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Erasmo Carlos E Os Tremendões is greater than the sum of its pop-rock spitballs. It’s a creative, and at times experimental and groundbreaking album that remains a thrilling listen.Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.Collectively, the songs on Erasmo Carlos E Tremendões sound like an attempt to appeal to nearly every relevant genre of Brazilian popular music at the turn of the decade. From the cover tunes alone there’s a Caetano song “Saudosismo” (Tropicália), an Antônio Adolfo song “Teletema” (Pilantragem/art-pop), and not just any Ary Barroso song, but the unofficial Brazilian national anthem “Aquarela Do Brasil”. Of the new songs, “Menina” is a Soul ballad and “Jeep” brings the Funk. Maybe it was exactly that, a chance for Erasmo to stretch his creative muscles in a lot of different directions as it became clear his Jovem Guarda character and sound had run its course, along with the TV show of the same name.

This album is considered a bedrock album within the Brazilian rock scene and a notable late entry in the Tropicália tradition, rocking harder than any album in his catalog, but also including wispy love songs, soul and funk moves, brassy pop tunes and a marimba-driven ode to marijuana . Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.As a student and fan of Elvis, Little Richard, Bill Haley, and Chuck Berry, Erasmo indulged his primal rock urges on these albums, notably getting sufficiently psychedelic and fuzzy on Carlos, ERASMO . . . Arriving in 1971 while Caetano and Gil were still in exile, Rita Lee had recently quit Os Mutantes and Gal Costa was onto a new sound, Erasmo’s 1971 album was the closest thing to Tropicália around. Carlos, ERASMO . . . was co-produced by the Tropicália producer, Manoel Barenbein, including a new composition from Caetano, a few arrangements courtesy of Rogério Duprat and the musical talents of no fewer than three Mutants: lead guitarist Sergio Dias, drummer Dinho Leme and bassist Liminha, not to mention Brazil’s undisputed psychedelic axe-master, Alexander Gordin, aka “Lanny”, Carlos, ERASMO . . . is a virtual all-star team of Tropícalistas (not in exile).

Sonhos E Memórias 1941-1972 is truly singular within Brazilian pop fusing rock, soul, jazz and singer-songwriter styles. It’s simultaneously rootsy, funky, modern and nostalgic. The lyrics are highly personal, searching for deeper meaning with lots of flower power imagery and language, while the music is tight, highly rhythmic, melodic and restrained in its delivery and effortless groove. Built around the future fusion trio Azymuth with keyboardist José Roberto Bertrami, drummer Ivan Conti aka “Mamão” and bassist Alex Malheiros, a majority of the album’s tunes make excellent use of this trio’s telepathic tightness, subtle funkiness, and melodic mastery. The album dabbles with a few different styles and rhythms, all telling Erasmo’s musical story be it Bossa Nova, Roots Rock, Hard Rock, ballads, and soulful grooves, but a certain sonic frequency or tempo alongside the autobiographical elements unite this masterwork. Erasmo Carlos has no counterpart in the universe of Anglophone pop music that could begin to hint at his relevance, popularity and his complex relationship with the only Brazilian pop star more universally recognized than himself, Roberto Carlos. He may be a beloved pop star and household name in Brazil, but hardly because of the music found on the three albums reissued by Light In The Attic. While in retrospect they can be appreciated as some of his most creative, consistent and personal albums, they were also some of the least commercially successful and underappreciated of his long career, at least until recently. Embracing the artistic freedom of the global counterculture of the late sixties and early seventies, over the course of these three albums, Erasmo evolved from his bubblegum beginnings into a sophisticated seventies singer-songwriter. Erasmo Carlos E Os Tremendões (1970), Carlos, ERASMO . . . (1971) and Sonhos E Memórias 1941-1972 (1972) collectively find this maturing teeny-bopper delivering a mix of world class psychedelic Rock, traditional Rock ‘N’ Roll, Soul, Funk, Folk, Bossa Nova, and Samba-Rock to an unsuspecting Brazilian audience.

Syrupy Instrumental Electro-Funk full-length from Devonwho on Leaving Records featuing vocal contributions from Zackey Force Funk, I, CED, andn Pink Siifu.

A Tribe Called Quest - Q-Tip, Phife Dawg (who passed away on March 22nd, 2016), Ali Shaheed Muhammad, Jarobi White - the groundbreaking 90's group that forever transformed the urban music landscape reunited on their first and last studio album together in eighteen years. Guests on ''We got it from Here...Thank You 4 Your Service'' include, Kendrick Lamar, Elton John, Jack White, Andre 3000, Busta Rhymes, Consequence, Anderson.Paak, and Talib Kweli.

Melbourne’s M5K...where G-Funk, Modern Funk, Boogie, House, and Hip Hop all intersect to give you the most bang imaginable (via real synthesizers and drum machines). West Coast Lead Lines meet Detroit Sub Bass Frequencies, Raw Drum Machine Stabs Snap and Crack while Lush Chords ?ow from Analog and Digital synths. Ultimately, deep vibes are created, arranged, and mixed down into undisputed dance-?oor bangers, making real thick and juicy jams for the ears and bodies of party-goers. The “Absolutely Real” EP on Hobo Camp Records bangs out 5 tracks of Raw Street-Level business (featuring Midnight Runners on the track “Let’s Try It Out”), straight from M5K’s Melbourne Studio right to your sound-sy

The second EP by purveyors of the 'Future Funk' sound, A Band Called Flash. Executive produced by Ron Trent. Recommended!Created by the inspired young Jared Hines and produced by master minds Ron Trent and Jonesy, this self titled follow up to "Mother Confessor" features four etherial, lush tracks that have a live feel and are equally heavenly.Inspired by the Jazz Funk elements of UK outfit Atmosfear and the alternative Disco sounds of Dinosaur L, presented here, A Band Called Flash embrace the energy of “live” dance music. Reminiscent of the early 80’s Boogie sound, A Band Called Flash will surely capture the attention of the more eclectic, global dance floor.