Hip-Hop News

Authentic 80's roots capturing the 70's vibes in solid manner. Female vocal on "Declaration of Rights" rhythm calling for repatriation although on the other hand a slick dancehall cut by Super Black on the very same rhythm.

This time the Polyversal Souls come along with the Bolga All-Stars, named after their hometone Bolgatanga up in the north of Ghana. The Bolga All-Stars are a choir consisting of the leading local Kologo and Frafra-Gospel artists: Guy One, Alogte Oho, Florence Adooni, Bola Anafo, Amodoo, Ana'abugre and Lizzy Amaliyenga.

This is Bolga! is a hymn of praise about the very vital music scene coming out of Bolgatanga. After an instrumental introduction with solos by Barou Kouyate on the Ngoni and Christian Magnusson on the trumpet, radio Dj Messy from Bolgatanga's leading station World FM is shouting out all names of the singers, before the choir finally comes in and take lead. Carried on by a heavily rocking rhythm section the piece reaches its peak throughout the eloquent solo of saxophone viking Søren Jagtkylling.

Nippon Afro-Groovers AJATE are back with two dancefloor bombs teaming up with French Garage Funk providers NY.KO!

180g heavy vinyl

Limited edition of 500 copies

Fresh from their highly acclaimed KEXP live session!

Includes two remixes by beatmaster Deheb

New Ajate album to be out late 2019!

Formed in 2011 by band leader Junichiro "John" Imaeda, Ajate consists of 10 Japanese musicians who play a unique blend of afro-groove dance music mixed with Japanese traditional festival music called "Ohayashi". Their album Abrada is out in 2017 on the 180g label, selling out immediately and being followed by two highly acclaimed European tours. Teaming up this time with French groovers Ny.Ko, Mammamelie and With Regularity are two dancefloor destroyers announcing Ajate's brand new album to be out late 2019!


[b] 2. Mammamelie (Deheb Remix) [feat. Ny.Ko]

[d] 4. With Regularity (Deheb Remix) [feat. Ny.Ko]


[b] a2. Mammamelie (Deheb Remix) [feat. Ny.Ko]

[d] b2. With Regularity (Deheb Remix) [feat. Ny.Ko]

Hailing from Palermo, Smuggler Brothers deliver a unique sound, deeply rooted in the diverse and rich heritage of their island - Funk-prog flavoured Mediterranean library music with Arab and North Afrika influences. Produced by Massimo Martellotta (Calibro 35). Brilliant and relentless from start to finish!

Kapingbdi hail from Liberia, West Africa and have their own imitable style. They effortlessly combine traditional African music in a modern mix of Jazz, Funk, Soul and Rock. The band is a fusion of the old and the new.

The word "Kapingbdi" is taken from the Sierra Leone language Mende and means "born in the night". Kojo Samuels was given the name by his Latin teacher whilst attending high school in Freetown, They often meet and debate at night in the city and soon after Kojo is called Kapingbdi. The name serves as a description of his origin. Born In Lagos, Nigeria in 1943. The son of slave children. His mother from Nigeria and father from Sierra Leone who moved the family to Liberia, during the 1950's.

Kojo has played music for as long as he can remember. He starts with the harmonica and later becomes a drummer and percussionist in his first band at school. During his art studies 1965-1972, he tours Germany and works as an art teacher in the USA. His band Kapingbdi is reorganized five times and consists of up to seven musicians. In a VW-Bulli he drives the group from concert to concert and if the drummer fails, he jumps in himself. Between 1978 and 1981 three Kapingbdi LPs are produced for the independent label Trikont, recorded in Hamburg and Munich. During this creative period, the band plays at festivals in Africa and Europe. In 1984, the band tours the United States and shortly after, they came to an end.

At their best, Kapingbdi would rouse the audience with original compositions like "Human Rights", justice for all, especially for South Africans, and "You Go Go You Go Come". The officials and employees in the government departments have no time for the common man, for any questions such as job search, scholarship or similar, he receives the answer "go, come back tomorrow" and the same thing the following day. Or "Now Is The Time For Cry For Love." Now it is time to scream for love and finally, time for humanity and justice. Despite immense difficulties, the musicians consciously live and work in Africa and are at home in Liberia.

On April 12, 1980, ordinary soldiers and non-commissioned officers organize a coup against the government. This is an attempt to put an end to a policy of exploitation of the Liberian people. Whilst efforts to eradicate poverty, lawlessness and illiteracy are obvious throughout the country, Liberia is still Americanized to a high degree. This is evident, as the radio programs of that time almost exclusively played American disco music. Under these conditions, the people seek a reconnection to their folk music, and Kapingbdi were aware of this. Kojo tried many times to come together with traditional Liberian musicians. This passion takes him north of the country. Meeting and playing with the old hornblowers and playing music on traditional instruments, such as the elephant tusk.

Kapingbdi make high quality tape copies of their own vinyl LPs and patiently try to displace all unauthorized tapes from the domestic "market". Nevertheless, it is hard to make a living through music in Liberia. Kapingbdi, is now celebrated. The radio plays are in abundance, but royalties are not forthcoming. Their musical link is the feeling of Afrobeat and Highlife, which is found in each of the many Kapingbdi pieces. They embody Jazz, which is understood to be the most refined example of black music outside of Africa. In Liberia, Jazz is virtually impossible to hear. Bright shining names such as John Coltrane, Charlie Parker or Miles Davis were widely unknown. Thus, the Black Jazz, including its Back-To-Africa movement of the 60's and 70's, passes by without leaving a trace in Africa itself.

Kojo's claim at the time, was to make African music with the depth, sensitivity and the freedom of the technical level of Jazz. This makes Kapingbdi the torchbeares. The underpaid prophets in small Liberia. It is the passion with which the founder of the band continues to work on their music for years. Tirelessly, stimulating and encouraging his fellow musicians. This is ultimately responsible for the success of Kapingbdi in Liberia itself. The local audience seems to listen to the band in fascinated astonishment. One wonders about the ability to develop as demonstrated by Kapingbdi on the basis of their music. It is African and unusually jazzy, danceable and better than the American disco music heard on the radio.

Rather than chase the money and the job opportunities in Europe, Kapingbdi are firmly rooted in Africa. The musicians live in Monrovia, the capital of Liberia, at the Kabingbdi workshop, located in the Congotown area on the eastern edge of the sprawling city. Kojo works here as a sculptor, painter, batik artist and musician. The sales revenue that his activities generate, gives him the opportunity to support the development of African Jazz music. The highest percentage of funds are from Germany and Kojo's work ethic is "to work on your own thing". The stance taken aims to support the welfare of Liberians and Africans. The other musicians of the group live in a second house that is nearby.

For the sake of consistency, Kapingbdi is a full-time band. However, the revenue, from all of the sources, could not keep them afloat. Equally, as important to the group are Kojos's knowledge of traditional African music and his sculpting skills. His knowledge is shared with others at the afternoon workshops. It is here that they discuss new lyrics, engage in political debate and the self-imposed task of improving conditions in Africa. At times the debate became heated, especially during rehearsals. This was regarded as good and integrative, sowing the seeds of innitiative to keep the band together.

From 1980 to 1985 Kojo also opened and ran the club "Panjebota", located on the grounds of the U.S. Consulate in Monrovia. Almost every evening Kapingbdi perform the song "Wrong Curfew Walk", whose lyrics lament the killing of citizens during the curfew imposed by the Liberian government. When the head of state Samuel Doe hears the song, he behaves agressively and forces Kojo to close the "Panjebota". Kojo had already moved on. Soonafter he meets Fela Kuti at the Africa-Festival and plays concerts in Germany with Cecil Taylor's workshop band.

Kapingbdi is for thinking, dreaming, dancing. What they sing about is what they have experienced. Kojo Samuels is 76 years old today and still follows his vocation as a critical musician, artist and activist.

Ekkehart Fleischhammer / Sonorama 2019
(with the help of original press sheets and the memories of Kojo Samuels)

Created in Brussels in 2015, Azmari is a twisting musical journey that fuses psychfunk, afrobeat, ethiojazz and dub.

With thousands of hours in the studio and numerous live shows across Belgium, Berlin and Istanbul, the 6-piece ensemble is pleased to announce the release of their debut EP entitled 'Ekera', released 24th May via groove-heavy record label Sdban Ultra.

Recorded in a rented room in Brussels in just three days, 'Ekera', meaning 'the other world', is a deep hypnotic sound that blends asymmetrical rhythms with winding improvisations, sending the listener in to a higher state of consciousness. "We love to jam, we jam a lot and our music comes from that", says drummer and bandleader Arthur Ancion.

From the middle eastern sounds and devilish rhythms of 'Dolmus', a magnetic, free-jazz re-working of the Mulatu Astatke composition 'Emnete', to the energetic and spellbinding flood of roaring saxes on 'Mammouth', Azmari draw on influences including Temiz, Herbie Hancock, Cymande, The Heliocentrics, Fela Kuti, John Berberian, The Soul Jazz Orchestra and much more.

With a common love for African and oriental music, as well as funk and dub, the Azmari sound has developed in a short space of time - taking on new musical influences along their spiritual journey, including Arabic melodies and sounds.

Heavily influenced by the Ethiopiques, ten days performing in Istanbul opened the band's ears to the Turkish sounds and rhythms from the 1960s and infusing Turkish and Ethiopian scales, along with learning new instruments along the way including the berimbau, the ney and ba?lama, the Azmari sound transformed into a rebellious, unrelenting and mesmerising experience.

Azmari are; Arthur Ancion - Drums, Basile Bourtembourg - Keyboards, Jojo Demeijer - Percussion, Niels D'haegeleer - Bass, Mattéo Badet - Saxophone and Yohan Dumas – Saxophone

MIC004LP

Two heavy afro disco funk covers of Fatback Band classics. Recorded between Colombia & NYC.

Features ex Fela & Egypt 80 band member Kaleta on vocals and guitar, as well as full horn section, lots of live percussion and expert production by Bosq.

Kampana presents 4 doses of Afro disco and house, from Captain Planet, including his heavily in demand rework of Shina William's Agboju Logun.

The LA producer is at the top of his game across the EP, serving up a timeless blend of retro vocals, horns and percussion, with subtle but highly effective club-centred production. This record will not leave your box!

It reflects as much the traditional ceremonies as the trendy clubs of Cotonou, through to the Evangelical churches and the convents where voodoo deities are invoked.

Associating voodoo rhythms and traditional songs, electronic melodies in the very spicy Beninese style with trip pop grooves, hip hop and rock, this collective of Beninese artists has all it takes to make us travel.
Initiated by Hervé Riesen, Deputy Director at the channels and contents Department in Radio France and Chairman of the EBU Eurosonic Group (European Broadcasting Union), BIM is a musical and radio project.
Jérôme Ettinger, producer who made the album – World Tour Records, Artistic Director at Togezer Productions is also a composer.

Artists
Jimmyl Tchegnon alias Jimmy Belah // singing, drums, percussion (Sacla, Gons, Gangan)
Brigitte KITI alias Amessiamey // singing, castanets
Yelouassi Nadège alias Nayel Hoxo // singing, castanets
Jean Gbètognon alias Yewhe Yeton // singing, percussion (Gon, Alèklé)
Boni Obinti alias Lionel // bass, singing, percussion (Agomê)
Totin Emile alias Resnikpa // percussion (Kpézin, Sacla, Kpahlè, Ogbon, Gangan)
Yaovi Emmanuel Atcho // guitar, singing

Nyege Nyege Tapes deliver another volley of breathless Singeli from Tanzania, this time the vinyl debut of Duke showcasing the sound of Pamoja Records, following multiple zingers from the scene’s core Sisso Studios

Yet again making practically everything else seem pedestrian and tepid by contrast, Duke’s take on Dar Es Salaam’s Singeli style is ruthlessly fast and rugged, crammed with colourful samples and, quite crucially, loaded with a pair of blistering vocal tracks starring MCZO & Don Tach, and Dogo Lizzi, respectively.

In ‘Uingizaji Hewa’ the tempos thrillingly tilt over the 200bpm mark, but they’re held in check with a clutch of slower instrumentals written in Duke’s newer Hip Hop Singeli style. When he goes fast, dancers will know about it in the likes of ’Naona Laaah’ featuring machine gun rapid rhythms somehow matched for pace by MCZO & Don Tach, and again in the pedal-to-the-meckle recklessness of ‘M Lap’ starring Dogo Lizzi switching up from dancehall bark to fasssst-chat styles that put Daddy Freddy to bed.

But those hi-NRG bombs are only half the story. The rest of the LP shows off Duke’s wicked way with a hook and the diversity of his drum programming in highlights ranging from the PC Music- compatible bounce of ‘Sing4444444’, to the cascading chromatic licks and slow/fast suss of ‘Duke 4’, the joyful dervish of ‘Duke Bit Puyo’, and two dizzying pieces with spiralling, Bollywood-style vocal samples that close the record with a blinding flourish.

For its 2nd release, Nanga boko Records is very proud to present you Ye Mot Ai Kare Mot,
the official 40 years anniversary reissue of the first album of the Cameroonian musician
Atangana Pascal 'Quelqu'un'.
7 raw Bikutsi & Soukous tracks (+ one exclusive bonus track !), recorded after midnight in a
single recording session in a nightclub of Yaoundé.
Deluxe hand-numbered edition, limited to 300, includes a bonus track never released on vinyl
before!
Each record comes with an insert that includes exclusive pictures and very detailed biographies
in both English and French languages, an HQ Digital Download Card and a A2 format (40 x
60cm) poster!
Approved by the artist himself, 100 % legit, all 8 tracks are under exclusive license of Nanga
Boko Records.

Berlin-based collective African Acid Is The Future inaugurates its new label partnership with The Vinyl Factory by releasing the first in a three-part 2×12 series Ambiance.

The first instalment, Ambiance I, captures two extraordinary live performances in Berlin, backed by remixes from AAITF members Dauwd and Wolfonacid on the second 12.

The live performances feature Kenyan dodo singer Ogoya Mengo & The Dodo Women, and the woman once described as Zimbabwe's mbira queen Stella Chiweshe. The former was recorded live in Romain's Azzaro apartment, while Chiweshe's performance was captured in front of an enraptured crowd at Berlin's iconic Funkhaus venue.

* Featuring Kenyan singer Ogoya Nengo and 'the queen of mbira' Stella Chiweshe
* 2 x 12 180g heavyweight vinyl includes in a gatefold sleeve
* Includes printed inner and outer sleeves and an African Acid Is The Future booklet
* Artwork by Louis Vignat
* Vinyl edition of 500

Bike Thieves are back. On last year's celebrated 'Laura EP', the Stockholm duo plunged into the sounds of classic garage and deep house. On 'Catherina EP', Daniel Strand and Erik Danielson move in a slightly different direction. An explosive blend of afro grooves, tribal vocals and deep kicks and basslines, 'Catherina EP' lets the rhythmic frenzy of Fela Kuti encounter modern house. The record also features Saine, one of Finland's finest underground producers.

On the opening title track of 'Catherina EP', Bike Thieves offer a mysterious deep house burner which slowly builds up around punchy congas, sweeping pads and female chants, eventually exploding in an orgasmic djembe solo. They get even more organic on 'The Greatest Curve', an afro jam driven by funky basslines and polyrhythmic percussions. On the B-side, Saine offers his own take on 'Catherina', turning the track into a hypnotizing and sleepless groove of dance floor tribal.

North-Ghanaian Frafra-Gospel shooting star Alogte Oho is back with his Sounds of Joy for their third 7" on Philophon. With this piece they anticipate the upcoming launching of their first international album release in October 2019. The first 7" became a collectors item, the second one a hit and this one is ready to write a further chapter in Alogte's career.

Allema Timba is a slow rocking, grooving journey deep down into the world of Frafra-Gospel. Alogte and his choir put all their enthusiasm into this praise song, supported by perfectly placed horns and a singing synth. The instrumental version features Masaru Nishimoto, an expert on the Taisho Koto.

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

After a long wait, Melbourne's Public Opinion Afro Orchestra (The POAO) is set to release their second album, 'Naming & Blaming', a pulsing, percussive journey into classic afrobeat. Recorded by a 17 piece ensemble, led by fierce vocals and a howling horn section, it's a fitting 21st-century response to the world-shaking music of 1970s Nigeria. The result is true to the afrobeat blueprint of hypnotic, extended songs, improvisation and political comment but adds to the formula a host of pan-African influences and hip-hop elements that reflect the deep ranging roots of the band. As the title suggests, and in true afrobeat tradition, Naming & Blaming pulls no punches. It is an outspokenly political record, a cauldron of strong opinions where indignation and optimism coexist. Led by the vocals of MC One Sixth and singer Lamine Sonko, the critique of colonialism is applied to both the African and Australian experience, the battles of many cultures informing the group's ethos as does the importance of community and staying true to one's convictions. Uplifting visions of a brighter possible future as laid out in 'No Passport,' the album's rambunctious opening song, are balanced with honest reflections on injustice like guest Robbie Thorpe's take on Australia's chequered history in the title track.For the Naming & Blaming cover, the band was honoured to have the opportunity to work with one of the originators of the Afrobeat movement Lemi Ghariokwu, the legendary collage artist and illustrator responsible for all of Fela's most famous album covers of the 1970s. This relationship is what the POAO is all about, paying respects to the culture and keeping it alive and relevant in the 21st century. Over the last decade, The POAO have established themselves as a firm festival favourites with their contemporary approach to Afrobeat.

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

Christy Essien was one of the leading female recording artists of her time in Nigeria. She was born in Akwa Ibom State in 1960 and enjoyed an accomplished career as a musician and an actress. Having conquered the music and TV worlds Christy moved on to feature in some of the early Hollywood films such as "Flesh and Blood" and "Scars of Womanhood", both of which addressed issues of child abuse and female circumcision. With a desire to make life better for Nigerian artists. She is also credited as having initiated the first meeting that brought about the formation of the Performing Musicians Association of Nigeria in 1981.

Dubbed Nigeria's "First Lady Of Song", Christy produced a respectable 9 studio albums across a number of labels. Her fifth album "Give Me A Chance" was released in 1980 by Afrodisia, and is being officially reissued again by the prolific Nigerian label.

"Give Me A Chance" showcases an impressive move on from her last album with a nice amount of variety. Her classic funky disco sound is most evident in what is her most notable song on the album "Rumours". This much sought after disco number is joined by a couple more disco grooves such as "Nobody Can Stop You" and "Onwu". "Ife" meaning love inflicts a little bit of reggae into the mix while the remaining tracks ("Saboteurs", "Don't Let Me Down", "Ikan Idomo" and title track "Give Me A Chance") take more of a traditional afrobeat - meets ballad approach.

Christy died after a brief illness in 2011. Close to the time of her death, she was involved in numerous successful businesses, organization and running the non-governmental organisation Essential Child Care Foundation involved in child welfare. Christy's achievements and awards are numerous. Too numerous to mention. Perhaps her greatest achievement however is her contribution to building a peaceful and tolerant Nigeria - which, alongside moral uprightness, remain constant themes of her songs.

Volume Ten of the Mukatsuku label's Afro Funk & Disco Gems series has two more tracks released for the first time on a 7 inch in their own right. First up is Peter Yamson's 80's afro boogie feelgood masterpiece ''Everybody Dance'' taken from the Sun On Africa album (mispelt on discogs as Sun Of Africa by the way ! ) and licenced directly from the artist .Infectious chorus and funk groove with Roy Ayeresque vibes and punchy brass . On the flipside from 1981 we get Get Up Tchamassi from french african group Tala AM which is a funk drenched heavy slap bass boogie mostly instrumental affair with female vocals and great sax playing and catchy rhythm guitar.

Format LIMITED DINKED 45 IN HAND STAMPED SLEEVE + STICKER

Taken from band's second full album "Reggaelation Rock" - Black Dragon River is the exotic instumental fusion by Japanese 9piece Afro/Caribbean band Reggaelation IndependAnce and legendary Tonkori, invented by Ainu people from Hokkaido, performer Oki.

"Departing from Tokyo, going to the World via Jamaica"

In 2015, Freestyle Records re-issued the groundbreaking 'African Party' album by the somewhat mysterious figure of Ginger (George Folunsho) Johnson. Recorded in 1967, nearly 20 years after he first arrived in post war London and immediately began performing and recording with London jazz stalwarts Ronnie Scott and Pete King.

Credited by those in the know (including Giles Peterson, Louie Vega, Fela Kuti's drummer Tony Allen & writer David Toop) as the godfather of afrobeat, Ginger and his group, The African Messengers enjoyed a varied career as the go to afro-cuban percussion group for recording sessions in the UK, working with Georgie Fame, Osibisa, Madeleine Bell and Quincy Jones - as well as acting us mentor to a young Fela Kuti and members of Cymande who cut their teeth as members of his ensemble. They also performed at The Royal Variety Performance, Ginger's music featured in the James Bond film 'Live & Let Die' and Ginger himself appears on screen drumming in the Hammer Films cult classic 'She', and famously performed with The Rolling Stones in Hyde Park in 1969.

Aside from 'African Party', and several Hi Life singles released on the Melodisc label in the 50's, it was thought that there were no further recordings by this hugely influential musician . Eventually, prompted by the attention afforded the Freestyle re-issues - Ginger's son Dennis Dee Mac Johnson was contacted by Uchenna Ikonne, a renowned African music collector, who told him he had discovered one rather battered original copy of a 45 single, released in the mid 70's on the short lived 'Afrodesia' label,

For Record Store Day 2019, Freestyle are proud to release the 2 tracks on a fresh vinyl 45. 'Witchdoctor' is not the track of the same name on African Party, but it and 'Nawa' (written by Dizzy Gillespie cohort Chano Pozo) demonstrate a musical progression as funk had stamped it's indelible footprint on Ginger's music along with afro-cuban rhythms and jazz.

Thanks to Claudio Passavanti at Doctor Mix Studios in London, who has done quite an amazing restoration and re-mastering job on this long lost music.

"it's Been One Of The 1st Nigerian Lps To Land In Our Collection Some Years Ago, Sort Of Late 80's Nigerian (edo) Highlife Oddity. Pretty Obscure.. Full With Quirky Synths And Groovy Drum Programming, The Track "enothiomwan" Is The Highlight With Its Catchy Horns, Funky Synth Hits, Slap-bass And Crazily Deep Vocals, Surely One Of Our All Time Favourite And Most Selected During Our Parties.
After Weeks And Weeks Of Deep Research In Nigeria During Summer 2018 We Finally Found And Met, In Benin City, Mr. Odomore Who Introduced Us To All The Members Of The Band And To The Producer Of The Lp. We Discovered That yetigbe - The Birth Of A Child Is His 1st Lp Made Back In 1988 And That, At The Time, Was Pressed In A Very Limited Edition And Is Still Nowdays Highly Unkown And Hard To Find!"

This is part three and the last of the collaboration series between Ethopia's legendary soul singer Alemayehu Eshete and the Philophon house band The Polyversal Souls.

On the A-side you hear Alemayehu's classic song Addis Abeba Bete in an intimate live performance. This recording happend during a cultural exchange programm organized by Galerie Listros, Berlin's finest gallery for Ethopian art, with support from the Bundeskulturstiftung der Bundesrepublik Deutschland.

The flip side is the complimentary portrait to the recently released Portrait of Alemayehu (Daytime) - now, on Portrait of Alemayehu (Night-time), you get an idea of the masters fiery stage persona as it is documentated on the A-side. It's night-time now - booooooom!

Parisian label Chuwanaga is really proud to present In The Red Vol. 2 (A Britfunk Selection by Saint-James), almost a year and a half after the first compilation being released. This second volume still focus on the Britfunk genre - or British Jazz Funk - mainly produced in London between the end of the seventies and the
eighties. It defines a unique mix of Jazz-Funk & Disco including Reggae & Dub techniques from Afro-Caribbean communities who were at the heart of the movement. Parisian DJ, activist and producer Saint-James has again selected the most
exciting, rare and powerful tracks from that era (1981-1988). Included in this compilation are Stikki Stuff, Cruzial, Potion, The Breakfast Band, Yeow Band and Scratch (better known as Gonzalez). Expect powerful synth solos, crazy slap
bass grooves and lovely vocals on the top when the horn section is not busy doing its funky thing. Back in the days, these young musicians gave their music a unique British flavor and
raw energy pushing the needle "In The Red". Almost four decades later on these powerful tracks are again ready to burn up dancefloors. The compilation features an
insert with pictures and a few more words about the selection. The compilation is also available as digital download and CD along with Volume 1.

Continuing the series of 12" dancefloor singles, Soundway Records presents "Hinde" by African Vibration (BIG TUNE!) with a rework on the flip by Julian Dyne. Hinde is re-mastered from the original master tapes for this 12''. Check!

The first thing that strikes you when hearing 'Nosso' is its feeling of intimacy and warmth. The title, which means 'Ours' in Portuguese, is apt since he sees the record as the result of letting a wild variety of people into his world. João notes that 'I didn't know most of the collaborators before meeting up with them in a studio somewhere in the world, so most of these songs are coming from a very immediate and honest sense of collaboration where you spend an afternoon with someone learning about each other at the same time as you're making music. It's a shared experience, a moment where two or more people came up with ideas together, that they probably wouldn't have had if they were in their comfort zone.' These meetings were turned into songs at home in Lisbon once the main ideas were created collaboratively elsewhere. 'On this album, like in everything else I did so far, the focus on the instrumental side of things was experimenting with rhythmic patterns and genres from the Portuguese-speaking universe while applying them to songs created with other artists from completely different backgrounds and places.' There's something in this process that has left the album sounding super fresh as this is a sound without borders that pulls you in. It's music everyone can be a part of, where even the most rugged up-tempo cut sounds welcoming. It's an overwhelmingly positive and joyous experience to immerse yourself in 'Nosso.' It's no wonder that the central motif of the album artwork shows a less common view of Lisbon, one where instead of looking at the historic city centre we face the suburbs, where these musical and cultural experiments have been and still are occurring, undeniably shaping the musical and cultural landscape of Lisbon in the process. As much a soul record as it is a record infused with the beats of the Portuguese-speaking world, 'Nosso' is a reflection of Branko's ongoing musical explorations and his vision of Lisbon as a privileged cultural hub for the Portuguese-speaking world and beyond. Branko fuses local rhythms from kizomba to baile funk and afrohouse through European electronic genres with a clear accessible pop sensibility and the aim of creating a unified sound that puts all these individual musical expressions in perspective as part of a greater whole. For João, this is the logical next step in his musical evolution.

Blair French returns to Rocksteady Disco after last year's brilliant Standing Still Is An Illusion for another 12' of mind, body, and soul music. 'Public Park' starts off the release, with flutes, guitars, and African marimbas abound, presenting itself as the song of the summer. 'Spirit Guides' follows, taking listeners and dancers on a spiritual afro jazz odyssey. The flip features two versions of 'Public Beach', a communal ecstatic dance meets Detroit Jit footwork cut with a massive bassline, pulsing percussion, and harmonized chanting, constructed for open-minded dance floors and deejays. Limited to 300 vinyl, TIP!

Minyo Crusaders rework historic Japanese folk songs (min'yo) with Latin, African, Caribbean and Asian rhythms for their debut album 'Echoes of Japan'.

Releases from Ryuichi Sakamoto, Haruomi Hosono and Midori Takada have re-ignited global interest in Japanese music and 'Echoes of Japan' marks the arrival of a big band like no other.

'For Japanese people, min'yo is both the closest, and most distant, folk music' explains band-leader Katsumi Tanaka: 'We may not feel it in our daily, urban lives, yet the melodies, the style of singing and the rhythm of the taiko drums are engrained in our DNA'. Initially indifferent to min'yo, a tragic event in recent Japanese history set Tanaka on his current path: 'Following the Tohoku earthquake of 2011, I reflected on my life, work and identity. A fan of world music, I began searching for Japanese roots music I could identify
with. Discovering mid-late 20th century acts Hibari Misora, Chiemi Eri and the Tokyo Cuban Boys, I was
captivated by their eccentric arrangements and how they mixed min'yo with Latin and jazz.'

Originally sung by fishermen (Kushimoto Bushi; Mamurogawa Ondo), coal miners (Tanko Bushi) and sumo wrestlers (Sumo Jinku), these songs deal with topics such as the returning spirits of ancestors (Hohai Bushi), Japan's smallest bird (Toichin Bushi) and a bride's love for her husband's pockmarked face (Otemoyan).

Minyo Crusaders are one of the most hyped acts on the Tokyo music scene that went national in 2018 through festivals such as Fuji Rock. The band features veterans of the Tokyo roots music scene such as bassist DADDY U (Ska Flames), keyboardist Moe (Kidlat), sax player Koichiro Osawa (Matt Sounds/ J.J. Session), Yamauchi Stephan (J.J. Session), percussionist Mutsumi Kobayashi (Banda de la Mumbia), conga player Irochi (Cubatumb) and vocalist Meg (DJ collective Tokyo Sabroso).

- Wild blend of Japanese folk music with cumbia, boogaloo, Ethio jazz, Afro funk + more
- Ry Cooder, Mario Galeano (Ondatropica/Frente Cumbiero), Clap! Clap! are all fans
- European touring plans for autumn/fall 2019
- Includes Japanese lyrics + English translations

- Lacquers cut @ The Carvery

We are extremely excited to announce the soon coming double album release of the Bayara Citizens 'Elektrik Afrika LP. It's a specially designed Gate Fold Jacket, which includes 2 X 12' Vinyl's.
Included with this package are extended DJ Versions that have been played and tested by the likes of Joaquin Joe Claussell, Timmy Registford, Louie Vega and Ron Trent to name a few. Also Included are two of Joe Claussell's eagerly anticipated secret weapons. The Long versions of 'Mofo Congoietric' and 'Hillbilly Afrika'
The Package also contains the highly sought-after Dub Mix of 'Bambara.' Until now this version was released back in the day only as a limited 12'.

We heard all the request for a repress and so here it will come.
And Now for the Fun Part...We placed inside each LP package A Special Individualized Download Code, which will lead to one of 10 individually mixed versions of a track from the Album, which will be mixed specific only to the code found. Also amongst the 300 records produced there will exist only 25 Unique codes. The prize for whom ever finds one of the 25 codes will be A specially made personalized mix that will be pressed on a 10 'Acetate and sent directly to the consumer. HAPPY HUNTING...

Sheffield-based Afro-fusion 8-piece band K.O.G & the Zongo Brigade release of their debut album 'Wahala Wahala', via Pura Vida Sounds/Heavenly Sweetness.

Under the guidance of the outrageously talented Ghanaian force of nature Kweku Sackey, aka K.O.G, and the whirlwind of energy that is Jamaican rapper

Franz Von, the Zongo Brigade deliver infectious, high-energy West African grooves via Sheffield, drawing on Afrobeat, soul, funk, rock, hip hop and reggae

which has fast gained recognition in London and all over the UK. K.O.G's signature mix of high-energy songs, raps, operatic vocal effects, along

with the hard-hitting patois raps from the spirited Franz Von and a dedicated band of serious musical badmen, has led the band to perform on some of

the biggest stages including Glastonbury, Reading and Leeds Festivals and numerous clubs and venues around Europe.

Deeply rooted in stories from Africa, the album draws on love, peace and social issues. K.O.G & the Zongo Brigade's motto 'Unity in Diversity' stems

from Kweku's African origins and also embraces the eclectic mix of nationalities which make up the band.

With a backdrop of unmistakeable African rhythms that include electric brass, thunderous percussion and sharp-edge guitar, 'Wahala Wahala' takes

possession of the body as the words excite the mind. Racism, rejection, inequality, exile - the subject matter is always serious but the delivery irresistibly

upbeat and rhythmic, guaranteed to get the feet moving because in every pain, there is also joy. K.O.G & the Zongo Brigade have received support across national and global

radio including BBC Radio 6 Music, BBC Introducing Sheffield and BBC Radio 1.

22a present this two-track 7' single from this Tenderlonious-led jazz quartet. Strictly limited to 500 copies worldwide, this is going to fly out!

Ruby Rushton kicked down the door for the UK jazz renaissance back in 2015, and continue to lead the way in 2019 with this new genre-defying recording. The music is rooted in the spiritual concepts of jazz heroes such as John

Coltrane and usef Lateef, whilst adopting influences from hip hop, Afrobeat and the UK underground culture.'Eleven Grapes' is a song that was first conceived back in 2013. Its catchy

time signature and playful melody fit together perfectly. The intricate interplay between Tenderlonious's flute and Aidan Shepherd's keys transport you back to the heyday of Bennie Maupin and Herbie Hancock.

'One Mo' Dram 'is a tune reworked from an early Tenderlonious studio production. The groove is deeply rooted in traditional West African rhythm. Tim Carnegie's tough drum break builds and wraps itself around a slick trumpet

solo from Nick Walters, before rolling back into the intricate melody that binds the track together.

Finnish electro-tropical ensemble Maajo is delivering a new Queen Nanny EP with Ismaila Sané from Senegal. Currently based in Finland, Sané started his career as a dancer and percussionist in Dakar in 1974. He has since pursued an extensive international career and worked with the likes of Jimi Tenor and Piirpauke. Ismaila and Maajo have produced two powerful songs in Jola language, spoken in Casamance, Southern Senegal. Sèmbè is an off-beat mix of disco reggae grooves, dancehall rhythms, trancey synths, and African gospel. The dub version on the flipside does what a dub is supposed to do, strips the track to its bones for bass-heavy sound system. The second track, Anaata, is a dark and mellow dub disco groover with an equally sublime vocal performance from Ismaila Sané.

South African Mbaqanga And Bubblegum Instrumentals For The Dance-floor. First Time Available Outside South Africa. Cult Favorite Among Collectors. Follows The Successful Reissue Of bafana Bafana' Last Year. Professor Rhythm's 1991 Recording Professor 3 Is A Vivid Reflection Of Urban South Africa As Apartheid Was Ending. Thami Mdluli's Production Project Had Young And Old Dancing To A Sound That Sought To Unite Blacks Within Southern Africa. our Music Gave Hope To The Hopeless,' He Says. Mdluli's Third Instrumental Album (which Contains Some Background Vocals, To Be Exact), Portrays The Moment When The Dominant Mbaqanga And American R&b-based Bubblegum Sounds Being Produced In Johannesburg And Other Urban Centers Were Transforming Into House And Hip-hop-inspired Kwaito. The Pop Of The 80's And All That Went With It—from The Models Of Synths And Drum Machines To The Lyrical Style—gave Way To A Changing Melodic Emphasis And New, Much Slower Tempi Using A Completely Different Rhythmic Skeleton. Upbeat, Chipper Bubblegum, Often With Double-time Breakdowns And Upstroke Syncopations, Faded And The Sounds Began To More Closely Resemble Those Of Contemporary Black America—where Hip-hop Was Slowing Down And The Bass-lines And Melodies Were Getting Moodier, Darker In General. At The Same Time House Music Had Briefly Reached Mainstream Acceptance In The States And That Popularity Continued To Feed Into Awareness Overseas. These Two Influences Blended With The Burgeoning House Music Scenes In Johannesburg And Pretoria As Professor Rhythm 3 Was Being Produced In March 1991 (the Same Year Apartheid Ended). Mdluli Explains, we Were Influenced By Foreign Bands And So People Updated Their Sound.' According To Mdluli, The Evolving Sound Was Bolstered By Widening Availability Of House And Rap Records From Abroad While, Most Importantly, An Increasing Sense That Apartheid Might Soon Be Finished Was Met With A New Positivity Vibe Society. 1991, '92, '93... Mandela Was Released. People Were Upbeat, They Were Happy, The Music Was Good.' Professor 3 Came Out On Vinyl As The Lp Business Was Dying In South Africa And Sold Around 20,000 Copies. It Was Mainly Distributed On Tape, Which Sold Closer To 100,000. With The Help Of Engineer Fab Rosso, The Recording Features Backing Vocalists From Mango Groove. After Making A Half-dozen Records As Professor Rhythm, Mdluli Once Again Shifted His Focus Musically. By The Mid-90's He Had Veered Off Gospel Music— And Left Playing In Bands And Started Making His Own Solo Recordings. His Enormous Success In The Gospel Realm In The Years Since Is A Remarkable Story In Its Own Right, But For Now We Are Only Dancing.

Incredibly unique concept album from the one and only, Tom Ze´. As featured in
Rolling Stone magazine's 100 Greatest Brazilian Albums of all-time list (2007).

One of Ze's finest albums in our opinion, originally released by Continental
Brazil in 1976 - a tough one to find at a good price in its original form now.

'Estudando do Samba' (or 'Studying The Samba') is a post-Tropicalia studio
experimentation laiden with layers of hypnotic percussion, effects & samples
that deconstructs the 'samba' form. Recorded during what was arguably his most
creative period.

David Byrne found the record in Rio in the late 90's and included several songs
on his Tom Ze collection for Luaka Bop a few years later. At that time Tom was
not recording or touring much; playing low-key shows in Sao Paulo and
contemplating a move back to Irara´ to work at a service station owned by one of
his cousins. Byrne's project helped to reignite his career and he hasn't looked
back since.

Official Mr Bongo reissue. Licensed courtesy of Warner Music UK Ltd.

40 years after its first release, Cameroun born artists Zogo reissues for the first time his EP 'Africa' on Banquise. This release includes new versions by Dan Shake (Mahogani Music), Folamour (FHUO Records) and Tvfrom86 (In The Box Records).

The French-Afropean duo is back with a new funky masterpiece album! DjeuhDjoah &
Lieutenant Nicholson are French composers and afro-soul singers. The duo are creating a
new vibe with French sounds and mixing it with Jazz, Afrobeat, Electronic and Soul.
T'es qui was their first album released in 2015 and re-released a year later under the
name Remets t'es qui It was result of an intense collaboration that has lasted many
years, on stage and in the studio. They call their music 'Afropean songs', a collection of
Jazzy-Pop melodies, Afro-Soul and Funk arrangements.
This new album has 15 songs, and features a tribute to the famous poet Aimé Césaire on
the title. The Antilles are also honored with creole lyrics, and if you listen carefully - you'll
hear them distilled within the album. La Montagne Pelée's eruption in 1902 is evoked under
the prism of 'August Cyparis', one of the three survivors. The rhythms are tight and
focused, with some Antilles, but also Detroit elements thrown in, accompanied with a strong
horns section, vibraphone and analog drums. There are lots of echoes from the era of Jazz
funk and the lyrical French Mode, mixed with some slightly warmer currents that show their
wider love of modern funk and eclectic tastes.
It is a unique sound, an original recipe, using French wordplay with a universal message.
Last summer, they presented the now critically acclaimed first single 'El Nino', an Afro
Funk gem about climate change, and 'Fontaine', an Afro hit with a great combination of
analog take and electronic dance floor ingredients. With massive support from national
radios and prestigious international DJs such as Gilles Peterson, Aimez ces airs could be
one of the Top funky albums of 2019!
Limited press on a deluxe double vinyl cover designed by the artist Felix, mastered by Dj
Vas.

Hot on the heels of their acclaimed album 'Tikounen' - an album the Guardian called 'aleap forward in the modern Tuareg sound...truly radical' - Kel Assouf return with an even more transformative collection.

Produced by the band's keyboardist Sofyann Ben Youssef, the mastermind behind AMMAR 808, the new album strips things back to a power trio and focuses on the crackling, electric energy of Nigerian front man Anana Ag

Haroun's next level Tuareg rock songs. Available on CD and 180g heavyweight vinyl Anana exudes a steadied yet powerful charisma when he walks onto a stage. Wearing his trademark Panama hat and holding one of rock

and roll's most archetypal guitars - a Gibson Flying V - both his presence and his music personifies the interconnected paths he has travelled in the past years Kel Assouf's musical journey has flowed seamlessly from the well-spring created

by Ishumar desert rock pioneers Tinariwen - that Haroun first encountered as a young musician in Niger - towards sonic horizons that include the rock classicism of groups like Led Zeppelin, Black Sabbath and Queens of the Stone

Age and the club beats and astral ambiance of European electronic music. On Black Tenere, the band pushes these different textures and influences towards a persuasive, raw-edged crescendo.

The Wire - review + promoting/streaming the album on their website ahead of the release

Additional reviews expected in MOJO, The Guardian, Sunday Times and more broadsheets/music magazines.

Radio: Plays and support from The Cerys Matthews Blues Show on BBC Radio 2 / Gideon Coe on BBC Radio 6 Music / The Tom Robinson Show on BBC Radio 6

Music / X-Posure with John Kennedy on Radio X Plays with On The Wire on BBC Radio Lancashire, African Caribbean show on BBC Radio Leicester 104.9FM, The Outerglobe on Resonance 104.4fm London,

Nyami Nyami Records present a lost piece of Zimbabwean musical history: the only album from local legends the New Tutenkhamen, combining Jazz, Soul, Folk and Township rhythms. There are only 2 known copies of the original LP - this reissues make the music available again for the first time in over 40 years.

The New Tutenkhamen included many stars of Zimbabwean township music: Elisha Josamu was an alumnus of the fabulously-named Hallelujah Chicken Run Band (alongside Thomas Mapfumo), and Green Jangano's long-running Harare Mambos, and would later form Two Plus Two with bassist Christopher 'Chex' Tavengwa. Jethro Shasha played the drums, and would arguably become the New Tutenkhamen's most famous export, making continental waves working with likes of Salif Keita. Paul Sekerani played the rhythm guitar, with Amos Chatyoka on the organ, while the enigmatic Maggie Mbuli provided vocals and F. Manda played the sax.I WISH YOU WERE MINE was recorded at Teal Records and was produced by Crispen Matema, a talented jazz drummer in his own right who had played drums on the all-time classic 'Skokiaan', and had backed Louis Armstrong on his 1960 Rhodesia visit. Combining the heavyweight producing talents of Matema and the writing chops of Josamu, the New Tutenkhamen band created an album showcasing various musical styles popular at the time.

From the afro-jazz jam session aesthetics of 'Tutenkhamen Theme', 'Big Brother Malcom' and 'Forever Together', to the almost Van Morrison-sounding 'Sunday Morning'; from the upbeat rock ballad 'True Love', to the funk-infused dance song 'Togetherness'; from the bouncy jazz exhortations to work hard in 'Ane Nungo', to the brassy, raunchy foot-stomper 'Me & Dolly'. The title track 'I Wish You Were Mine' is a ska-infused ballad that wouldn't be out of place in post-war Birmingham, while the star of the show is 'Joburg Bound', itself a fast-paced rock piece with Motown undertones and funky guitar lines.

**UNRELEASED AFRO-CUBAN JAZZ**

Afro-Cuban Jazz of the highest orderl! And even better, these two songs have remained UNRELEASED for the past 52 years! Vibraphonist, flutist, and band leader Ulysses Crockett was a big name on the Bay Area latin-jazz scene of the 1960s. He started out with his own group Afro Blue Persuasion which included a very young Paul Jackson on bass who later became famous as a member of Herbie Hankock's fusion-jazz masters The Headhunters.

"Cuban Fantasy" and "Poinciana" were both recorded live in 1967 but remained unreleased until now. Both songs are taken from the soon to be released 33rpm record titled "Live at Haight Levels" which includes more unreleased material as well as the full length version of both of these two edited tunes.

This 7" runs at 33rpm to provide the best sound quality possible.