Hip-Hop News

The legendary disco producer (and drummer) Cerrone has announced the release of his new Afro EP II, that will be coming out July 29th via Because Music.
Based in France, Cerrone has sold over 30 million albums worldwide throughout his career, and won a GRAMMY Award for his first hit 'Love in C Minor' (he also has four other GRAMMY nominations).
It was not a surprise to see him come back to his first loves in 2016 with his first 'Afro' EP.
Today, Cerrone announces the release of the second chapter of his Afro series, the second return to the roots for the French disco maestro. 'African Voodoo' and 'Papa Oye' are his two new songs paying a passionate homage to Africa and its syncopated, spontaneous and genuine rhythms.

Super deep African / New Age / Minimalistic / Ambient crossover from Cabo Verde - Not the typical record, a beautiful listening experience - Check !!
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Originally conceived as a book of 6 poems that developed into a record released independently in 1986, Universo Da Ilha sits at the cross-section of many different genres. Connecting contemporary New Age and ambient minimalist movements with traditional West African and Cape Verdean elements from the past (griot voices, djembe rhythms, melancholic morna), Vasco constructed his own 'universe' where, in spite of the isolation of the island at the time, he transcended barriers and created a global record that was ahead of its time

Vasco used his own synths and drum machines, and with the help of a small group of friends (Tey Gonçalves on percussion, Neney's amazing griot voice, Luis Morais on sax and flute), he recorded this Not-Balearic-but-Atlantic Ambient odyssey on a 16-channel Peavey mixer directly to an Akai tape recorder without overdubs.

ONIPA means 'human' in Akan, the ancient language of the Ashanti people of Ghana. It's a message of connection
through collaboration: from Ghana to London, our ancestors to our children, Onipa brings energy, groove, electronics, afrofuturism, dance and fire!

Born out of deep collaboration between long time friends KOG (Kweku of Ghana of KOG and the Zongo Brigade) and Tom Excell (MD, guitarist and writer of acclaimed jazz/ soul afrobeat pioneers Nubiyan Twist), the 4 piece live show features KOG on vocals, balafon and percussion, Tom Excell on guitar, percussion and electronics, Dwayne Kilvington (Wonky Logic) on synths and MPC and Finn Booth (Nubiyan Twist) on drums.

It's a fresh, raw, fiercely energetic new sound, fusing electronics and deep afro grooves. Think Konono no.1 meets Shangaan Electro, Songhoy Blues and Débruit....

Paris - Brazzaville - Kinshasa - Abidjan - Douala.

A celebration of the underground Pan-African music scene centred around Paris in the 80s featuring never-before-reissued productions and dancefloor sure-shots taking in new forms of dancefloor-ready Rumba, Bikutsi, Soukous, Boogie and more.

In the early 80s a perfect storm of social, technological, political and cultural developments brought about a unique music scene centred around Paris, away from the major labels and pop charts. Musicians, ideas and styles flew between the small independent studios and labels of the French capital and Francophone Africa and the Caribbean, experimenting with new technology and drawing in a dizzying array of influences to soundtrack clubs, bars and radio stations.

Comes with 28 page magazine format booklet featuring previsouly unpublished photos from the archives of photographer Bill Akwa Bétotè as well as interviews with producers Cyriaque Bassoka and Rigo Makengo, musicians Michel Alibo, Denis Hekimian & John Jongos and Studio Caroline owner Jacky Reggan.

From the inheritor of John Coltrane's mouthpiece a re-integration of deep South African jazz roots with the Black Atlantic spiritual jazz continuum.

Celebration's release trumpeted the emerging dawn of South Africa's epochal changes. Sainted and blessed, Bheki Mseleku appeared as the herald of a new era, a prophet of rebirth and reconnection. This is a work signalling transition and change, and a sign of a South African music that was properly reconnected with global currents - a music that could journey far beyond the stifling combination of exile and oppression in which it had been bound.

Recognising Bheki as a kindred spirit to her late husband, Alice gave him the saxophone mouthpiece that John Coltrane had used during the recording of A Love Supreme. Coltrane was a permanent touchstone for the pianist, one of the few who Bheki felt had the same esoteric and spiritual focus as himself: 'the only musicians I know of who were deeply into this were Coltrane, and Pharoah and Sun Ra', he told an interviewer in 1992.

While the idioms of post-Coltrane spirit jazz are certainly to the fore on Celebration, they are energised by a swift and original musical vision, quite specific to Bheki's music, in which whole musical systems - the marabi and mbhaqanga jazz of the townships, American jazz, European classical, and more - are seamlessly mended together by the pianist's quicksilver musical sensibility and legendary technical ability.

Celebration was originally released on compact disc and cassette in the middle of 1992 by World Circuit. It was Bheki's first statement under his own name, and the first recorded presentation of his personal musical vision. This vision had been tempered across two decades which had combined intense professional playing with profound personal trials in both the spiritual and earthly domains, all set against the greater backdrop of South African political turmoil and exile in Europe.

The band brought together musicians hailing from three signally important points within the interconnected, communicating spaces of the Black Atlantic continuum - North America, post-colonial Britain, and southern Africa. With them, Mseleku created the first major South African-led musical statement to be produced after the sufferance of exile was ended. The ultimate and most egregious remnant of the centuries-long colonial era, apartheid, was finally being dismantled as they played. At this critical point, Mseleku's musical spirit work, channelled from a higher source, spoke of a time to come where all divisions might be transcended by a greater unity.

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!

* Back on vinyl officially for the first time since 1973

* Reissue of this RARE Nigerian landmark Psy-funk album

* Comes with insert containing exclusive liner notes

* Strictly limited to 500 copies worldwide, comes with obi-strip


Tidal Waves Music now proudly presents the first OFFICIAL reissue of this landmark Nigerian album. This RARE classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited vinyl edition (500 copies) complete with the original artwork and exclusive liner notes/pictures provided by Ofege's founding member 'Melvin Ukachi' who also supervised this reissue.



Ofege was formed in the early 1970s by a bunch of teenagers at the St. Gregory's College in Lagos Nigeria. They were largely influenced by the guitar solos of Carlos Santana, Jeff Beck & Jimmy Page while closer to home, they were influenced by the music of 'BLO' (Berkley Jones, Laolu Akins and Mike Odumosu), 'Monomono' (led by Joni Haastrup), The Funkees, and Ofo The Black Company.

Due to their vibrant combo of sweet harmonies, hooks & fuzz, Ofege would become one of the most legendary Nigerian groups of all time, with expressive sales and national stardom. At the turn of the century (and because of tracks appearing on various psychedelic music compilations) Ofege would receive international acknowledgment for being the first of their kind and the ultimate West-African psychedelic funk band!

Their first album was recorded while the band members were still in high school (average age of 16), Ofege's debut album 'Try And Love' was originally recorded and released in 1973 on EMI Nigeria.

'Try And Love' is wild and uncompromising blend of soul, funk and rock with complex and groovy rhythms. Ofege succeeded in creating a debut album drenced with fuzzy guitars, plaintive/wailing vocals and a backbeat as influenced by James Brown as it is by Fela Kuti. It's a unique, raw and beautiful take on the psychedelic sound. The ingenuity allied with the inexperience of its members makes this album a real treasure.

A captivating collection of early singles by the renowned Zimbabwean Mbira master and a true African music icon. The songs were mostly recorded in the 1970's, during the buildup to the Chimurenga revolution,

and were only ever released in Stella's home country. Deep resistance & culture. 'I am a rebel', smiles the 70-year-old Stella Chiweshe. Her album 'Kasahwa: Early Singles' offers a fascinating introduction to the world

of Mbira, with the term not only referring to the instrument, consisting of 22 to 28 metal keys mounted on a wooden healing tree body, but also to a musical genre - and on a much wider level, to an entire culture and deeply spiritual

lifestyle, very much at the core of the young Zimbabwean nation. 'Kasahwa' is a collection of impossible-to-find early seven inches, eight cuts spanning the period from 1974 to 1983 and representing Mbira in its purest

form. None of these songs has been released outside of Africa so far.

Legendary Ghanain album - with one of the music iconic covers ever! - that fuses Highlife, afrobeat, folk and funk. Ambolleys debut solo album originally released in 1975, written and produced with Ebo Taylor.


Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot.

'Simigwa' was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record.

'I've Been Loving You' sees Manford Best finally laying the ghosts of The Wings to rest and emerge as a serious player in the glittering new world of Afro boogie. Recorded in London, with Nigerian super producer, Jake Sollo, at the desk, it is a highly polished collection of disco classics, guaranteed to fill any dance floor in the world. The title track gets the party started with an irresistible bass line and chirpy horn section. Written by Best while he was still in The Wings, the song is unrecognisable from the one that topped the Nigerian charts in 1973. 'Let's Spend The Night Together' has a groove that suggests Manford has the dance floor on his mind, not the bedroom. 'I Feel Like Dancing', written by Jake Sollo and featuring the vocals of Nigerian diva, Pat Henry, is sophisticated and sexy and a stone cold classic of the era. 'I've Been Loving You' is an extraordinary metamorphosis. Manford Best, the rough and ready guitarist from the back blocks of eastern Nigeria, emerges as a glittering 'disco' butterfly, ready to strut the dance floors of London - and the world.

On Ultra Satans second 7inch release on Hoga Nord Rekords, the band is developing a new genre and concept: 'Freedom Rock', which is also the title on one of the tracks. 'Freedom Rock' is a step beyond 'World Music' which would be the wrong label when Ultra Satan sounds too spaced out and out of this world.

On the second track 'Anti Clock', Ultra Satan hit strikes against the hysterical Swedish mortgage market, how safety destroys creativity and also against the worthless tokens of appreciation you receive from our corrupt and ultra capitalistic society.

Ultra Satan is like a space being, living alone in an enormously big and empty space station, orbiting our planet. With mathematical precision this genius creates music that effects us earthlings on a transcendental plane and shakes the foundation we lead or lives upon.

Official Mr Bongo reissue of the ultra-rare album by 'Super Elcados'. A fusion of heavyweight Nigerian funk, soul & disco, originally released by EMI Nigeria in 1976. The 'Super Elcados' (and 'Elcados' on other recordings) recorded three albums in the mid and late-70's, this is their first. It was followed by 'This World Is Full Of Injustice' and 'What Ever You Need'. Licensed from Geoffrey Johnson (Elcados), courtesy of PMG, with special thanks to Dave Hill for his help.

Ayuune Sule brings 'the Soul' into Kologo Power. In Europe we know Ayuune Sule as a member of King Ayisoba's band and as a solo artist who often opens up for his shows.
When listening to Sule's guest vocals on King Ayisoba's albums you hear the 'warm velvet voice' of Ayuune Sule as a striking contrast to King Ayisoba's forceful rasping vocals. We Have One Destiny is full of that velvet tone and true West African soul power. Living in Kumasi makes it easy for Ayuune Sule to be influenced by southern Ghanaian music styles such as Azonto and Hiplife and fuse those with the rhythms and scales from the north. This album is a true mix between modern
and traditional.

Calypso Rose Sure Has Style And Zeal, And Her 2016 Album, Far From Home, Goes To Prove It. Much Loved And Made With The Support And Blessing Of Manu Chao, Far From Home Was Well Worthy Of The Praise And Its Victory At The Victoires De La Musique French Music Awards. And Now She's Back With A New Album, So, Calypso!

There's No Doubt About It, As The Self-proclaimed 'queen Of Calypso', Calypso Is Her Thing And No One Has Ever Come Close To Dethroning Her. She Remains The Voice Of This Musical Style Originating From Trinidad And Tobago And Standing Out In A Traditionally Male Dominated Musical World She's Very Much A Contemporary Emblematic Figure In The Fight For Women's Rights.

For Her New Album, With A Back Catalogue Of More Than 800 Songs And 22 Albums, The 78-year-old Tobagonian Diva Decided To Go Back To The Start, And Re-record A Number Of Her Career Defining Numbers And Cover Songs From Those Artists Which Have Inspired And Continue To Inspire Her, Like Nat King Cole, Aretha Franklin, The Melodians And Angélique Kidjo. Common To All The Covers, Be They From American, Jamaican And African Artists, Is They All Share Their Sentiment With Calypso Rose's Social And Musical Values.

For Example, Calypso Rose Has Covered Nat King Cole's Calypso Blues. Born In Montgomery, Alabama In 1919, The Piano-playing Crooner, Who Took A Stand Against Racism And Segregation, Wrote The Song In 1949. Nat King Cole Embraced The Cause Of All North Americans Who Came From Other Lands, From Africans To Caribbean People And Hispanics. Calypso Blues (lyrics By Don George, Accompanied By Duke Ellington) Simply Tore Apart American Ideals, Praising The Wonders Of Papaya Juice And Shrimp And Rice Over Hot-dogs, The Douceur De Vivre Without A Dollar To Your Name, And The Virtues Of Trinidadian Women Over Icy Blondes.

Fatoumata Diawara released her brand new single 'Nterini' on 8th March. A poignant, melodic ode to a distant lover, 'Nterini´(which translates as my love/friend/confidant') musically straddles the traditional and the modern.

Taken from her forthcoming album, the single was co-produced by Diawara and Matthieu Chedid (better known by his stage name -M-). Chedid, a superstar in his native France, recently won the 'Best World Music Album' award at the French Grammy Awards for his 'Lamomali' project, which also featured Fatoumata.

Hailed as one of the most vital standard-bearers of modern African music, Fatoumata Diawara is boldly experimental and yet respectful of her roots. A modern day storyteller, her songs cover such timeless subjects as respect, humility, love, migration, family and how to build a better world for our children.

For The Best Part Of Two Decades Now, South London Afro-dub Dons Soothsayers Have Been Preaching Their Politically Charged Good Vibrations To A Growing And Loyal Fan Base. Their Live Shows Are Legendary And Vary From Off-the-cuff Community Friendly Gigs In Brixton, To Festival Headline Slots And Tours Across Europe And Beyond. Having Recently Filled London's Jazz Caf To Much Acclaim, And In Anticipation Of Their New Album, Tradition, Out On Wah Wah 45s In June, Soothsayers Unleash The Second Single To Be Taken From It. It's A Double Header Of Sorts That Shows The Band's Knack Of Reinterpreting A Cover Version Or Two For The Dance Floor.

Sleepwalking Is A Take On Fela Kuti's 1971 Classic Black Man's Cry. It's A Chant Of Frustration Aimed At Disenfranchisement From The Process And Features Afrobeat Ambassador Dele Sosimi On Guest Vocal Duties.

It Questions If We Are Sleepwalking Into The Abyss, And Is A Revolutionary Song About Taking Power Back Into Our Own Hands! Although It's Challenging To Do Justice To A Bob Marley Cover, On Natural Mystic Soothsayers Cradle The Spirit Of The Originator And Turn It Upside Down, Transforming The Familiar Into A Journey Back To Africa Via Their Trademark Groove.

Spiritual Jazz Flutes And Percussion Combine With The Floating Vocals Of The Mighty Cornel Campbell, While The Song's Main Melody Is Emphatically Reproduced By Soothsayers Horn Section To Stunning Effect.

8th release from RBMB
Lil'dave is a Philadelphia-based audio tastemaker who has made a name for himself by exposing people to soulful music in all it's forms. As a DJ, he can easily whip the most mainstream crowd into a frenzy, but he is at his best when he digs deep into his crates for funky grooves, broken boogie, and thumping bass. When it comes to making music, lil'dave's productions draw from his hiphop roots, as well as his love of house, afrobeat, uk garage, salsa, jazz, synthesizers, and soul. He has released music as lil'dave, Illvibe Collective, and under his electronic alias, Osage.

* 180 Gram Audiophile Vinyl
* Gatefold Sleeve
* First Pressing Of 750 Individually Numbered Copies On Coloured Vinyl

The Ghanaian Afrobeat band Osibisa released their sixth studio album Welcome Home in 1975. Since their formation in 1969 they played an important role in bringing the world music to a bigger audience. The African and Caribbean musicians recorded an catchy fusion of jazz, funk, rock, Latin and music from their own continents. Their music can be compared with the early Santana releases, from psychedelic guitar to fine rhythms. The album Welcome Home includes their massive UK hit "Sunshine Day", with funky melodies, and their soft acoustic title song "Welcome Home". With the use of vibraphones, percussion and wind instruments the sun is going to rise higher above the musical grounds.

Osibisa is an important name in the influence world music has had during the seventies. In their almost 50 years of existence they recorded over 20 albums and even now they're still performing live.

Welcome Home is available as a first pressing of 750 individually numbered copies on coloured vinyl.

For the 20th anniversary of Fela Kuti's death (August 1997), ex Saïan Supa Crew member Leeroy invites us to revisit the Black President's world through his Fela Is The Future' project. Leeroy is both the director and artistic director of this ambitious project which he chose to record in June 2017 in Lagos, the buzzing economical capital of Nigeria (20 million residents) and hometown to Fela Kuti. Across the span of his career, Leeroy has always taken an interest in other continents: he previously displayed his desire and skill for finding inspiration in world music with African Trip' (West African music remixes), Bollywood Trip' (Indian music remixes) and his early instrumentals for the Saïan Supa Crew.
Leeroy brought together the Kuti family (Femi and Seun Kuti, Fela Kuti's sons) with Féfé, Nneka, and Nakhane, who featured on the project, Fela Kuti's original musicians (Duro, his only ever keyboardist and Showboy, saxophonist turned vocalist) as well as with new Nigerian talents such as percussionist Wura Samba. Over the 20 days of on-site recording, younger generations were also given the opportunity to re-unite with (or simply discover) the
heritage of a man who has had an impact on both Nigeria and the world since the 70's: as one of the founding fathers of Afrobeat (a genre blending African American elements of funk and jazz with West African genres such as traditional Nigerian music and Yoruba rhythms), as well as being the founder of the Republic of Kalakuta (the self-proclaimed homeland surrounding his house), he was a relentless human rights activist (and spent multiple
years in prison because of it). Fela was close to the people and sang of the suffering of his peers, as did Bob Marley and Gil Scott Heron in the same years. He would write and sing in Pidgin English in order to ensure his message could be understood by everyone.
Leeroy chose 12 iconic songs from Fela's protean works and requested that musicians play the essential melodic and rhythmic elements of each, then remixing and chopping the strongest results, adding his own electronic and hip-hop twist. Leeroy then selected artists to feature on the album: Féfé's flow brings a Hip-Hop touch the final record, Nneka adds a mystical and militant feel while Nakhane brings class and sensitivity to the table. At 34 years old, Seun Kuti displays a directed fervor while Femi Kuti, 55, brings forth the wisdom of a man who has been through every battle.
Beasts Of No Nation' is the first single from the album: A Fela classic, the lyrics denounce the gangrenous corruption which has infected power (judges, politicians, police) and disregard for human rights. The names of the leaders cited in this hymn (Reagan, Thatcher) could also easily be substituted with those of current world leaders. The original artwork by Lemi Ghariokwu, his 27th for the musician since they first met in 1974, is a painting which depicts two interweaved copies of Fela's face in yellow and white. One could read the mix of both colors as a reference to the past and the future. The silhouette of the Black President can be made out in the background as well as some of his most famous quotes: 'Human rights are our property', 'Music is the weapon of the future'... Lemi thus builds upon Fela's works (the singer first discovered him in the street), renewing his style by
painting a singular picture of Fela Kuti and projecting him once again into his own era.

She Is My Woman is Murphy William's loose, funky and spontaneous call to the dance floor. It's an infectious collection of good-time tunes that the band seem to be enjoying as much as the listener. Williams was a stalwart of the Nigerian music scene, joining Godwin Omabuwa's Cassanova Dandies at 17 before becoming one of the two lead vocalist of The Apostles from Aba. He was famous for his distinctive four octave voice, a voice that legendary label boss, Godwin Tabansi decided was perfectly suited to the new disco sound that was gripping Nigeria. The title track gets the party started with Felix Liberty providing the good-time guitar riffs, Friday Pozzo on congas and Sonny Enang keeping it light on keyboards. The vibe is tight and bright, breathy a breezy charm into disc-tied versions of Igbo folk songs 'Selense' and 'Ima Obi O.' The undoubted highlight of the album is 'Get On Up', a certifiable disco classic that would slay any dance floor anywhere in the world. It's funky, it's fun and by the time the lyrics implore the listener to get on up and dance their feet have already been convinced by the music. Put it on and it's guaranteed to get any party started. - Peter Moore

GROUND-BREAKING, CLASSIC BOOGIE & DISCO LP FROM 1979 NIGERIA, FEATURING 'AGBOJU LOGUN'
First official reissue of the extremely rare full-length album by Lagos-based bandleader Shina Williams. Clean copies of the original currently sell for up to £500.
The record was born in 1979 when Shina put Biddy Wright, Fred Fisher, Saliu Alabi, Prince Bola, Tutu Shoronmu, Tunde willimas and several other decorated Nigerian musicians - who played with the likes of Fela Kuti, SJOB Movement, Sonny Okoson, King Bucknor amongst others - together to record. The result is 'African Dances', a timeless fusion of afrobeat, electronics, boogie and disco.
Includes his most well-known song, 'Agboju Logun' that Williams knew was ground breaking - I want to show the whole wide world that Africa is alive with modern musicians to reckon with anywhere,'. This album version is a different mix to the two-track 12' that came out under on Earthworks, Rough Trade in 1984.
Official Mr Bongo reissue. Replica original artwork. Licensed direct from Shina Williams.

Pure Singeli fiyah from Tanzania's febrile Dar Es Salaam underground, showcasing the punkish sounds of the Sisso Records studio with a belter volley of hi-velocity missiles for Kampala, Uganda's Nyege Nyege Tapes. Hitting frenetic levels of velocity comparable with full on Soca or Shangaan Electro styles as much as Northern British takes on happy hardcore and Makina, trust there's no messing about with this one.
For us, like many others, we'd imagine, this is a bracing first introduction to the Singeli sound, whose collision of souped up rhythmic energy and breathless bars should immediately translate far beyond its east African base. Across the 14 tracks of Sounds Of Sisso we're familiarised with the sound's core producers - Bwax, Sisso, Tampa Pana and Yung Keyz Morento - and its amazing fast chat MCs - Dogo Niga and Makavelli - with a totally uncompromising style that can't help but make most other dance musics sound a bit pale and limp by comparison.
No matter where you're from, this is patently music for raving to, combining punkish, satirical lyrics about the challenges of Tanzania's youth - from police corruption to dating when you're broke - with productions that scream get mad get mad in a way that's maybe best associated with hedonistic noise or gabber. However, this is from Dar Es Slaam, and they've got some heavy style down there.
From the near cheek-pulling G-force of Bwax and S Kide's Baba Aminata Natafuta Kiki to the mental, cut-up intro and rapido attack of TMK by Suma, nobody lets the pressure gauge tick below f**king off it, pal, taking in the chipmunked Bollywood chorus and speecore pace of Dogo Niga's Polisi and the Shangaan/Soca-like hybrid Mshamba wa Kideo from Mzee + Bwax or the Nu Monkey-on-tour styles of Kimbau Mbau along with the Nkisi-esque jag of Maseke, Pasopa and Mako_Roho's Inauma. But, there are also some sweeter and hip hop styled freaks, too; check for the warped hip hop knock of Nammiliki from Makavelli, or the sugar-rush of Csso's Shobo and the hyper colourful soundsystem FX of Ndugulawama.Unmissable!

None-more-vital East African label Nyege Nyege Tapes present Otim Alpha's melodic electro Acholi bangers on vinyl for the 1st time, following suit with their blazing, acclaimed Sounds of Sisso compilation resplendent in a faithful new remaster by Matt Colton.
Alpha's debut international release Gulu City Anthems features 11 songs written and recorded between 2004 and 2015 in Northern Uganda and ranges from hi-velocity bangers to more romantic mid-tempo swagger, all serving a totally infectious showcase of his plugged-in take on traditional Larakaraka wedding music that's bound to get a lot of listeners itching for a +1 invite to
one of his ceremonial sessions (crashing is always an option, too!).
Working with producer Leo Palayeng, Otim essentially computerised Acholi wedding music, weaving its traditional, see-sawing folk fiddles and call-and-response vocals with stripped, pounding drum machine polyrhythms in a sort of hypnotic, minimalist delirium. For the most part,it's properly uptempo, with some searing highlights in the likes of his wickedly off-kilter jig Kodi
Pa Barikiya (Kwan), the jabbing clash of almost cajun-style rapidfire riffs and turbo-charged toms in Toni G, or the Detroit/Chicago ghetto-compatible bang of Too Wiye Ming-Alphazo. But there's also one super-charming piece called Agiki Ne Tye which works at a relatively leisurely 120bpm with strolling bass and bright, joyful chord cadence, presumably intended to allow the party a sweet breather.
Following Alpha's recent, stellar introductory live show at Unsound '17, this collection is set to impress his sound to eager ears beyond Uganda and the East African scene, and is surely destined to be lodged in record collections somewhere between your Shangaan Electro, Konono No.1 and Caribbean soca faves - in other words; your party-starting section

Founded three years ago, KALAKUTA SOUL RECORDS has been delivering quality releases keeping quite a bunch of dancefloors busy all over the world. For its sixth release, the Bochum based Label has managed to put ist hands on three soulful jams that will shake the hell out of any encrusted hip. For this release, Cary Crant has put three marvellous tracks together delivering a heavy stomper on th A side while dedicating the B side to all the dancing souls that love to get lost in a huge amount of love leaving the speakers in every single minute of its two tracks.

File under : Dub / Reggea / Electro. Chinese Man records celebrate its 10 years anniversary and release a new volume of the Groove sessions. Featuring Tumi, La Yegros, Johnny Osbourne, Lush One among others... Video 1st Single: Once Upton the Time feat Tumi:

Soul Jazz Records/Universal Sound are reissuing jazz composer Oliver Lake's 'NTU: The Point From Which Creation Begins', his stunning rhythmical Afro-centric deep spiritual jazz debut album originally recorded in 1971. This classic spiritual deep jazz album has been digitally remastered and is available in bespoke original exact reproduction artwork on hardboard Japanese-style boxcase CD, very limited (1000 worldwide) heavyweight 180gm audiophile vinyl, and digital download. This album features in Gilles Peterson/Soul Jazz Records' own 'Freedom, Rhythm And Sound' large-format book of revolutionary jazz.

Transcending from an African household name to a global superstar, chart topping Nigerian musician and creative Adekunle Gold marks this chapter of his ascension with the release of his new album Afro Pop Vol. 1, the first of a 2-part series.

Foreshadowed by internationally acclaimed singles “AG Baby” and the sensational “Something Different” (which is sitting on 23M streams globally), Adekunle’s third studio album – and first with EMI/Universal - emerges as a fresh approach to the crooner’s sound, more embracing of wider influences while underpinned by the traditional West African sounds that positioned him as a unique force in music.

Going from the rock-laced “Exclusive” and the dancehall-leaning “Pretty Girl” to firmly embracing the afro-pop label with sweet “Here For Ya”, he seeks a diverse evolution here. More progressive pop sounds are adopted, a noticeable departure from the high-life sounds of his 2017 Billboard-charting debut Gold. Nonetheless, his highlife roots and a love for the six strings of the guitar run deep on this project, and his unmistakable vocals are the rich tapestry that expertly weaves the album together.

Focusing on “Pretty Girl”, Adekunle shared: "’Pretty Girl’ is a fun dancehall song that talks about the multifaceted-ness of a woman. How she can go from demure to breaking her back on the dance floor. Love to see a woman be all she wants to be without reservation.”

His most ambitious body of work to date, with notable guests including Tekno, Patoranking and Nailah Blackman speaking to the calibre of this new release. Adekunle adds: "’Afropop’ for me is a diverse take on pop music. It encompasses all genres, heavily influenced by my African roots. I don’t want to be the guy from Africa that made a world album, I want to be the guy from Africa that made an album for the world,”

Capturing audiences as he continues to push creative boundaries with his art, Adekunle Gold has continued to see incredible success to date, with his sophomore album About 30, going onto make the consideration list for the 2019 Grammy Awards category for Best World Album as well as being the talk of key tastemakers to date incl. NOTION, BILLBOARD, OKAYAFRICA, NATIVE MAGAZINE and COMPLEX.

Afro Pop Vol. 1 is Adekunle Gold’s true arrival. Not wavered by the pressures to conform, he leans into every fibre of his self-expression making this his most special album to date.

Les Disques Bongo Joe, continuing their work on Sao Tomé and Principe with curator DJ Tom B., are pleased to announce the release of an anthology of the group África Negra. This first volume includes 12 of their key tracks, remastered for the occasion and selected only from those officially released on different media. The album is accompanied by a booklet with the original covers and interviews with the band members still with us. A second volume containing only unreleased material, digitized from the studio tapes by their tour manager, and filled with period photos, is expected soon. Formed in the early 1970s by Horacio, a butcher by trade, and his guitarist friend Emidio Pontes, África Negra is the best known of the great São Tomé and Principe bands. The catchy melodies in the local Forro language, provided by lead singer João Seria, and subtly harmonized by the enchanting backing vocals of the rest of the band, quickly ensured their influence outside the archipelago. Their incomparable blend of Puxa and Rumba rhythms and subtle melodies made them the most regular touring band from Sao Tome. Their first album (Aninha) was released in 1981, followed by three more in 1983. They contain an incredible collection of timeless hits and have achieved high ratings on the second-hand market. Then came the excellent San Lena in 1986, which was unfortunately only released on cassette, but for which we were able to digitize the original tape. In 1990 their last album in vinyl format (Paga me uma cerveja) was released, the rarest. Three CDs and five cassettes followed in the 1990s. Like most São Tomean bands, they recorded their compositions at Radio Nacional STP, the only studio on the island at the time, whose cramped premises forced the big bands to do sessions outside in the courtyard, at night, facing the ocean and in front of their fans. Reformed around João Seria, the band has recorded three albums since 2012, and has been touring again for a few years, offering, always with the same energy, their frenzied rhythms, their graceful harmonies, their poetry full of social metaphors, and their typical dance steps.

On December 2013, during Alain Pilot's show “La Bande Passante” and as part of the celebrations for Manu Dibango’s 80th birthday, Radio France Internationale gathered around the African master a bunch of prestigious guests including the Ethio- Jazz ambassadors : Akalé Wubé.

The band decided to play live and on air African Pop Session and Ekedi - both written and recorded by the Cameroonian saxophonist in the early seventies - quickly joined by Manu Dibango and his saxophone. Two live recordings of this session will be taken out this pathbreaking and improvised meeting.

A great complicity shortly settled between them and, a few months later, Akalé Wubé invited Manu Dibango on their track Anbessa (The Lion in Amharic) composed as a tribute to him. This collaboration led them to share several stages together in the following years.
With this RFI session still in mind, Manu Dibango invited the band to join him in studio for Akalé Wubé to arrange and re-record 5 other unknown nuggets from his catalogue : La Colère des Dieux, Du Bush a Bush, Gentlemen de Camp Yabassi, Otetena Munja and Peaceful Homeland.

On the heels of his already critically acclaimed (yes, already!) retrospective, World Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah, Alhaji Waziri Oshomah — the Oyoyo King, the Godfather of Afemai Music, the Etsako Super Star, Mr. Please Please Please, Mr. Dynamite — returns with Vol. 2.
Along with the other four volumes of the series, Vol. 2 is now available—for the very first time!—as part of a complete set (in a box): Vol 1 - 5 (1978 - 1985) (November 4, 2022).
Waziri hails from a small part of Edo State in southern Nigeria called Afemailand, known for being a harmonious region where Muslims and Christians live—and dance—together. And there, as a devout Muslim and an exemplar of religious piety in his community, Waziri’s music fuses Etsako/Afemai folk styles with pan-Nigerian highlife and pop to create a sublime vehicle for his Islamic philosophy that gets everyone—Muslims, Christians, whoever—on the dancefloor.
Vol. 2 focuses on Waziri’s illustrious mid-career output—the music he created during the years leading up to and after he performed his first hajj. Every song here (one of which you might recognize from The Muslim Highlife) strikes his signature balance of traditional music, highlife, and funk, as he entreats you to stay on the straight and narrow, though there’s nothing straight about his beat.
On and off the record…
This is the second of the five-part Volume Series, which was recently compiled for the first time in the limited-edition box set, Vol. 1 - 5 (1978 - 1984) (November 4, 2022).
This release follows World Spirituality Classics 3: The Muslim Highlife of Alhaji Waziri Oshomah (September 23, 2022).
The Muslim Highlife of Alhaji Waziri Oshomah, received an 8/10 from Uncut, ★★★★ from MOJO, and has been called “therapy, worship, ecstasy” by Pitchfork (7.2).
Release supported by archival and new video content.
Alhaji Waziri Oshomah will play select shows—along with his wife and musical collaborator Madam Hassanah Waziri—in the U.S. and Europe throughout 2023. l He can perform sets as long as 3-4 hours! (Depending on the financial strength of the village).
Sings in English and local languages and is regarded as #1 Singer in all of Edo State.

“L’amour à folie” is Amadou & Mariam ‘s final album. It was created entirely while Amadou was still with us, making this release especially meaningful and deeply emotional. Amadou is gone, but the music and voices still resonate, an echo suspended beyond time and space. It is Mariam’s wish, after the mourning period, to return to the stage with the new album that the couple composed and recorded together over the past seven years.

The Swiss trio AMAMI returns with ISLANDS, a new EP featuring four explosive tracks along with their Dub versions. Following the success of their previous projects GIANT and SOLEIL, the group continues to explore the intersection of Dancehall, Dub, and Afro-Pop, while staying true to their live approach, without sequencers or computers.

Issued from the EP, we release today on a 7’’ Wrong Way. The track kicks off with a powerful Jamaican influence, mixing Steppa, Rockers, and Dub into AMAMI’s signature explosive fusion. This track, a real dance floor igniter during the group’s European tours, is an energetic bombshell that turns every set upside down.

In addition to the original song, the 7’’ features a Dub version, paying homage to the Jamaican Dub scene. For this remix, AMAMI collaborated with Dub legends VIBRONICS from the UK. These bold reinterpretations honor the genre, emphasizing bass, drums, and sound effects like Delay and Reverb, all while staying rooted in a dynamic and experimental vibe that invites dancing.

Global pop star and 3-time Grammy winner Angélique Kidjo has partnered with 2015 Grammy producer of the year Jeff Bhasker (Kanye West, The Rolling Stones, Beyonce) for a full circle re-imagining of Talking Heads' 1980 landmark album Remain in Light. The album features appearances by Alicia Keys, Questlove of The Roots, Ezra Koenig of Vampire Weekend, Blood Orange, Tony Allen, Angelique's longtime guitarist Dominic James, and Magatte Sow (percussionist for the 'Black Panther' film score). Visual artist Kerry James Marshall collaborated on the album artwork.

Global icon and five-time GRAMMY® winner Angelique Kidjo returns with HOPE!!, a revelatory 16-track collection that serves as a vibrant antidote to the times. Following her 2021 success Mother Nature, this album bridges continents and genres, featuring a star-studded lineup including Pharrell Williams, Quavo, Ayra Starr, Nile Rodgers, and Davido among other A-listers

Produced by Pharrell and Shizzi, and featuring songwriting by the legendary Diane Warren, HOPE!! is more than an album—it’s a global musical movement dedicated to the resilience of the human spirit.

The unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock, hip hop, afrobeat and beyond.

Born in a Brooklyn warehouse in 1997, 12 piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.

On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer Gabriel Roth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.