Afrobeat Sale 72 Items

Cover has tiny wear, stuffed corners. Vinyl has some scuffs and light scratches, vinyl is close to VG+. US reissue from 2011. Limited edition. Handnumbered copy #849.

Raï is the music of a youth hungover from Algeria's recent independence. It became a space for a liberated, transgressive dialogue that told the social truths of its time -- an up-front yet poetic voice that covers the taboos and frustrations of daily life, expressing emotion without detour. This voice is heard at weddings, cabarets, in the nightclubs of the Oranese coast, and casually on the street... With the boom of the audio cassette, an avalanche of raï tapes were produced in Oran and diffused all over the world. Both women and men sang and listened to the new sound, as raï is intimately tied to parties, alcohol and the night. With the spontaneous improvisation of its singers as the main part of each song, raï keeps reinventing itself. In this style, Cheb Hasni, along with Cheb Nasro, incarnates a second generation of musicians. With the "love raï", or sentimental raï, Hasni sings about love, passion and its setbacks -- moving away from the bittersweet daily chronicles of the first chebs and chebates. Having recorded nearly 150 cassettes, Cheb Hasni remains one of the most prolific and talented raï singers of his generation. Almost thirty years after his death, this three-volume compilation of rare tracks from his cassette releases on the Oriental Music Production label is a tribute to the lasting legacy of Cheb Hasni -- ya raï! The three volumes come in a ince 12’’ box set including liner inotes and large postcards. Limited to 300 worldwide.

Thiiird Place, a 13-piece Afro-soul jazz band with a borderless ageless identity and sincere message, is releasing the first full-length album "This is Thiiird Place," a major masterpiece! The long-awaited first album by Thiiird Place, a band with a sound based on Afro-soul Latin jazz and a pop, euphoric and message for all. The album features a rich variety of nine songs, including the first single "Shoes," the Caribbean-Cuban flavored "Ears," the energetic R&B/soul number "Sorekara Dousuru" and the Pat Metheny cover "Last Train Home," which is well-known in live performances but not yet available on digital streaming.

"Ethiopia’s music company Muzikawi, will on 30 March reissue the self-titled solo instrumental album of Ethio-jazz composer Dawit Yifru, which offers an exceptional occasion to rediscover one of the most important eras in Ethiopia’s music history. The 11 track album features a compilation of songs that were restored and remastered from cassettes released throughout the 1970s. With Ethiopian Chickchika music, Twist, Congolese Rumba, and Waltz music styles converging, the songs reflect the dynamic musical crossroads that were present at the time in the Horn of Africa country. However, it is the inclusion of the violin instrument, which was uncommon at the time, that presents Dawit Yifru as a visionary composer amongst his mates at the time. “These elements have come together to create Ethio-jazz music at its most bold, spiritual and syncretic,” Muzikawi founder Teshome Wondimu said. “With this compilation, Dawit Yifru offers a bright window into the past of Ethiopia’s music scene which is so rich, deep and sophisticated, with a gentle, beautiful story to tell – and we see ourselves as the messengers who are bringing the world this story and sound.” This compilation is the first release of the Muzikawi’s Archive & Research project, which seeks to re-record and re-issue some of Ethiopia’s most celebrated music that never made it outside the country and in the process bring fame and recognition to musicians whose music was never available on the international market. “ Every country has its stars, its loved singers, but there are of course titans of their era and Dawit Yifru is one of the few, ” Wondimu said. “ The reason many will be experiencing his works for the first time is because in the 1970s, the Ethiopian music ‘industry’ thrived only at the capital Addis Ababa with little recording infrastructure in comparison to its neighbours like Kenya and Uganda, where cult record labels and producers captured the countries’ sound and made the recordings available internationally and for the masses.” “Therefore, our Archive & Research project is a guaranteed way to keep these great works of music alive and circulating. Overall, this compilation is an absolutely brilliant and must own recording from one of the most original sounding Ethiopian composers you’ll ever hear. Hopefully this release will open the door for the world to discover more incredible music and culture from Ethiopia.” Dawit Yifru remains a household name in Ethiopia due to his commitment to collaborating with a diverse range of musicians and sharing his musical skills not just to his peers but also with the new generation of musicians. Dawit Yifru will be available on all digital platforms and for purchase on vinyl. "

Limited edition of 200 copies for the 2023 Summer of Jazz campaign, focused on South-African jazz.

Official replica re-issue of a South African jazz-funk rarity from Teaspoon & The Waves. Released in 1977 on Soul Jazz Pop, a subsidiary label of Mavuthela Music Company / Gallo, Teaspoon & The Waves’ self-titled album is an absolute masterpiece. Best known for the song 'Oh Yeh Soweto’, which is an astonishing adaptation of Lamont Dozier's anthem 'Going Back to My Roots', this track has become a contemporary underground club classic in recent times and has been featured in sets from a cross-section of DJs. With such a massive calling card song, it could be easy to write off the album as a typical one-tracker (like so many records often are), but that is a long way from the truth. Each of the remaining four tracks are super strong and, for us here at Mr Bongo, this has to be our favourite South African record of this era. 'Saturday Express' is a jazz-funk/disco stomper which will soon be lighting up dancefloors again. 'Wind and Fire' is true afro-jazz-funk excellence, with great spacey synths and reggae-inspired guitar grooves riding throughout. The opener, 'Friday Night’, also has a slightly reggae-tinged tropical groove, whilst 'Got Me Tight' finishes off the session with a feel-good jazz-funk workout that features cool, quirky, Patrick Adams-esque synths. Saxophonist Teaspoon Ndlela has had an amazing and rich musical career. Releasing albums on records labels Soul Jazz Pop, Hit Special, Gallo GRC, alongside working with and writing for South African artists such as Mpharanyana, Stimela, Sipho Gumede and Sgu. He also features on the Paul Simon track 'Gumboots' taken from the iconic 'Graceland' project. Though best known for 'Oh Yeh Soweto' we hope this re-issue helps demonstrate that there is much more magic in this wonderful musician's repertoire to discover.

"Sabura Djâ Nfrontam" by one of the biggest names in the triumph of the electrification of Funaná, the great José Casimiro. The album was recorded in 1981, celebrates music made in Portuguese-speaking Africa, finally reissued for the first time.

Tribute to the Soul brother of Benin with Rare Afro- Funk and Digital Soul songs from the Maestro . Following the tremendous «!Dans le Tchink System «!reissue album, we wanted to celebrate the legacy of one the greatest singer from Cotonou . Owhaaou ! is an original 4 tracks 12 inch vinyl taken from the extremely obscure , futuristic and now expensive record «!Metamorphose!» released in 1985, recorded on 24 analog tracks channel with an incredible backing band such as Hilaire Penda on bass, Daniel Bentho from Poly Rythmo de Cotonou to name a few . The B side is a Dj friendly Edit of the dance floor burner «! Zemidjan «! recorded in 1991 . A composition done to pay tribute to the Taxi moto of Cotonou .The last track «!Mi Tchinker!» is a typical Stanislas Tohon hit with a mix of Tchink Rhythm , Soul and funky melodies . Stanislas Tohon aka Papy Grande was born in the “Country of the kings” (Benin), in Abomey , December 30 th 1955. He’s “Chevalier de la legion d’honneur” in Benin for his brilliant musical career .The famous soul singer from Cotonou started his musical career at this age of 9, played with the greatest such as Gnonnas Pedro and recorded almost 35 albums. Influenced by the traditional “Tchingoume“ music , he invented his own rhythm called “Tchink Système”, a mix of soul and Beninese traditional rhythm . Sang in Fon, his native language from Benin, this EP is a soulful call for Peace respect and unity in Africa, a real definition of Afro Soul music! Sadly died in February 26 th 2019 in Paris, this Ep is a tribute . Remastered by The Carvery (uk), officially licensed and strictly limited to 1000 copies. Enjoy!

In the wake of a 2020 edition of Movement in the City's second album Black Teardrops (1981), Sharp-Flat Records returns with a prequel by way of a reissue of the band's self-titled debut from 1979.

As the 1970s were drawing to a close, the epic Black Disco studio project with its signature pairing of drum machine and organ had run it course. After delivering a killer trilogy of cosmic lounge outings dating back to 1975, the group yearned for funkier grooves and the core trio of composer Pops Mohamed on organ with Basil Coetzee on tenor sax and Sipho Gumede on bass decided to hire a drummer and rebrand as Movement in the City. In contrast with the New Age detachment of Black Disco, Movement in the City was conceptually grounded in the bleak social realism depicted on its photographic album covers and leaned into the vivid sensibilities of library music from the era. Blending Cape jazz with funk and soul, the group's output evokes a soundtrack for South African city life at the outset of the 1980s while nodding allegorically to the subterranean movements that were in the course of shaking the cage for political change.

With its cast of jazz fusion all-stars, Movement in the City is the manifesto of a band in transition - a bold and slick first offering that delivers a modern South African sound capable of both the funky exuberances of "Mister Lucky" as well as the down-home pathos of "Blue Sunday." Restored from its original tape masters and released in partnership with As-Shams Archive and Pops Mohamed, this rare artefact of South African jazz history is back in print for the very first time since its original 1979 release.

Music producer, keyboardist and professional dancer based in France.
Coming from a Senegalese bloodline and growing up in Martinique (West indies), Fényan is deeply rooted in Black music. Epitome of a childhood in the West indies. A Caribbean Tale about Kreyol langage, about legacy and resilience, about turning victimhood into proactivity.
Douvan Douvan can be translated by "avant garde" in Kreyol. It is a story about People growing up and facing themselves, and their elders in order to move forward in their enlightenment.
It is your story

Ghanaian Afro-Rock From Producer/Composer JJ Whitefield, Inspired By His Karl Hector & The Malcouns And Whitefield Brothers Projects JJ Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for over decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the Original Raw Soul anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is what was oft-called “Afro Rock” at the core, with the possibilities to stretch out into swinging highlife, sweet soul or psychedelia . The results, point at a new direction for the music inspired by the Great Continent. One that takes a direction once mocked as derivative and asserts its importance on the globe’s current musical stage.

Rare South African Afro-Fusion from 1984 First vinyl reissue Since 1990 First ever release outside of the African Continent Comes With Double-Sided Insert 180g Clear vinyl limited to 100 copies / Stimela were a popular and successful South African Afro-fusion outfit led by guitarist, vocalist, songwriter, producer and arranger Ray Phiri. The band was formed under the name ‘The Cannibals’ during the 1970s when Phiri got together with drummer Isaac Mtshali, keyboard player Thabo Lloyd Lelosa and bass player Jabu Sibumbe. They initially started out as instrumentalists, but later evolved to Afro-fusion when they joined forces with vocalist Jacob “Mparanyana” Radebe in 1975. The story of ‘The Cannibals’ ends when Radebe died in 1978 but the ‘Stimela’ story was only just beginning.

In 1979, after a life-changing experience in Mozambique (where they were stranded for three months) the bandmembers had to sell all their belongings to take a train home. This trip was a watershed moment as it was here where they conceived the new name for the band: The Zulu word for “locomotive-train” Stimela.

Stimela would soon become little short of an institution in their home country of South Africa. With soulful tunes and gripping lyrics, the band has recorded platinum-winning albums such as Fire, Passion and Ecstasy, Shadows, Fear and Pain & Look Listen and Decide. In addition to recording their own material, the group supplied instrumental accompaniment on albums by a lengthy list of legendary artists. Stimela would go on to gain global fame after being featured on Paul Simon’s iconic 1986 ‘Graceland’ album and the mega tour that followed.

Ray Phiri would enter into many successful collaborations with major acts and artists such as Harari, Joan Baez, Willie Nelson and Manu Dibango. In 2017 he was diagnosed with lung cancer and died at the age of 70. Phiri has received many awards in recognition for his contribution in the music industry, one of these is the Order of Ikhamanga awarded to him by the South African president. This was to honor his sterling contribution to the South African music industry and the successful use of arts as an instrument of social transformation.

Stimela is the tale of a South African band who have battled their way through dark days to take their rightful place in the forefront of the South African apartheid-era music invasion. One of their most memorable tracks “Whispers in the Deep” was even restricted from being broadcasted by the old South African Broadcasting Corporation.

On the album we are presenting you today (Fire, Passion and Ecstasy from 1984) the unique sounds of Ray Phiri’s Stimela are fully showcased. Expect infectious hypnotic build-up grooves, cinematic lowdown jazz-funk, Afro-soul, delightful reggae, gospel influences and funky synth-boogie sounds…all with a touch of early eighties new wave and hints of Island disco mixed with sensual bubblegum pop. It comes as no surprise that the album has now become a sought-after item due to its addictive and original-sounding nature, a must-have for any self-respecting record digger!

These recordings completely encapsulate Stimela’s fusion style. They managed to craft a modern South African sound that continues to influence SA musicians to this day. Never in a rush, yet always with a sense of purpose and direction – like the steam train after which they took their name.

Tidal Waves Music now proudly presents the first reissue of this fantastic Afro-fusion classic since 1990 (originally released in 1984 on Gallo Records) & this is also the first time the album is getting a release outside of the African continent. This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork. Also included is a double-sided insert containing rare pictures of the band.

A mysterious release, not only for its unique expressive style but also because it isn't even known when it was initially recorded let alone its release date. According to non profit Studio Piccolo owner Vincent Bruley, it could have been recorded during the 70s and eventually released in the early 90s, sometime throughout Nilton Castro's time in Paris making music for contemporary dance classes (often led by his wife). This album was originally intended for accompanying dancers in classes with an emphasis on rhythm and coordination. Given Nilton's background and expertise in percussion, the focal point of this album is to present an array of Afro Brasilian rhythms performed by himself with additional moments of choir, flute and keys/metallophone. Effortless due to Nilton's prowess and unburdened by typical financial pressures (often behind the release of a record), the result feels like charmingly unadulterated and pure expression throughout the entire album. But what really takes the listener to places of unheard-of bliss is “Ondes (Les Vagues)” a track that has plagued the curiosity of diggers and collectors for a while now. With its harmony crescendos elegantly coming and going as per the title, overlayed on Nilton's subtle percussive patterns, an aural landscape of illusory beauty - listening is believing. Remastered and officially re-issued with its original artwork.

Limited to 100 copies on violet vinyl,THE Friimen Muzik Company (also known as Friimen) was formed after the Biafran war in 1973-1974 in the town of ABA in the eastern part of Nigeria. Aba was the Number 1 Music Hub in the entire Eastern Region of Nigeria. While bands and artists like ‘Ofege’ and ‘Fela Kuti’ ruled the Lagos scene, bands like ‘Friimen’ and ‘The Apostles’ were ruling the ABA scene.

Before forming the band, most of its members were already working together as freelance session musicians backing up solo artists on several recordings and concerts (or were playing in military bands that gradually became civilian bands because the war had just ended). Friimen members’ credits were numerous and they played, wrote or performed on recordings from well-known acts like The Funkees, The Jets, The Apostles…and countless others.

When they started concentrating on writing their own songs, the group instantly took off and became an overnight hit that resulted in them doing multiple successful nationwide tours. Friimen would go on to record three albums: Free Man (1976), We Can Get It On (1978) and Merry Man (1979). All three albums were released on the Aba based label Anodisc Records (the key label to be on if you wanted your music heard and out there), Anodisc also released hit records by ‘Sweet Unit’ and ‘Voice Of The Cross’ but The Friimen Muzik Company was the label’s signature band.

The Friimen Muzik Company was so solid that every new group or artist wanted the Friimen to back them up in the recording studio. As a result, Anodisc Records received tons of demo cassettes from aspiring artists…the label would then first consult the Friimen members to see if these new acts were worthy of giving a chance to record and release an album for Anodisc. Over the course of the years the band went through several line-up changes…but in 1980 the band finally broke up and their story came to an end.

The album we are presenting you today (Free Man from 1976) was recorded at the famous Decca Studios in Lagos and comes swinging right out of the gate with a set of no less than Eight monster tunes. Expect nothing less than crazy afrobeat and over the top melodic funk influenced by a wide array of artists (both local and international). Mesmerizing solos, captivating grooves, impeccable sequences that turned many heads…everything you need to get a dancehall into a complete uproar. The musicians’ skills are just plain incredible! Free MAN is a quintessential record that every serious collector or fan needs to have in his/her collection.

Originally released in 1976 on Anodisc Records Nigeria, Tidal Waves Music now proudly presents the first official reissue of this seminal Afrobeat/Afrofunk album. This is also the first time the album is being released outside of the African continent. This unique record comes as a deluxe 180g vinyl edition with obi strip and featuring the original artwork. This reissue also comes with an insert featuring pictures of the band and extensive liner notes from band-member Arthur Freds. Limited to 100 copies 180g Violet Color Vinyl Exclusively FOR HHV

A necessary groundbreaking album, originally released on Belgian label Antler in 1984. Fesobi Olawaiye debut is finally been re-issued, showcasing the incredible talent of the African musician, a longtime Fela Kuti associate in the legendary Afrika 70. Ander the moniker Feso Trombone he just prove an authentically brilliance, moving forward the afro-beat dogma while providing incredible white funk harmonies and contagious rare groove. Remastered from the original tapes!

Mindblowing Afro-Soul music from Ivory Coast served up by Deke Tom Dollard, an obscure artist who only recorded two albums in 1979 and 1981 but who created an original funky fusion with Bété langage. A Selection of four amazing tracks recorded in Abidjan on two different records label called War Records and As Records.
The music here is a mixture of Funk with heavy basslines, traditional percussions, funky guitar riffs, nice horns section and lyrics in Beté. The song “Demonde” is inspired by harmonies of the famous “Dance to the Drummer Beat” by Herman Kelly.
Those two rare records were found by Afrobrazilero (aka Djamel Hammadi) and never appeared on the vinyl market. It's almost impossible to have infos about this singer and composer neither the musicians involved in the recording sessions. Most of the traces of the recording session were lost by the labels we licensed the tracks with.
Unique, pressed on a deluxe vinyl, remastered by The Carvery, this very Funky album is a must have for all the Afro Funk lovers!

● Tokyo based band and Afrobayashi pioneers Ajate are back with their third album: experience the explosive encounter of Afro groove and Japanese traditional Ohayashi music!

During a stay in West Africa in the late 2000’s, Japanese musician Junichiro "John" Imaeda was taken aback by the similarities he felt between the Afrobeat that resonated in the streets of Accra, and the sounds of the "Ohayashi”, the music played during ancestral Japanese festivals, in which John had participated since his childhood.

On his return to the archipelago in 2009, Imaeda created Ajate, a collective of ten passionate musicians. Together they started crafting music that moves from one world to another, with intertwined roots. The drums, flutes and bells are joined by curious instruments handmade by John himself with the essential material of the Japanese countryside: bamboo. The “Jaate”, an amplified xylophone-balafon equipped with piezoelectric sensors on each of its keys, or the “Piechiku”, a bamboo version of the Malian “Ngoni” or the Gnawa “Guembri”, equipped with shamisen strings and connected to an arsenal of guitar pedals, give Ajate an absolutely unique sound. Powerful and catchy Japanese female and male vocals bring the final touch to an incredible groove where Afrobeat and Ohayashi music are woven together so seamlessly that Ajate has managed to capture a truly distinct fusion. The band sings about the power of human connections, the force of being and living all together, the joy of sharing, and the beauty of life. Ajate’s music is a magnificent example of the way sounds are able to migrate in contemporary music.

The band’s explosive live performances have taken Ajate to the most prestigious stages in Japan, such as the Sukiyaki Meets The World and Fuji & Sun festivals. The release on French label 180g of their “Abrada” and “Alo” albums, in 2017 and 2020 respectively, opened the doors to Europe, with memorable shows at the Transmusicales de Rennes festival - followed by a session on KEXP (Seattle, USA) - at Jazz a Vienne, and at WOMAD UK, among many others. With their brand new album “Dala Toni”, Ajate prove once again that they are at the forefront of global music "made in Japan".

When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa. With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. With her irresistible charm, Vally was able to convince Singer to enter a Johannesburg studio. The recording session produced this album of new material by Hal Singer and his quartet named after a song inspired by Singer's trip to South Africa, entitled "Soweto to Harlem." Released in 1976 and available only in South Africa, "Soweto to Harlem" captures a laid-back, unabashed and nostalgic rhythm and blues of Hal Singer's quartet that would hardly have been born for a different market. Cinedelic’s 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

The killer 1981’s Nigerian funk boogie disco and reggae by Kio Amachree repressed for the first time.

Soundway Records presents Ayo Manuel ‘1983-1990’, a collection of selected works by one of Nigeria’s DIY pioneers. This mini compilation selects the stand-out cuts from his two albums Love Candidate and Party Time, showcasing the evolution of Ayo’s music. Side A is led by Song Of Love (Instrumental) - mid-tempo, synth-heavy music toeing the line between lo-fi crunch and sophisticated charm. This is followed closely by afro-disco melters Don’t Stop and the aptly titled Fun Time. Both with strong American, disco-funk leanings but full of Nigerian flavour, they come signed, sealed and delivered for any discerning dancefloor. Sojourn (Ajo) lights up side-B, a coming-of-age journey that sets the tone for the rest of the album. With slick US production, but with its feet firmly planted in Yoruba culture, we find a more developed artist combining talking drums with distinct ’90s production, that deliver a unique blend of afro-pop. Gboro Mi Ro echoes the influence of Nigeria’s biggest musical export, Fela Kuti, but still retains its own particular character. Do Goodfollows in the footsteps of its predecessors but with added drama and depth.

Believe! International Records proudly presents (U.N) United Nonsense – the debut album by the Swedish Afrobeat band Olumo Soundz.

The twelve band members of Olumo Soundz are solidly rooted in the great musical tradition hailing from predecessors Fela and Femi Kuti. However, the band puts their own spin on a vibrant genre, and packs a punch at each and every show with their own repertoire.

The four track album (U.N) United Nonsense – presented in a high quality 180 gr vinyl edition – is a joyous musical announcement of awareness, resistance and faith.

Singer, actor and musician Farid El Atrache, born on October 19, 1910 in Soueïda, Syria, and died on December 26, 1974 in Beirut, Lebanon, is considered the greatest singer of the Arab world. A virtuoso of the oud, his timeless work, rich in hundreds of compositions, is recognized the world over. The present selection is devoted to the master's early works recorded in the 1930s-1940s.

On the eve of her 80th birthday, Dona Onete - "the grande dame of Amazonian song" - returns with Rebujo, a love letter to her hometown of Belém, situated deep in the Amazon. Rebujo brims with two music styles born in Belém: carimbós, influenced by African grooves, and bangues, a ska-type rhythm, plus there's a cumbia, brega ('romantic' music) and samba. Since the release of her 2017 album Banzeiro, Onete has become a superstar in Brazil - she composed and sung the theme song for one of Brazil's biggest soap operas (A Força do Querer), been awarded the Brazilian Ordem do Mérito Cultural in recognition for her contribution to Brazilian culture + her video for 'No Meio do Pitiu' has an impressive 9.2m views on Youtube Outside of Brazil she's performed at Roskilde, Womad (UK, NZ & AUS), Gilles Peterson's Worldwide Festival and TFF Rudolstadt and is a global spokesperson for indigenous cultures.

" Brand new vinyl reissue to celebrate the 40the anniversary of zouk pioneers Kassav’ .

Who hasn’t retained at least one memory of the group Kassav’ from their youth? For whether in concert, or onthe radio or TV, the image of Kassav’ remains vivid inthe minds of listeners and spectators.

The group,founded in 1979 by Jacob Desvarieux, Georges andPierre-Edouard Décimus, has become legendary, putting Guadeloupe and Martinique on the musicalmap of the world. Touring the world with zouk, amusical movement introduced and popularized by Kassav’, their albums have repeatedly been rewarded with both gold and platinum discs .A victim of Covid in 2021, the loss of Jacob Desvarieux leaves a huge void. The mix of Jacob Des varieux and George Decimus with Jocelyne Béroard, Jean-Philippe Marthély, Patrick Saint-Éloi and Jean-Claude Naimro has played soldout concerts in 82 countries. With texts recounting reallife in the Caribbean world their lively music draws on the rhythms of Guadeloupe’s gwo-ka and Martinique’sti-bwa. Transcending the well-defined codes of Caribbean music, they have turned the 1980s and all the succeeding decades into a fabulous ballroom.

They have been welcomed in Japan and the Ussr, where they became the first group of black musicians to tour. Forty years after the group’s creation, their timeless hits continue to resonate. "

Soundway fans first got a taste of Jay-U’s infectious beats with the track ‘Some More’, featured on the Soundway compilation “Nigeria Disco Funk Special: The Sound Of The Underground Lagos Dancefloor 1974-79”.
Originally released by EMI Nigeria in 1977, this now-rare album was written by Jay-U and engineered by disco-boogie artist Goddy Oku. Opening with the up-tempo reggae number “Reggae Deluxe”, the album descends into mind-blowing jazz-funk featuring several killer saxophone solos. The journey ends with a trip into psych-prog rock, with a sound not dissimilar to that coming out of the early 70s British rock scene.

Still sealed. Cover has beginning seam split in top spine, Close to NM. French reissue from 2019. Limited edition of 1000 copies.

The long-awaited 7-inch version of the single released in 2022 by Zoe's Shanghai, a neo-soul band based in Paris, France! They made a splash with their album "Lava Love" released in 2021, and this year, 2022, they are releasing two singles in physical format for the first time! Must-check release for fans of Hiatus Kaiyote / Moonchild

Following on from the runaway success of Soundway’s Kiki Gyan 24 Hours In A Disco, another Ghanaian legend looks to have his time to shine. One of the most well-known disco and burger highlife artists of the time, Charles Amoah originally began his career as a drummer. Playing with Alex Kunadu’s band, as well as the Precious Jewels and even Nana Tuffour, he then moved to Germany in the early 80s. His first album Sweet Vibration spawned several hits which went on to be released as separate singles, namely “Scratch My Back” and “Shake Your Body To The Beat”. From the irresistible funk hooks of these singles, to the Lionel Richie-esque instrumentation of “Life’s Like Being In A Boxing Ring”, or the kraut-rock stylings of “Jungle Rock” - there is little doubt that the blend of disco, funk and highlife that was unique to the Ghanaian-German scene can be experienced in its full splendour on Sweet Vibration.

Cnpy007 marks a strong return to Canopy for Sam Redmore, on the second edition in the Alafia series where he impresses with two powerful and inspired re-imaginings of these tropical synth future-classics.

Tough afro-centric broken beats meet dirty fuzz basslines. Chic-esque guitars and icy synths swirl among horn crescendos and steel drums. Sam assembled a troupe of tight players who deliver slick performances which sincerely compliment the original arrangements, while he turns the electronic tropical funk factor to full - Inspired music reinvented for inspired dancefloors!

Afrotronic is the new album by legendary Dutch dance pioneer and producer Eddy de Clercq, inspired by African rhythms and atmospheres.

All songs on the Afrotronic album are influenced by music from Southern to North Africa. Largely recorded in South Africa, not only electronically but also with an instrumentation of typical African instruments played live, such as the mbira (kalimba) and traditional drums and percussion. Exotic instruments adding a fresh characteristic sound to the music, not programmed via any existing electronic soundbank.

The plaintive vocals of a muezzin on 'Ibrahim' and the melody of 'Topaz' are unmistakably North African. The funky dance track 'Miss Ghana (Afro Baby)' is sung by the Ghanaian singer Consular. Although not typically African in origin, the didgeridoo, perhaps the oldest wind instrument on earth, plays the leading role in the North African-inspired instrumental 'A Track Called Africa'.

Inspired by his travels through South Africa and his love for the African languages of that country, Eddy wrote texts that he had translated into Xhosa. 'Coral Reef' was the first song recorded with South African singers Yemu Matibe and Alungile Sixishe, supplemented with classical arrangements for cello and piano. The original English text describes the loss of coral reefs worldwide due to climate change.

Afrotronic has ultimately become an adventurous, electronic, jazzy album, in which influences can be heard from Afro-pop, Dub Step, Deep House and South African Amapiano.

Following the success of Eric B & Rakim covers on 45, touching Hip Hop and rare groove fans, Medline explores new horizons. Well known to be free from styles boundaries, the French Chilean multi - instrumentalist unveil a two side Afro Funk killer.

Marked with the "universal power" title on the label, third 7 inch on My Bags catalog, this new 45 shows Medline's abilities to produce high quality music in a wide range of styles. The compositions are produced with a brilliant contrast. The uptempo "Run For Cover" is a huge Afro beat runner with a hardcore feeling while "Azul", is a heavy downtempo soul funk anthem, and shines like a massive solar energy boost.

Medline brings back the 70's West African sound signature, carried by a hot drum and bass couple, leaded by the Farfisa organ and harmonized with a powerful brass section. The rhythm is wild, mastered by dynamical arrangements when the breaks are hitting loudly around. And yes as always Medline is the ONE playing all.

The artistic fate offered beautiful colors and forms to the music. Clément Laurentin's elegant painting "Run For Cover" reminding Bob Marley and Lee Perry's records, baptized the first composition which includes a "Jamaican" surprise. "Azul" (Blue in Spanish) is the main color of Clément's creation which remind the look of the famous azulejos. The link happens without any previous consultation, all was here to be done this way, connecting cultural areas and eras. To end, the acrylic painting on linen canvas is the perfect organic mirror to this new 7 inch.

My Bags is happy to offer this "tratra" (Ivorian pancake), designed with all the elements of a ready to dig holy grail, Soul inspired, Afro beat to the core.

An extremely rare and in-demand record from the disco-funk group has been unearthed and restored. The Movers enjoyed huge success in the 1970s, releasing album after album of ground-breaking sounds, including fusions of South African marabi jazz, funk, disco and jive. The line up of the band shifted throughout its existence - however this particular album produced by David Thekwane features musicians Jabu Sibumbe, L Rhikoti, Lloyd Lelosa and Sankie Chounyane.

Rare South African Afro-Fusion from 1984 First vinyl reissue Since 1990 First ever release outside of the African Continent Comes With Double-Sided Insert 180g Black vinyl limited to 500 copies (w/obi strip) / Stimela were a popular and successful South African Afro-fusion outfit led by guitarist, vocalist, songwriter, producer and arranger Ray Phiri. The band was formed under the name ‘The Cannibals’ during the 1970s when Phiri got together with drummer Isaac Mtshali, keyboard player Thabo Lloyd Lelosa and bass player Jabu Sibumbe. They initially started out as instrumentalists, but later evolved to Afro-fusion when they joined forces with vocalist Jacob “Mparanyana” Radebe in 1975. The story of ‘The Cannibals’ ends when Radebe died in 1978 but the ‘Stimela’ story was only just beginning.

In 1979, after a life-changing experience in Mozambique (where they were stranded for three months) the bandmembers had to sell all their belongings to take a train home. This trip was a watershed moment as it was here where they conceived the new name for the band: The Zulu word for “locomotive-train” Stimela.

Stimela would soon become little short of an institution in their home country of South Africa. With soulful tunes and gripping lyrics, the band has recorded platinum-winning albums such as Fire, Passion and Ecstasy, Shadows, Fear and Pain & Look Listen and Decide. In addition to recording their own material, the group supplied instrumental accompaniment on albums by a lengthy list of legendary artists. Stimela would go on to gain global fame after being featured on Paul Simon’s iconic 1986 ‘Graceland’ album and the mega tour that followed.

Ray Phiri would enter into many successful collaborations with major acts and artists such as Harari, Joan Baez, Willie Nelson and Manu Dibango. In 2017 he was diagnosed with lung cancer and died at the age of 70. Phiri has received many awards in recognition for his contribution in the music industry, one of these is the Order of Ikhamanga awarded to him by the South African president. This was to honor his sterling contribution to the South African music industry and the successful use of arts as an instrument of social transformation.

Stimela is the tale of a South African band who have battled their way through dark days to take their rightful place in the forefront of the South African apartheid-era music invasion. One of their most memorable tracks “Whispers in the Deep” was even restricted from being broadcasted by the old South African Broadcasting Corporation.

On the album we are presenting you today (Fire, Passion and Ecstasy from 1984) the unique sounds of Ray Phiri’s Stimela are fully showcased. Expect infectious hypnotic build-up grooves, cinematic lowdown jazz-funk, Afro-soul, delightful reggae, gospel influences and funky synth-boogie sounds…all with a touch of early eighties new wave and hints of Island disco mixed with sensual bubblegum pop. It comes as no surprise that the album has now become a sought-after item due to its addictive and original-sounding nature, a must-have for any self-respecting record digger!

These recordings completely encapsulate Stimela’s fusion style. They managed to craft a modern South African sound that continues to influence SA musicians to this day. Never in a rush, yet always with a sense of purpose and direction – like the steam train after which they took their name.

Tidal Waves Music now proudly presents the first reissue of this fantastic Afro-fusion classic since 1990 (originally released in 1984 on Gallo Records) & this is also the first time the album is getting a release outside of the African continent. This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork. Also included is a double-sided insert containing rare pictures of the band.

Melvin Ukachi needs little introduction, the Lagos (Nigeria) based vocalist and bandleader is a living legend. Melvin is known for his fantastic solo albums, his vocals for the afrobeat star-groups M.F.B. and Ozzobia…but his biggest legacy is without a doubt him being the singer and bandleader of Ofege.

Melvin formed Ofege in the early 1970s (when he and the other band members were all still a bunch of teenagers). 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 to follow. At the turn of the century (and because of tracks appearing on various compilations) Ofege would receive international acknowledgment for being the first of their kind and THE ultimate West-African psychedelic funk band!

Melvin Ukachi recorded four milestone albums with Ofege: ‘Try and Love’ (1973) ‘The Last of The Origins’ (1976), ‘Higher Plane Breeze’ (1977) and ‘How Do You Feel’ (1978). When the Ofege story came to an end, Melvin recorded two astonishing solo albums: ‘Evolution-Bring Back The Ofege Beat’ (1981) and ‘I am Ok’ (1985). Both of his solo recordings have now become much sought-after holy grails for collectors and fans alike.

On the album we are presenting you today (I AM OK from 1985) the listener is treated to Ofege’s trademark sound…but we’re also shown a perfect glimpse of the late 70’s afrobeat works combining soul, jazzy rhythms, William Onyeabor style laid back electro funk synths & fluid boogie-danceability. The female backing vocals and handclaps by Princess Bunmi Olajubu (Femi Kuti) also deserve a special mention because they add so much depth and grooves to this amazing record.

Expect some serious local ‘all-star’ guest musicians on this record as well. Next to him playing the synth, Jake Sollo also produced this gem of an album! To top things off the tracks were recorded and mixed at the legendary RAS Studio in Akwa, Nigeria…all slickly engineered by John Malife (Black Children Sledge Funk Band, T-Fire, Blo).

‘I AM OK’ was released on CRS Nigeria in 1985 and is a total Afro-pop-funk classic that begs for a special place in your record collection. It’s tight, funky and Melvin’s soulful vocals are to die for. This record is a monster!

Tidal Waves Music now proudly presents the first ever reissue (supervised by Melvin Ukachi himself) of this amazing Nigerian Afrobeat-Afropop album. This Rare classic (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork made at Ibukuna (the Lagos based studio that was responsible for designing landmark sleeves for renowned bands & artists such as The Apostles, Tony Allen, The Wailers and Fela Kuti).

Jamaican born and Toronto raised, KG Russell is an unsung journeyman who followed the DIY path with his compelling output. Only a handful of collectors have been aware of the few releases via his private imprint Rain Sound - of which little information is known and copies very seldom seen.

A striking stand-out of Russell’s work comes via his Dance With Me album - a self-produced jewel originally recorded in 1988 with help from friends Tony Cameron and Orville Malcom on session duties. The brilliant blender of synth-soaked soul was released in 1990 on cassette only. Roughly 200 copies were manufactured and personally handed out to local record stores around Toronto.

Crown Ruler returns, plucking out three superior cuts for Last Dance and breathing new life into each via an impressive remastering effort from Melbourne sound wizard Daniel Elleson. Finally pressed to wax, this EP is clearly deservent of the 12” treatment. An island-tipped-electro-come-proto-house string of melters , guaranteed to prick the ears of lovers of the obscure and exotic. Last Dance is full of curious influences. It could be described as Caribbean flavored drum machine r’n’b. From the title track, a hypnotic boogie dancefloor filler, to Talk To Me, an electro rap meets smooth-jazz love jam, and finally Dance With Me, a bent and wasted soul ballad - Russell bares it all in another lost treasure given some TLC and repurposed for today’s DJ leaning ear

Atangana Records is back with two afro disco groove tracks from the second album of the mythical Senegalese band Touré Kunda. The tracks "Manso" & “Touty Yolle” were originally released in 1980. The remastered track "Manso" is remixed on B1 by the duo Deni Shain & Mister Francky and B2 with the remixes add part. When Deni struck gold: "It was a warm Sunday in Guadeloupe when I went back for some for digging, after looking through 800 vinyls, I was swayed by the album E'mma Africa from Toure Kunda. Listening to it sent me back to my youth, when I used to play the K7 over and over again.As I replayed the LP, these two songs stood out and I could instantly picture the potential & the remix I could do with Mister Francky."

Emma Ogosi has worn a lot of different hats in his career: former air force officer, guitarist with Benin-based Pogo Limited, and husband and manager of Nigerian reggae superstar, Evi-Edna Ogholi. In 1981, he donned a sequined cowboy hat and released Nobody Knows. Nobody Knows is arguably the Nigeria’s best – and perhaps only – Disco Country album. Country music has always been influential in the country and Ogosi managed to channel Jim Reeves via the bright lights of Lagos’ burgeoning disco scene to produce an album of sparkling mournfulness. The album starts brightly with ‘You And I’ and ends with ‘Orindo,’ a horn-driven dance floor filler. ‘Nobody Knows’ and ‘A Lonely Child’ venture into ‘you done me wrong’ territory. And you can imagine Kenny Rogers covering ‘Give A Little’, albeit wearing flares and platforms and a moustache instead of a beard. Overall, though, Nobody Knows is as disco as the sharp suit and gull-wing collar Emma is wearing on the cover. But don’t be fooled – there are rhinestones on that there glitter ball. - Peter Moore

The third release from Canopy features the title track from a tough to catch Afro funk 7” originally released on private press in Benin in the 1980s. While information on the mesmerising Tomede Ehue remains elusive, she is backed by the Beninois powerhouse, the truly almighty, “TP Orchestre Poly-Rythmo de Cotonou”.

Electrifying cosmic voodoo disco grooves, heavy bass pulsing, blistering horns and spooky organ riffs set the tone on this transcendental dance floor afro funk cut.

A modernised tropical disco remix from bosq & an Afro - acid version from Sam Redmore revitalise this mysterious dance floor incantation and launch it into the present day.

These tracks strike a balance between moody afro psych-funk and more punchy electronic aesthetics, while maintaining the subtleties of the original composition and performance.

New Parisian label, Disques Messager, presents its new and second release. As its name suggests, the label has a simple leitmotiv: to place itself among the best messengers for rarities and sought-after gems of the international rare groove. A mission which began like fire last year with a 7inch reissue release including two Brazilian Disco bangers by Cristina Camargo. For this second efforts, the label doesn’t deviate from the artistic and quality path taken, however also making quite a U-turn, this time presenting 2 underrated kind of musical UFO, both from the French scene. Not many info can be found about Yoanson & Karamie, two young artists from the French African diaspora, who randomly met with Nessim Saroussi and his label Ness Music in the late 80s. Nessim himself doesn’t remind much about the 2 guys, except that he quickly offered to produce them, which resulted in their only EP release, Kalimba (1988). Part of this EP, “African Leaders” is a stunning track melting Afro-Tropical percussions, Disco bass, Early-Electro beats and Leftfield vocals in a way that could remind of Doctor L or Arthur Russel productions. On the contrary, Philippe de Lacroix-Herpin (aka Prof Jah Pinpin) has a long musical career started in the mid-70s and became a renowned saxophonist playing and recording for many famous French acts such as Jean-Jacques Goldman, Alain Chamfort, FFF, or even rap band NTM. In 1994, he moved definitely to the Reunion Island where he quickly launched the Prof Jah Pinpin 4tet, in his own words willing to play “free/funk/jazz/rock/tropical” music… Quite a vast and large musical tag, but which immediately make sense when listening to the surprising “The Final Bird” track. Only released as CD in 1996, this instrumental production has indeed a unique sound and flavor mixing all kinds of elements together (even samples of Weather Report). Well as you can understand, words are not the best way to describe these 2 hidden treasures, so we strongly recommend the spinning to make your own view!

Tough, mid-tempo Ghanaian funk & Highlife grooves from Ebo Taylor Junior, son of the mighty Ebo Taylor.
Originally released in 1978; now extremely difficult and expensive to find in its original form.
Today Ebo Taylor Jnr plays keys in his fathers band that continues to tour when he is able to.
Official Mr Bongo reissue. Licensed from Ebo Taylor Jnr.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world.
The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals.
The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation.
The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

Limited 7“ vinyl (300 copies). Only at HHV!
All proceeds will go to the club Badehaus.
The Badehaus offers a stage for bands and artists from every imaginable corner of the world and almost every genre, and this is also perfectly reflected on their 7" vinyl. Budapest born Berlin based keyboard player and producer Àbáse delivers with »Yoru« a wonderful and groovy outtake from his sessions for the album »Invocation«. On the B-side, Berlin's live techno trio Komfortrauschen give us with their show opening track »Nemo« the so much missed concert atmosphere straight into your own four walls.
»HHV For The Culture« our small contribution to support the Berlin club scene. Save your club!

Vinyl is warped but still enjoyabale! Plastic sleeve has some bends!