Voodoocuts kicks off the single with his stunning edit of Soweto Disco. The original is already extremely infectious and energetic, with a grooving bass, opulent horn sections, wild organ parts and a relaxed reggae vibe. But Voodoocut manages to give the song an extra kick with his skillful rearrangement, drumming and the addition of loops, filters, effects and samples. The edit effortlessly takes the song into the present to deliver a killer cut for the dancefloor.

On the flip side, Shanana is another delicacy from the band’s later creative period. Although the mood is more relaxed, it’s a wonderful song with its distinctive bass and guitar lines, as well as the great organs that are always present. Voodoocuts Edit builds up the song slowly to give the instruments enough space to unfold. A wonderful jazz-funk tune with a disco touch, enhanced by the Voodoocuts treatment.

Artist info

The story begins in the turbulent townships of South Africa in the 1960s, when unknown musicians and brothers Norman and Opa Hlongwane approached Kenneth Siphayi, a wealthy businessman, with the idea of supplying them with musical instruments in exchange for a share of live performances and record sales. Siphayi agreed and even became their manager, providing them with a rehearsal space and an organist. This was the beginning of the band The Movers, whose name was also given by Siphayi.

The Movers developed a unique sound that combined traditional South African rhythms and melodies with influences from American soul, jazz and funk. Their sound was both danceable and emotionally profound. Inspired by the challenges and hopes of everyday life in the townships, their music took listeners’ hearts by storm. Their energetic performances and catchy melodies quickly made them one of the most popular bands in the country. This was reflected in the sales of their first album, Crying Guitar, which sold over half a million copies in the first few months after its release.

But their music was more than entertainment; it was an expression of the hope and resistance of an entire generation. Despite their immense popularity, The Movers, like many other black artists in apartheid South Africa, faced many challenges: Segregation, censorship, and limited opportunities to bring their music to a wider audience. However, they overcame these challenges. Their song Soweto Inn even became the soundtrack for the student revolts of the mid-1970s.

However, the band also experienced repeated upheavals due to a change of band members and the dismissal of their manager in 1976. The gap was filled by the producer, who took a more active role in the band’s musical direction. By the end of the 1970s, none of the original members were still active and the musical landscape in South Africa began to change. The emergence of new musical styles and political pressure from the apartheid government presented challenges to the band. Despite these adversities, The Movers remained active, recording new music and proving their adaptability and creativity.

Even after their active time, the legacy of The Movers has remained alive. Their music is still listened to and appreciated today, and they are considered trailblazers for many musicians in South Africa. More than just a band, The Movers were a voice of hope and cultural expression in a difficult time. Their music remains an enduring symbol of the strength and spirit of South Africa.

More than two years ago Matasuna Records already reissued two songs of the gifted Peruvian piano master Otto de Rojas on a 7inch single. El tema de Coco is another great track on his 1976 album Superéxitos Bailables, on which he mixed Latin with Funk, Jazz and Disco. The song was reworked by Retro Roland Riso, known for his Bossa 70 edits and by label founder Alex SoulBrigada, who now deliver two different versions of this tune for the dancefloor.

Roland Retro Riso’s Al-Ritmo Rework on the A-side puts an impressive percussive rhythm layer over the original and makes it to an inimitable funky groover for the dance floor.

The SoulBigada Edit on the B-side transforms the song into a deep disco-funk banger, focusing on the deep rolling bassline, funky wah-wah guitars, brass and the virtuoso piano playing of Otto de Rojas, giving the song the necessary pressure.

Artist info

Otto Raúl de Rojas Guedes (1941-2008) was a Peruvian musician, composer, arranger, musical director of radio and television broadcasts. He’s considered one of the most influential figures in Peruvian music of the 70s.

The musical landscape of Peru, especially in the musical epicentre Lima, was influenced in the 1960s by US Funk, Soul or even psychedelic Rock and merged it with Peruvian Cumbia and traditional Criolla music. The young & unknown Otto de Rojas started his musical career in this environment and played in various bands like Bossa 70 and Los Hilton’s. A commercial breakthrough in his career came in the early 70s when he took over the musical direction of the TV show Trampolín a la fama and made a name for himself with his talent as an arranger.

He was also active as an arranger and musician for the Peruvian record company MAG, and as a versatile and talented pianist he has participated in various recordings of different popular rock groups like Los York’s, Traffic Sound and others.

Otto released his first successful solo project at the age of 25 in 1976. His songs Al Ritmo Del Bump-Bump, a cover version of the US hit Soulful Strut by Young-Holt Unlimited, and the song Choca Las Caderas are considered one of his greatest successes and represent for many the best songs of Otto de Rojas. In the following years he recorded more albums and was often to be found on the stages of Lima.

In 2008 Otto de Rojas died tragically and much too early. With him, the Peruvian music world lost an unsung icon. However, his music will live on and keep the memory of this exceptional talent alive.

Tracklist:

A1 Calender – Hypertension (Hotmood Edit) 06:05
A2 Calender – Hypertension (Original) 05:50
B1 Calender – Ritmo Latino (Voodoocuts Rework) 05:51
B2 Calender – Ritmo Latino (Original) 05:12

Description

Matasuna Records presents another treat with its latest release: an official reissue with two songs of the US funk band “Calender”. Both tracks are available on a 12″ Maxi-Single for the first time. In addition to the mastered original versions, this EP features great reworks by two of our favorite producers: Mexican disco edit king “Hotmood” and the highly acclaimed Matasuna artist “Voodoocuts”.

The opener “Hypertension” is a disco banger par excellence. Kyser’s sophisticated arrangements merge thrilling grooves, elegant strings, varied funk elements and soulful vocals to a great and unique joint for every dancefloor. It’s very pleasing that the song doesn’t get overloaded or cheesy, as it’s often the case in disco music.
Hotmood transfers the track, which was created more than 3 decades ago, into the present time. His great disco edit focuses on the instrumental parts of the original. Thanks to his clever arrangement, a tension curve is constantly built up without seeming repetitive.

On the flipside, “Ritmo Latino” takes a different musical direction. As the name suggests, there are all kinds of Latin American influences to be heard: the brass section, rhythm parts, piano sounds and the grooving bass line, which goes straight into the veins. Nevertheless, the song is also strongly rooted in funk & jazz and inspires its listeners with its unique character.
Voodoocuts rework comes up with a monster broken beat and gives the song a dancefloor friendly structure with its new arrangement. Especially the killer break part in the middle of the song will not only make B-Boy hearts beat faster! Additional instruments, samples and effects give the rework an individual and autark touch and prove once again impressively that Voodoocuts is setting the bar higher and higher with his productions. 

Artist info

The band “Calender” from New Jersey was founded in the 70s by Paul Kyser. Besides his activities as songwriter, arranger and producer he set up his label Pi Kappa Records. The band’s only album “It’s a Monster” was released on this label in 1976 and has grown into a legendary status over the years and is appreciated by fans and collectors alike.

Tracklist:

A Otto de Rojas y Los Ultra 76 – Choca Las Caderas 03:04
B Otto de Rojas y Los Ultra 76 – Al Ritmo del Bump Bump 02:53

Description

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 by Carvery Cuts (UK) 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!

Tracklist:

A1 Mr. Bird – Dance Away (feat. Chief Commander Yaaba) 04:26
A2 Mr. Bird – The Sasquatch 04:33
B1 Mr. Bird – Floating Funk 04:33
B2 Mr. Bird – Carnival Beat 03:16

Description

Hailing from Newcastle upon Tyne, UK, Steve Bird AKA Mr. Bird is the latest artist to land at Matasuna Records’ nest, hatching an exotic and fiery EP.

Starting on a mid flight ambience, before charging to catch its funky prey, Dance Away, the opening track, is a scorching collaboration with Chief Commander Yaaba, one of the lead singers of London based combo Yaaba Funk. Undeniably catchy bass line, afro horns blended with a string of unexpected beat variations, Dance Away is a call to the dancefloor, a celebratory ground to let loose, where mothers and sisters alike are beckoned to shine to the positive tune.

The Sasquatch, in turn, takes us into deeper, different coordinates. A constant, relentless beat foundation spiked with stabs of funky phrasing hooking the listener from its inception, regardless of language, in an almost hypnotic mantra of soulful discourse, this banger is assuredly one for the clubs.

Up-tempo, with a finely tuned built up, Floating Funk teases the less attentive ear into believing this is a simple beat statement but Mr. Bird slams and surprises with an irresistible bassline, perfectly balanced doses of guitar and a hovering – or floating! – horn section interlaced with a rhythmically proficient cowbell and cymbal section.

Angolan-minded breakbeat rhythm, kalimba grooves and funk-based keys and guitar, Carnival Beat is a contagious track. An expertly cooked platter of hot and spicy flavours served in a dish of well mixed groove which will drive any listener to get down and grind away with a smile, in what is also a true homage by Mr. Bird to his well-earned Lisbon heritage – his habitat for the past 9 years.

One can only wonder where Matasuna’s next flight might be headed as each release soars ever higher, towards certified dancefloor bliss.