide release on vinyl and digital formats with 7 bonus tracks.
Obviously, i'm drawn to the tracks sung in Japanese, like the title track, as I've never heard anything like it but i'm equally blown away by the English of tracks like 'Night Ripple', in Spanish ('Mondo Cruel' - check the Cuíca action), the disco-action of 'Get-A-Odyssey' and the overproofed percussion on 'Rumbambola', the only cover version (Noro Morale)on the original album.
The noted Japanese Latin music expert Masashi Takahashi provides new liner notes but this is so 'authentic' it could easily be lined up next to original Fania (founded in 1963) and the All-Stars as we all 'Like It Like That' (see review HERE).
If you've got the new album or seen/heard their Woodstock session (the Pretty Lights Afterparty at Bethel Woods), you'll want to catch up with our interview with Jack (he of Ben and Jack) whilst they are 'Just Passing Through'.
It goes without saying that we're very much in love with the album (see review HERE) but the 'Flying Mojito Bros.' as a concept is so different to anything else around, how did you hit on FMB as a thing?
FMB: Over a decade ago we were spending time as mates sharing tunes and DJing, and identified the gulf between the tracks that we were both wanting to play in a set. We love classic/country rock/funk as well as dance music and technically they don’t work that great when played together. So we started building that bridge. The sound, look and feel of FMB took shape from there really naturally, very much as one organism in our separate heads. That was the wild thing – that core feel of FMB seemed to arrive to both of us pretty much fully-formed – we saw it coming toward us from over a shimmering horizon as a complete being. And one that needed feeding…
YATM:Do you think your audience know of the Flying Burrito Bros?
FMB: It’s surprised us how few do. Maybe half?! But even if you’ve never heard of them, the spirit comes through in the music. Irresistible cosmic country dance music with a groove.
YATM: Gram Parsons had a very specific style. Were you inspired by him at all?
FMB: Big time. He was one of the first to really mix up country with soul and rock in a way that felt emotional but also a bit trippy. Not to mention, visually, the band’s Nudie suits. That whole era’s obviously a touchstone for us – like us, they were looking both backwards and forwards at the same time in search of something better; something new.
YATM: What came first, your DJing or the Refrito edits?
FMB: We’d both been DJing or performing music for a while before FMB came about. The groundwork was in place, which made the rest relatively easy.
YATM: Are there any tracks that you're still looking to rework, like Little Feat or Flying Burrito Bros themselves?
FMB: We’ve actually done one from each! – 'Down On The Farm' and 'Just Can’t Be' respectively – both slower tempo groovers. There’s tons more from them both though that are on the list.
YATM: The FMB 'formula' is one that’s really works brilliantly. You've played at Glastonbury, Pikes and from London to LA. You so fit in with the Too Slow To Disco / Poolside ethos. How big a step was it to team up with Ubiquity for the album and why do you feel that it’s a good home for the FMBs?
FMB: We’ve always admired Ubiquity for their taste. They’re not massively genre-bound – they care more about feel, covering legacy catalogues while championing new artists. So it made total sense. They've been super supportive and more than happy to hoist the FMB freak flag for us, and they completely gave us the creative space to make our own statement with the album.
YATM: How did you settle on the Steve Miller Band's 'Greatest Hits 1974–78' 'Wild Mountain Honey' as a cover version for the album? The original is very sparse and certainly a lot less known. Your version is very cool…
FMB: Cheers! That came from Scott Hirsch who we were in communication with regularly following our remix of his ‘No No’ track – he said how he’d felt inspired late one night to track a cover of 'Wild Mountain Honey' in his studio and very next day sent it to us saying “you gotta fuck with this now!” and we’re so glad he did. Both his and the original are floaty, euphoric and under-the-radar, so we thought we could respectfully push it somewhere new – add some drive, some heft, stretch it out for the dancefloor.
YATM: When this new album comes out I think many folks are going to be surprised that there's no covers (apart from 1976 Steve Miller Band classic ‘Wild Mountain Honey’). Tell us why you decided to change direction on this release?
FMB: We’d been doing edits for years and it felt like time to show what we could do from scratch. It was more for ourselves than listeners if it’s OK to say that! Still the same spirit – groove-led, spacey, desert dust-y.
YATM: The quality of the band is high, especially Shawn Lee. Is he connected with Ubiquity in some way? What’s his relationship there? Or is it a Cali thing?
FMB: Yeah – the musicians on the album, whether vocalists or players, are all highly accomplished. Shawn’s worked with Ubiquity a lot and is a legend in those earlier circles, as well as living in London like us and making a name for himself there. But more than that, we knew we could send him the brief and he’d nail it. Overall, it was important to us to have real musicians playing throughout the album so we could comfortably straddle the saddle of our intended band-vs-electronic sound.
YATM: You've have a host of vocalists on board. Who does the vocal on the title track?
FMB: That’s the mystical Desert Oracle, voice of the Mojave Desert. If you haven’t listened to his podcast, you’re in for a treat. A journalist of the highest calibre, he’s in every sense a representative of the Yucca Valley itself – capable of sharing great beauty while at once being entirely uncompromising (DESERT ORACLE RADIO – DESERT ORACLE).
YATM:'Slow Train Fuego' and 'Thunder Exchange' - have you 'tested' them out on the dancefloor? What has been the reaction?
FMB: Yeah – the nice thing about FMB is our repertoire of tunes is vast enough that we can tailor it to most settings – be it an all-day hazy, late and lazy americana-balearica fuzz fest or an uptempo, primo-loco top gear rager. These two apply somewhere within those extremes. We always road test tracks and debrief for improvements after.
YATM:Californian singer-songwriter Pearl Charles features on 'Take The Long Way', how'd you link up with her?
FMB: She’s an absolute gem and very talented, based out of Landers near Joshua Tree. The vocal was tracked quite a while back now, when we were exploring some new sounds and we’re so gratified that it’s on the album. Pearl’s new album ‘Desert Queen’ is a suitable title, and out the same day as ours as chance would have it, Friday 25 April 2025 (Bandcamp).
YATM:And who sings on 'Lost To The Desert'? Sounding very Emmylou Harris.
FMB: That’s Hero Fisher – one of our FMB family. Earlier we mentioned supremely-accomplished musicians – well this track’s a perfect example of that. Hero is a truly amazing singer-songwriter based in England, who brought what we feel is such a richly-evocative Sandy Denny sound to the album – really gratifying for us to meld the England-USA cross-cultural folk-rock exchange. Further to FMB production, also contributing on 'Lost To The Desert' are her partner Adam Chetwood (brother to FMB Ben), an insanely-talented guitarist who’s worked with the likes of Mark Ronson and White Denim, alongside our mate Joe Harvey-Whyte, still the youngest Best Pedal Steel Player in the World.
YATM: 'New Mexico ‘76' is very rocked up Giorgio/Donna - was the inspiration Disco Sucks or the Ford Escort Mexico?
FMB: Haha! Probably somewhere in the middle. We love that late-70s friction – disco going mainstream, rock getting weird and hitting dancefloors, with synths becoming (much!) more prominent in production. The title came from our headspace more than anything literal.
YATM:The album swings from the Soul/Disco of 'Catch Me' and the Chem Bros 'Glitter'. Who does the 'rap' in Daniel's Disco' [my current favourite track with Slow Train']?
FMB: That’s an old interview featuring FMB hero Tony Joe White talking about his musical background and heroes. We’re working directly with his son on reworking never-before-heard archival Tony Joe White material in our way while also remixing works from his late 70s/early 80s period in which (a) he was off the commercial radar and (b) went a little bit disco. It’s prime FMB town and a total dream to be working with his estate. Check (video below) release ‘Bout To Dance (In My Pants)!
YATM:This album is a DJ set of tracks of the highest quality! Were there any mix tapes or DJ sets that have inspired you along the way?
FMB: We’ve always been music fans first and foremost, growing up in the 90s/00s UK listening to or seeing live very eclectic DJ sets from the likes of Quantic, The Bees, Mr Scruff, Simian Mobile Disco, Fatboy Slim, Optimo, the Chems, classic Balearic Phil Mison / Chris Coco, 90s Essential Mixes, Lemon Jelly, LCD Soundsystem. We’ve also made personal mixes for years in this respect. We’re always looking to that feeling of being taken on a journey.
YATM:With your remix/edit background, have you put any thought into remixes for this album?
FMB: Oh yes indeed. We’ve a juicy little black book hit-list and are zoning in on the targets with a sharpened graphite pencil.
YATM:How did you get involved with James Alexander Bright? - I saw him play a solo set a couple of years ago in Bournemouth and he can get very spacey!
FMB: James Alexander Bright and Ben FMB go back to their twenties, having played together a fair bit since, Ben drumming for James quite a lot. We all connected at Glastonbury one year and it clicked into place really nicely. James is a fireball of creative energy.
YATM:Is there a launch party planned for the album?
FMB: Yes indeed – Thursday 24 April at El Cid in Los Angeles. Scott Hirsch is opening solo, then we lay out the FMB album tracks interspersed with others, and Nashville’s Sparkle City Disco take the helm until late to allow us to celebrate the release. Feeling like a special one! otherwise we’ve plenty of USA dates around that that can all easily be found via our site and socials.
YATM: Is there anything else we need to know about the album/promo/you any mixtapes online?
FMB: Look out for special album promo mixes that not only tease the album tracks but also weave in a bunch of new FMB refritos of classic/country rock/disco…[and] Thank you so much for your thoughtful questions and see you down the road!
Many thanks to Jack for his time and Sharon at Shine for organising the interview and who knows, perhaps the 'Desert Disco & Outlaw House' could have a move to the US coast and a Shag (the dance) on a yacht with a “Salty” Miller Refito? (see review HERE) and don't forget the appearance on Soho Radio see link on the album review (see HERE).
All night long with Dan The Drum, Stuart Patterson, Ashley Beedle, Jo Wallace, Darren Morris and Carmy Love with 'UK House Sermon' on No'West 'Black Market' remixes.
The original (see reviewHERE) is a work of beauty itself that was followed by X-Press 2 with a "stripped to a mostly blue palette" (see review HERE) and now we have the all-singing, all dancing 'UK House Sermon' (featuring Carmy Love on vocals) on a re-energised No'West 'Black Market' Remix release.
The No'West team up everything from the Italo-piano, synths, Darren's piano (channeling the spirit of Frankie Knuckles, being taken to church, 1991 and all that), Darren's organ (or should that be the Noir marché organ - see review HERE) and that bass! It's a heady combination!
To mis-quote the BBC, this isn't a history lesson, it's a 'UK House Sermon' that happens to be a history lesson and totally worthy of being in 3 parts, almost a trilogy of three: g'wan, there's room for one more?
We are looking forward to hearing from Dan The Drum on (interview coming HERE soon) but in the meantime, check out the Bandcamp page for vinyl version of the original HERE, the X-Press 2 Remixes (HERE) and now the No'West 'Black Market' Remixes.
Artist: Dan The Drum & Stuart Patterson Title: UK House Sermon ft. Carmy Love (No'West 'Black Market' Remixes) Release date: 16th May, 2025 Label: F*CLR Records Cat. No: FCLR039 Format: Vinyl / Digital / Bandcamp
Credits: Dan The Drum: Production, arrangement, composition, percussion.
Stuart Patterson: Lead vocals, lyricist Carmy Love: Lead vocals Darren Morris: Production, arrangement, composition, keyboards, Synth Bass, percussion. X-Press 2: Remixers, drum programming, synths Mastered by Darren Morris at North Street West studios.
I think Medlar and Delusions Of Grandeur are out to get me - perhaps they're out to get us? Why else would they release a remix EP so soon after the brilliant album?
As we know, the 'Islands' album came out last month (see review HERE) with a great lava lamp inspired artwork. The 4-track Remixes EP either enforces the 'no man is an island' theory or separates it - not sure about the Norwich canaries colour scheme.
What you can say is that it's brilliant as each remix is it's own island. The previous single 'Dot The T's' (featuring Deevoenay on the spoken/rap poem) gets a typical off-disco electro NYC Peech Boys drama with heavy synths by Ron Basejam.
A kinda of warm up for the big room acid of Paranoid London that's busy and buzzin' on 'Luv Interlude' (featuring Kim Anh) just to proove yesterday's gone (but not really as those acid
trax still sound as exciting as they ever did.
And you recall the Sun Shone's 'Patience' album (see review HERE) that was edge-worldy, Medlar's gone an done a Mad Professor dub of world dance that's harks back to Transglobal Underground: dubby with the violin of Rebekah Reid's getting fully space-out.
And don't miss out on the heavily percussive poolside remix of 'Atlantean' (featuring Wah Wah 45s Alfa Sacke of Raz & Afla (see review HERE) by MAD Josh Ludlow (as in Make-A-Dance) who's deep into the Tribal dub as we loved on Tigerbalms' 'Profunda Alma' (see review HERE).
Like I say, each track is a stand-alone companion to each other making it an essential EP for the summer and possibly a template for more 'Islands' get-a-way remixes .
Also featuring original 'Dot The Ts' on the Colour & Pitch March Mix by Will Sumsuch.
This is out there: not only is it not 'Mystic' it's not 'Jungle' but get you're sunset breakers out for some seriously ring-fenced 80s Ital-disco funk.
If you're happy with a modern take on Baccara, Boney M and other 70/80s disco fun that's authenic and without cheese, Mystic Jungle's 'Sunset Breaker' on the Italian coast is the place to be.
In fact, it's a bit like a 70s disco as Naples' Mystic Jungle produced these tracks over a long time period due to various issues so a track like 'Innervision' slips into a bit of rock guitar along with a reggae/funk groove and a nod to a sitar - mad eh! The electro reggae 'Twilight' (Ed. Eddie Grant) follows 'Shine For Your Desire' which reminds me a bit of 10cc and that's not too bad a comparision as many of their tracks were of no fixed genre; being super competitive songsmiths.
King Tubby meets Disco Dâm‐Funk with the Isley Brothers 'In Time'! Mystic Jungle's clearly lost in time.
Still not convinced, the title track is full-on Sade space dub... on a Latin smooch beach!
If you've got a musical genre chip on your shoulder, this isn't one for you but it's a great album for a fun time dance.
Compost Records will be basking in the 'Golden Glow' of Yuu Udagawa as it becomes a summer must have: expect big support from Gilles Peterson and all the usual suspects.
You'll recall Yuu Udagawa's 'Ride It' / 'The Peaceful Dawn' from last year with the a trio of remixes by three of our favourites on the "knob twiddles": JKriv, Fred Everything and Manuel Tur (see review HERE). Well, 'Golden Glow' is a 4-tracker that's even better as Yuu's jazzy keys have some additional Henri Mancini 60s OST cool with "electric samba-infused broken beat".
It's housey warped jazz CO-OP (see 'Our Music Our Culture Vol. 2' review HERE), especially the killer instrumental track 'Reverie' and 'Velvet City' that hints at 'golden (Ed. no pun etc) era' hip-hop jazzy house.
The other two tracks are just as mesmeric, the title track and the jazzy electro boogie mash of 'One More': love the jazz club vibes here.
Yuu Udagawa is the highlight of the summer so far! Again!
This continues to be a big year for Omar, not only does it mark his 40th year as a recording artist, he will soon commence his second North American tour, and with this, his 3rd and final single ahead of his Impressive Collective album 'Brighter The Days' he combines his talents with another true British music icon, and as a bonus adds a genuine US jazz legend into the mix.
Don't forget to catch up with single 'Research' & 'Brighter The Days' (see review HERE) but hang on! What's this Motown groove featuring the Modfather himself, Paul Weller (from The Jam you know). The best thing Paul's been associated with since The Style Council (Ed. discuss amongst yourselves) as Omar and Weller re-discover 60's soul horns, organ and backing vocals! This ain't the Bowie/Jagger trite love letter to Motown, this is the real thing.
And whilst we're at it, lets get some big Lalo Schifrin strings out for some soul-bossa beach groove with 'There's Much Love In The World' with added "Stan Getz" sax.
Did I say 'organ', no normal organ - it's Ronnie Foster (fresh from Smoove & Turrell - see review HERE): "Organ for hire!" he's your man. Oh! isn't Omar 'The Man'?
Is it hard to follow in the footsteps of Prins Thomas and Hans-Peter Lindstrøm as the next king of Norwiegian space disco? Well, Third Attempt has more than one hand on the crown with the 'We Are All Connected EP' out on Beatservice.
Ok, so lets ignore Inspector Norse for a moment and look at the Olso based producer who has his own 'bouncy house' view that 'We Are All Connected' encapsulates.
The EP opens with 'Blessed' which starts with the gospel rally cry - and indeed we all are blessed - and it's arguably the most commercial of the set before moving onto 'People Are Beautiful' - and, indeed we all are: especially those that can produce a track like this with its "dancin' 'til the morning light"/"feels so right" hook to a deep bass synth weave with a theme from Taxi funk groove which then gets acid busy.
'Tears On My Mixer' gets more acid-synth soul (did I mention Todd Terje?) and ending on the title track, 'We Are All Connected' that's the most, erm... connected as it gets jazz-funked with string backings; obviously a big fan of 70s soul.
Third Attempt, aka Torje Fagertun Splide, is definitely one to follow; or should I say connect with?
And don't forget, we got our communication lines sorted with the YATM interview HERE for the low down on Third Attempt.
Rob J. Madin sounds like a American Football player at an obsurve college in an equally obsure State, but this guy is no Nelson “Salty” Miller, as Miles Away Records release his album, the 6 track 'Monstro' that's a bit of a monster!
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