Afrobeat 162 Items

For the 7th release on his label,Temi Kogbe compiles Willy Nfor's greatest songs from his solo works. The session player (bass) was involved heavily in the African boogie / funk scene with a impressive credits list.
Willy is little-known master bass player who left his country for Nigeria at 20, formed the Mighty Flames with made a name for himself as a session player played with Bongos' The Groovies, William Onyeabor (Crashes in Love), Odion Iruoje at Phonodisk where he played on several releases, left for Paris, became a sought-after session player, formed Ghetto formed Ghetto Blaster
(with Fela Kuti's Egypt 80 alumni), joined Mory Kante band toured the world on the back of the Global Hit record, unfortunately, he died before the world could really know him.
This compilation (from three rare Nigeria-produced LPs; Mighty Flames' Willie Nfor, Feel So Fine, My Turn) capture Willy's vision of a free world where love, music and breaks migrate freely. His afro-boogie nods to Bootsy Collins and Louis Johnson (The Brothers Johnson) but it invariably afro and inalienably Willy's music, a space funk with deeply rooted rhythmic grooves that has made these LPs highly sought-after by music aficionados and selectors worldwide.

Favorite Recordings proudly presents Voiciii, the 3rd and new album by Voilaaa, an immersive dip into its Afro-Disco universe spread across 14 tracks. Needless to say you’ll find in this new LP all the ingredients that made him famous: strong dancefloor-friendly festive bangers, irresistible funky arrangements and an undeniable sense of humor and irony. Bruno “Patchworks” Hovart, behind Voilaaa, is as often surrounded by amazing vocal featurings from previous LP’s regulars (Pat Kalla, Lass) but also new voices you may already have heard on its recent EPs (David Walters, Rama Traore, Ayuune Suule), as well as the saxophonist Boris Pokora. The LP is also an occasion to pay tributes to major artists of the African sound, such as Fela Kuti (on “Water No Get Enemy”), or Manu Dibango (“Manu Écoute Ça” and “Tenor Jam For Manu”). Since the release of Voilaaa’s previous LP’s Des Promesses and On Te L’Avait Dit and their massive international support, the Voilaaa Soundsystem did travel through the world to deliver its message of infectious joy and groove, from Equator to Thailand, from Kazakhstan to the infamous French “Fête de l’Huma”. Now you know: Voilaaa is everywhere and Voiciii (“here it is”) their new album.

Favorite Recordings proudly presents Voiciii, the 3rd and new album by Voilaaa, an immersive dip into its Afro-Disco universe spread across 14 tracks. Needless to say you’ll find in this new LP all the ingredients that made him famous: strong dancefloor-friendly festive bangers, irresistible funky arrangements and an undeniable sense of humor and irony. Bruno “Patchworks” Hovart, behind Voilaaa, is as often surrounded by amazing vocal featurings from previous LP’s regulars (Pat Kalla, Lass) but also new voices you may already have heard on its recent EPs (David Walters, Rama Traore, Ayuune Suule), as well as the saxophonist Boris Pokora. The LP is also an occasion to pay tributes to major artists of the African sound, such as Fela Kuti (on “Water No Get Enemy”), or Manu Dibango (“Manu Écoute Ça” and “Tenor Jam For Manu”). Since the release of Voilaaa’s previous LP’s Des Promesses and On Te L’Avait Dit and their massive international support, the Voilaaa Soundsystem did travel through the world to deliver its message of infectious joy and groove, from Equator to Thailand, from Kazakhstan to the infamous French “Fête de l’Huma”. Now you know: Voilaaa is everywhere and Voiciii (“here it is”) their new album.

We Are Busy Bodies returns with a remastered reissue of The Best of Vis-A-Vis in Congo Style. The album finds the the young band in great form, with six new songs. The album was one of three released by the band in 1976. The band continued to be the backing band of choice of some of Ghana's biggest and most famous musicians all while recording their own albums.

We Are Busy Bodies exploration of Vis-A-Vis catalogue continues with a remastered reissue of their album Di Wo Ho Ni. The band continued to be the backing band of choice of some of Ghana's biggest and most famous musicians all while recording their own albums. The album has been remastered by Noah Mintz at Lacquer Channel, with art restoration completed by Steve Lewin.

No one had been through those doors in years. Unchanged, seemingly untouched, just a Guard watching over it, one wondered whether the place would ever see the light of day again. Built in the 70s by Scotch, there were only twenty such places in the entire world. Twenty studios, all identical. Most had undergone a digital makeover in the 80s, but not this one; situated in Lomé, this studio had stayed true to its original form. Silent and uninhabited but waiting for one thing, and one thing only: for the sacred fire to be lit once again. That of the Togolese Recording Office, is studio OTODI for those in the know. Through thick layers of dust, the console was vibrating still, impatient to be turned on and spurt out the sound so unique to analog. That sound is what Peter Solo and his band Vaudou Game came to seek out.
The original vibrations of Lomé’s sound, resonating within the studio space, an undercurrent pulsing within the walls, the floor, and the entire atmosphere. A presence at once electrical and mystical sourced through the amps that had never really gone cold, despite the deep sleep that they had been forced into. In taking over the studio’s 3000 square feet, enough to house a full orchestra, Vaudou Game had the space necessary to conjure the spirits of voodoo, those very spirits who watch over men and nature, and with whom Peter converses every day.
For the most authentic of frequencies to fully imbibe this third album, Peter Solo entrusted the rhythmic section to a Togolese bass and drum duo, putting the groove in the expert hands of those versed in feeling and a type of musicianship that you can’t learn in any school. This was also a way to put OTODI on the path of a more heavily hued funk sound, the backbone of which maintains flexibility and agility when moving over to highlife, straightens out when enhanced with frequent guest Roger Damawuzan’s James Brown type screams, and softens when making the way for strings. Snaking and undulating when a chorus of Togolese women takes over, guiding it towards a slow, hypnotic trance. Up until now, Vaudou Game had maintained their connection to Togo from their base in France. This time, recording the entire album in Lomé at OTODI with local musicians, Peter Solo drew the voodoo fluid directly from the source, once again using only Togolese scales to make his guitar sing, his strings acting as channels between listeners and deities…

African, funky, sarcastic, bewitching, green, ecstatic: these words collide to describe Vaudou Game and all of them are true. Noussin is the fourth album of the french Afro Funk band. Forced into lockdown, like much of the planet, Peter Solo and his Vaudou Game had no choice but to retreat into the studio. A reunion to once again invoke the spiritual forces of the Voodoo Deities. A reunion that was Initially imagined for an EP…yet these spiritual forces behind that imagination yearned for something more, and as we all know, these forces are impossible to push away once they have decided to stay. Under the strain enforced by the current socioeconomic climate, as much as by the environmental peril that faces us all today - they diverted the course of the groove towards daring new vibrations. Without extinguishing or diminishing its highly communicative power, they released Vaudou Game from its origins of pure Afro-Funk to gradually engage into compositions which crystallized themselves into tones resembling more rock than funk. On this fourth album, with an entirely revisited line-up, Peter Solo separates for the first time in his career from his brassy guard, leaving saxophone, trumpet and trombone outside to invite an arsenal of keyboards to define, with him, this new voodoo sound. A sound, as usual, built on vintage and precise analogical material - grime even on the white side of the tape, a blunt instrument used to blanket anything that strived to shine too much in the mix. Graced with tapered guitars stringing out rhythmic bumps or withdrawing a few beats to indulge in infectious solos, this album is boisterously alive with vintage 70's Funk, infused with a few digressions into other ethers of the funk timeline, nicking different sounds and frequencies to render the black and white keys of an inspired keyboard to reach new euphoric levels of melodic acidity. Tearing off the enigmatic mask to reveal his true face: on a few titles, Peter Solo ventures outside of his sacred voodoo range to reconnect with his London years, these titles feature small nods to the time he spent in “The Smoke” where the incantations of British music culture were written within him. Noussin which means “Stay strong” in Mina, a dialect spoken in the south-west of Togo. Noussin, a message of hope as much as a call to come together to weather the turmoil and to come out better on the other side. Don’t let them grind you down…Noussin!

From the forthcoming album Kidayu, out September 8th 2016 on Hot Casa Records.

When faced with the decision to take a different direction at the risk of getting lost in a synthetic sound or to further explore the same musical path, Vaudou Game did not need to consult the oracle for very long when putting together their new album.

Since their first acclaimed album, Apiafo and its irresistible single "Pas Contente", these Lyon natives never turned down the heat on over 130 stages across Europe, Africa, America and Asia. Peter Solo has displayed his amulets, charisma and yellow pants around the globe.

When time came for them to harness their Afro-Funk sound for the second time, they turned their attention once again to their analog strengths. Vintage material, instruments produced in the 70's and cassette tapes were the "grigris" (or lucky charms) which proved most effective to ward off digital corruption of their music and return them to a tight-knit group with a solid groove.

African, funky, sarcastic, bewitching, green, ecstatic: these words collide to describe Vaudou Game and all of them are true. Bella is the first vinyl single derived from the upcoming album called Noussin, due to be relased June 11th 2021. "Bella" is a smashing summer hit, sang in Mina and french. It's an ode to the nature and love in this hard times. "Be My Wife" on the B side, is a trip into a rock /funk universe with an uptempo twist rythm, sang into the voodoo harmonies. Composed in Lyon on 100% analog equipment during the lockdown, those two songs might be the funky nuggets of all DJ's and radio playlists .

Soul Jazz Records’ latest album ‘Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria’ is newly recorded in Lagos, Nigeria. The album is co-produced by Soul Jazz Records label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo). Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa.
The enormous impact of Yoruba and West African music and culture is worldwide – from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s – Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms – from New Orleans jazz to Bronx rap, gospel, soul and more.
This album features songs honouring the Nigerian gods of the Yoruba traditional religion – Yemoja, Obatala, Ogun, Sango and others – as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography included in the 40-page outsize booklet/gatefold double vinyl + inners showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.

Not long after the release of Two Tribes Vol. 1, we realized that our journey had only just begun and lots of stories still had to be told. Motivated by lots of positive responses, we soon put to work researching and compiling music for what would become "Two Tribes Volume Two". We put our emphasis on expanding to other European regions as well as including different countries than on Vol. 1 and we also wanted to give it a bit of a different musical twist. The result are 14 tracks covering what we consider a broad and diverse spectrum but still clinging to our initial idea of building a musical bridge between the continents of Africa and Europe. The immense cultural diversity of both is represented by newcomers alongside more well known names, both of which have a strong connection to the rich musical traditions of Africa. On board are African artists living in diaspora on equal footing with Europeans that incorporate their high affinity to the African continent into their music. Exciting outernational collaborations round off the selection for Vol. 2! Includes tracks by Onipa (Strut Records), Guts, Wanubalé, David Nesselhauf (Kryptox Records) and many more

We thought turning five this year would be a good reason to ask some friendly DJs and producers to go through our catalogue and select their favorite track to do an edit or remix on.
The first selection by DJ Nomad from Berlin is Barbara Hernandez' 'All Nite Tonight', written and produced by Leston Paul from Trinidad. Nomad's edit drives the song's dance floor ambition even further beyond the top. As a DJ Nomad does not necessarily put a label on his style, but always expresses love for Polyrythms, Soulful harmonies and the African drums and Percussion. He's notorious for finding fresh world music dance tracks all around the globe, before they become hits, and a massive collector of Tropical Soul, Funk and Disco.
His energetic and surprising , always fresh DJ set's earned him a residency in Paris's infamous ‚Tropical Discoteq’ Parties among the best Dj's of the genre. He is the founder of ‚Vulkandance’ Parties, Blog and Label in Berlin .. He's together with Edna Martinez cofounder of ’El Volcan’ - The first continental European Colombian Pico Soundsystem. As a Producer he's breaking ground and travelling the world together with Dirk Leyers and the transcultural Project Africaine 808, besides working as a master Editor for other artists around the globe. Keshav Singh who is part of Trinidadian/British production duo Jus Now put his hands on Trinidad's Mansa Musa's ’Beat The Drum’.
Being a percussionist in his own right he transformed the song into a housy Soca track and pure dance floor fiah! With his partner Sam Interface, he has produced soca music with EDM influence for Bunji Garlin, Machel Montano and 3Canal. Keshav commutes between Trinidad and the U.K.
The next two tracks are taken from our upcoming compilation ’Gotta Nice Buzz - The Funky Sound of Semp Studios Trinidad, W.I.’. French DJ & record collector Waxist gives Zodiac's ’I Believe’ a proper treatment. ’I Believe’, written by Francis Escayg, is an uptempo Caribbean Disco tune with a strong Giorgio Moroder influence with Denise Plummer on vocals.
Waxist, based in Lyon, France, started his love story with records as a teenager when he bought his first reggae 7 inches. If his love for Jamaican music has survived through the years, the DJ has progressively extended his interests to different, more dancefloororiented music genres like Disco, Modern Soul, Boogie or even a touch of House when needed... Being careful with the technique, as well as with the coherency of his selection, his sets are an invite to a dancing musical journey taking the audience from Disco to Modern Soul, through more Caribbean or Brazilian sounds.

On this great compilation you’ll find 16 early vocal & jazzy tunes from the Golden Age of Jive & Kwela in South Africa. All released originally on fragile shellac discs only, which is a very delicate material but the music survived thanks to the archives of ILAM. A truly great source of South African music is being preserved here for new generations, to inspire young and hopeful musicians and singers from all over the world. These treasures of musical genius were recorded in the glory years of Jive and Kwela, the years 1940-1965.
On side A it is not very difficult to recognize the similarities to American popular music like R&B and small combo close harmony singing. But most of all notice that typical South African swing, that Jive, that incredible smooth form of African Jazz on side B; Kwela!

The rarest and most treasured finds are collected here, some with the original spoken intros, ‘sketches’ as these were called. Characteristic conversations between the musicians, often in a humoristic slang, always extremely funny. The record is pressed to 180gram vinyl.

To reveal to the world all the musical riches of Mali, and more particularly the music of the Mandé region, cradle of the great griot families, is the highly laudable purpose of this LP The Lost Maestros Collection. To perpetuate and transmit this ancestral musical history, The Lost Maestros Collection brings together 8 wonders of Mali who have each in their own way managed to develop this tradition towards more modern and electrified countries and associates pioneers of Mandingo music and actors of the young post generation. The Lost Maestros Collection is the result of the collaboration between Deviation Records, newly created by Phil Margueron and the independent Malian label Mieruba, which has been working since 2010 to ensure that this golden age of Mande music does not fall into oblivion. Aware that these nuggets are not eternal, Mieruba, based in Ségou on the banks of the Niger river and capital of the former Bambara kingdom, undertook for eight years the preservation of this musical heritage by putting these 16 pieces on tapes at the Kôré studio de Ségou as well as at the famous Bogolan studio in Bamako.

In the spring of 1968 a cargo ship was preparing to leave the port of Baltimore with an important shipment of musical instruments. Its final destination was Rio De Janeiro, where the EMSE Exhibition (Exposição Mundial Do Son Eletrônico) was going to be held. It was the first expo of its kind to take place in the Southern Hemisphere and many of the leading companies in the field of electronic music were involved. Rhodes, Moog, Farfisa, Hammond and Korg, just to name a few, were all eager to present their newest synthesisers and other gadgets to a growing and promising South American market, spearheaded by Brazil and Colombia.

The ship with the goods set sail on the 20th of March on a calm morning and mysteriously disappeared from the radar on the very same day. One can only imagine the surprise of the villagers of Cachaço, on the Sao Nicolau island of Cabo Verde, when a few months later they woke up and found a ship stranded in their fields, in the middle of nowhere, 8 km from any coastline.

After consulting with the village elders, the locals had decided to open the containers to see what was inside – however gossip as scintillating as this travels fast and colonial police had already arrived and secured the area. Portuguese scientists and physicians were ordered to the scene and after weeks of thorough studies and research, it was concluded that the ship had fallen from the sky. One of the less plausible theories was that it might have fallen from a Russian military air carrier. The locals joked that again the government had wasted their tax money on a useless exercise, as a simple look at the crater generated by the impact could explain the phenomena. “No need for Portuguese rocket scientists to explain this!” they laughed.

What the villagers didn’t know, was that traces of cosmic particles were discovered on the boat. The bow of the ship showed traces of extreme heat, very similar to traces found on meteors, suggesting that the ship had penetrated the hemisphere at high speed. That theory also didn't make sense as such an impact would have reduced the ship to dust. Mystery permeated the event.

Finally, a team of welders arrived to open the containers and the whole village waited impatiently. The atmosphere, which had been filled with joy and excitement, quickly gave way to astonishment. Hundreds of boxes conjured, all containing keyboards and other instruments which they had never seen before: and all useless in an area devoid of electricity. Disappointment was palpable. The goods were temporarily stored in the local church and the women of the village had insisted a solution be found before Sunday mass.

It is said that charismatic anti-colonial leader Amílcar Cabral had ordered for the instruments to be distributed equally in places that had access to electricity, which placed them mainly in schools. This distribution was best thing that could have happened - keyboards found fertile grounds in the hands of curious children, born with an innate sense of rhythm who picked up the ready-to-use instruments. This in turn facilitated the modernisation of local rhythms such as Mornas, Coladeras and the highly danceable music style called Funaná, which had been banned by the Portuguese colonial rulers until 1975 due to its sensuality!

The observation was made that the children who came into contact with the instruments found on the ship inherited prodigious capabilities to understand music and learn instruments. One of them was the musical genius Paulino Vieira, who by the end of the 70s would become the country´s most important music arranger. 8 out of the 15 songs presented in this compilation had been recorded with the backing of the band Voz de Cabo Verde, lead by Paulino Vieira, the mastermind behind the creation and promulgation of what is known today as “The Cosmic Sound of Cabo Verde”.

The Original Sound of Mali’ compiled by David ‘Mr Bongo’ Buttle, Vik Sohonie (Ostinato Records) and Florent Mazzoleni.

Malian music is a deep, lyrical form of African music. Those of us deeply entranced by Malian culture, and, in particular, the immense hypnotic beauty of Malian music, have put together a selection of songs from across the country.

No booklet in this Version.

Soul Jazz Records’ new Nigeria Soul Fever is their first release to explore the vast wealth of Nigerian music recorded in the 1970s. The new album comes with introductory sleeve-notes by Bill Brewster (author of Last Night A DJ Saved My Life).
Packed-full with Afro-Funk, Disco and Boogie all from Nigeria, this triple album/double CD set brings together a stunning collection of diverse West African sounds. Whilst a small handful of the artists featured (Joni Haastrup, Tee Mac, Christy Essien) have seen the light of day outside Africa, this is essentially a collection of killer tracks by an array of artists completely unknown outside of Nigeria. Artists such as Don Bruce & The Angels, Akin Richards & The Executives, Angela Starr, Jimmy Sherry & The Music Agents. It’s no surprise that these records are extremely rare and expensive to buy individually so this album will save you going broke trying to find them.
These recordings were made at a time when Nigeria’s trade restrictions banned imported records. Whilst new musical trends (such as American soul, funk, disco etc) entered and influenced the country, the local music scene remained just that – local. Consequently, these recordings remain practically unknown to anyone outside of the country.

The first instalment in our new ‘Mr Bongo Record Club’ compilation series – a
selection of favourites, recent discoveries and sought after obscurities, which
form the basis of our DJ sets and our radio show of the same name. Including
cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie
Laverne, Barbosa and more.
The original concept for ‘Mr Bongo Record Club’ was a radio show that allowed
us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions,
not constrained by the need to beat-mix every record, a space where we could
play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl.
We have always DJ’d across-the-board, but playing in an eclectic way hasn’t
always been easy. Recently DJ’s such as MCDE, Floating Points, Nick The Record,
Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and
Young Marco – to name a few – have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco,
boogie, jazz, house, techno and beyond.
We’re seeing a rare groove like sensibility. A shift towards the attitude of
legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson,
where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people
have a progressive attitude and a thirst for new-old music. It is a vibrant and
exciting time – we are proud to be a part of it.

About a hundred kilometers south-west of Bamako, on the left bank of the Niger River, the Malian village of Kela is known to be home to a large community of griot musicians (jeliw) mostly belonging to the Diabaté family. Their art is recognised throughout West Africa and many griots come from all over the world to stay there, sometimes for several years, in the hope of becoming immersed in it. The six pieces for voice accompanied by guitar or traditional koni lutes were recorded in 1978 (tracks 3 to 6) and in 2019 (tracks 1 to 3), in the same traditional dwelling, which still serves as a “studio". The accompanying booklet contains the testimonies of several important musicians who took part in the recording, and evoke key elements of their universe Points of interests - For the fans of the traditional repertoires of Mali’s famous griot musicians. - For music lovers who love the voices accompanied by the guitar and the traditional lutes of the griots.

In 1980s black South Africa a local form of pop music evolved as the disco boom died down and slowly mutated. It was often ubiquitously described as Bubblegum - usually stripped-down and lo-fi with a predominance of synths, keyboards and drum-machines and overlaid with the kind of deeply soulful trademark vocals and harmonies that South African music is famous for.
Compilers Miles Cleret (Soundway) and DJ Okapi (Afrosynth Records) present a selection of 18 rare, handpicked 1980s cuts that highlight the period that nestles in between the ‘70s (where American-influenced jazz, funk and soul bumped shoulders with local Mbaqanga) and the ‘90s when Kwaito and eventually house-music ruled the dancefloors of urban South Africa.
Alongside French-Caribbean Zouk this kind of music has slowly been making its way into the DJ sets of many of the most open minded selectors around the world. This compilation is in many ways a sister release to the hugely popular compilation of Nigerian boogie and disco that Soundway released in late 2016 : “Doing it In Lagos: Boogie, Pop & Disco in 1980s Nigeria”.
The album takes its name from the band Ashiko’s track of the same name Gumba Fire that features on the compilation. The term is derived from gumba gumba, the term given to the booming speakers of the old spacegram radios that
broadcast music into South Africa’s townships and villages. The phrase later evolved into Gumba Fire to refer to a hot party. Put this record on and feel the heat!

Dick Essilfie-Bondzie was all ready for his 90th birthday party when the Covid pandemic hit. The legendary producer, businessman and founder of Ghana’s mighty Essiebons label had invited all his family and friends to the event and it was the disappointment at having to postpone that prompted Analog Africa founder Samy Ben Redjeb to propose a new compilation celebrating his contributions to the world of West African music.

For most of the 1970s Essilfie-Bondzie’s Dix and Essiebons labels were synonymous with the best in modern highlife, and his roster was a who’s-who of highlife legends. C.K. Mann, Gyedu Blay Ambolley, Kofi Papa Yankson, Ernest Honny, Rob ‘Roy’ Raindorf and Ebo Taylor all released some of their greatest music under the Essiebons banner.

Yet Essilfie-Bondzie had been destined for a very different career. Born in Apam and raised in Accra, he was sent to business school in London at the age of 20, and returned to the security of a government job in Ghana. But his passion for music, inspired by the sounds of Accra’s highlife scene, had never left him, and in 1967 he figured out a way of combining music and business by opening West Africa’s first record pressing plant.

The venture, a partnership with the Philips label, was a huge success, attracting business from all over the continent. By the early 1970s Essilfie-Bondzie had left his government job to concentrate on his labels, and by the mid-seventies he was on a hot streak injecting album after album of restless highlife into the bloodstream of the Ghanaian music scene.

Essiebons Special features a selection of obscure workouts from some of the label’s heaviest hitters. But in the course of digitising his vast archive of master tapes, Essilfie-Bondzie found a number of Afrobeat and Instrumental maszterpieces tracks from the label’s mid-70s golden age that, for one reason or another, had never been released. Those songs are included here for the first time.

Sadly Essilfie-Bondzie passed away before the compilation was finished. But his legacy lives on in the extraordinary music that he gave to the world in his lifetime.

Yaoundé, in the 1970´s, was a buzzing place. Every neighbourhood of Cameroon´s capital, no matter how dodgy, was flled with music spots but surprisingly there were no infrastructure to immortalise those musical riches. The country suffered from a serious lack of proper recording facilities, and the process of committing your song to tape could become a whole adventure unto itself. Of course, you could always book the national broadcasting company together with a sound engineer, but this was hardly an option for underground artists with no cash. But luckily an alternative option emerged in form of an adventist church with some good recording equipment and many of the artists on this compilation recorded their frst few songs, secretly, in these premises thanks to Monsieur Awono, the church engineer. He knew the schedule of the priests and, in exchange for some cash, he would arrange recording sessions. The artists still had to bring their own equipment, and since there was only one microphone, the amps and instruments had to be positioned perfectly. It was a risky business for everyone involved but since they knew they were making history, it was all worth it. At the end of the recording, the master reel would be handed to whoever had paid for the session, usually the artist himself..and what happened next? With no distribution nor recording companies around this was a legitimate question. More often then not it was the french label Sonafric that would offer their manufacturing and distribution structure and many Cameroonian artist used that platform to kickstart their career. What is particularly surprising in the case of Sonafric was their willingness to take chances and judge music solely on their merit rather than their commercial viability. The sheer amount of seriously crazy music released also spoke volumes about the openness of the people behind the label.But who exactly are these artists that recorded one or two songs before disappearing, never to be heard from again? Some of the names were so obscure that even the most seasoned veterans of the Cameroonian music scene had never heard of them. A few trips to the land of Makossa and many more hours of interviews were necessary to get enough insight to assemble the puzzle-pieces of Yaoundé’s buzzing 1970s music scene. We learned that despite the myriad diffculties involved in the simple process of making and releasing a record, the musicians of Yaoundé’s underground music scene left behind an extraordinary legacy of raw grooves and magnifcent tunes. The songs may have been recorded in a church, with a single microphone in the span of only an hour or two, but the fact that we still pay attention to these great creations some 50 years later, only illustrates the timelessness of their music.

Shanghai’s Svbkvlt throw down a killer 2nd ‘cache’ compilation bristling with exclusive new zingers from the extended label firm, including Slikback, Hyp11E, Tzusing, Hodge, Gabber Modus Operandi, 33emybw, Gooooose, Nahash and more. Chasing up one of the definitive club comps of recent years, ‘Cache02’ finds Shanghai’s best label is in rude health with a full spectrum coverage of styles from hyperpop to clobbering hardcore rave, mutant drill and back-alley EBM techno by some of the most crucial artists in operation right now. Gooooose does wicked slow/fast footwork with Memphis rap cowbells and jibber-jawed edits in ‘Cows,’ and the Sbvkvlt/Hakuna Kulala axis twysts out a properly fwd kongo-tekno thriller in ‘Mushen’ by Slikback & Hyph11E. Indonesian mentalists Gabber Modus Operandi go ham with the possessed vox and thunderous kicks of ‘Pedas,’ and 33emybw nails Photek-levels of martial dance moves on ‘Coupling.’ Tzusing & Hodge supply the set’s big-room peak with a steaming EBM hammer tune ‘LCD,’ and Shanghai-based UK producer Swimful makes his mark with the glyding drill synths and knifepoint grime drums of ‘Muckle.’ Impressive introductions are also made to Seoul’s NET Gala with the vivid trance futurism of ‘Alternet,’ and the weird, scorched drill soul of Nahash on ‘The Way That I.’

From Its Founding In The Late 14th Century, The Kingdom Of Buganda Has Been Celebrated Through Sound And Nurtured A Rich Musical Tradition In Its Royal Court. Coming From Across The Kingdom, Musicians Would Take Turns In The Palace To Sound Drums, Xylophones, Flutes, Lyres, And More To Praise And Honour The Existence Of The Kingship. In Recent Years However, The Tradition Has Been More Difficult To Maintain, Especially Since 1966 Where There Was A Violent Attack On The Palace That Abruptly Abolished The Kingdom And During Which Royal Musicians Fled Or Were Killed. And While The Kingdom Was Re-Established In 1993 As A Cultural Institution, Many Of The Remaining Musicians Had Since Chosen To Sideline Their Skills To Deal With The Issues Of Their Day To Day Lives, The Practice Of The Royal Tradition Waning In Popularity, Especially With Younger Listeners And Players.But All Is Not Lost. Scattered Across The Kingdom, A Motivated Team Of Older Veterans And Attentive Young Players Are Still Keeping The Tradition Alive. Offering A Transversal Glimpse Into The Past And The Present, "Buganda Royal Music Revival" Collects Recordings Made In Between The Late 1940s And 1966 Illustrating The Older Generation's Skills, And Presents Them Alongside Recent Recordings Featuring Old And Young Musicians Who Still Carry On This Musical Tradition, Some Even Performing For The Current King, Muwenda Mutebi Ii. The Later Were Made During The Shooting Of The 2019 Documentary "Buganda Royal Music Revival" That Presents Through A Film What This Album Conveys Through Sounds: A Packed Dive Into A Century-Old Tradition.The Music Displayed Here Is Diverse And Vibrant, Presenting A Variety Of Styles And Highlighting Instruments That Illustrate The Depth And Sophistication That Stemmed From The Royal Court Experience Of Buganda. As A Starter, The Album Opens With 'Mujaguzo'. Often Translated As 'The Drums Of The Kingship', The Mujaguzo Is A Crucial Ensemble For The Cultural Tradition, Made From Drums Collected By The Kingdom Throughout...

"Bitteschön, Philophon!" presents a "best of" selection taken from the so far fifteen 7" releases by the Berlin-based label Philophon. Greats as Jimi Tenor, Alemayehu Eshete and Hailu Mergia as well as new discoveries such as Guy One, Alogte Oho and Y-Bayani echo on "Bitteschön" the wide spectrum of the Philophon catalogue.
Philophon puts its emphasis on authentic local styles - from heavy grooving Ethio-Jazz coming out of Addis Abeba to cheerful Frafra-Gospel, as it is celebrated in Bolgatanga/Northern Ghana. Most recordings took place where the music is located - and that's the recipe for Philophon's productions: go to the source and dive into the real.

Comet Records is excited to present Afro Rhythms Vol. 1 the first repress since 1999 of Singles and Remixes out of Black Voices’s LP from Tony Allen Afrobeat pioneer, along with the iconic Psyco On Da Bus creating a new sound between experimental, electronica and afrobeat, both albums produced by sound activist Doctor L. The compilation is a proper trawl through the vault of the early years of Comet Records featuring producers and artists as IG Culture, Eska, Catalyst aka Alex Attias, Psycho On Da Bus Featuring Doctor L and Tony Allen, Cinematic Orchestra and the legendary Parisian duo Chateau Flight. The tracks "The Drum" and "Brotherhood" produced respectively by IG Culture (Son Of Scientist) and Cinematic Orchestra are part of The Allenko Brotherhood Ensemble project, a collaboration between the unique drumming style of Tony Allen and the best in contemporary producers. Comet label continues its hypnotic elliptical orbit through radical funk realms and dancefloor wormholes, connecting to five decades of music from four continents and still heading for the future, a pure and positive light to guide our way on.

The latest signing to Parisian label No Format! (home to Oumou Sangaré, Blick Bassy and Mélissa Laveaux), Soweto-based 4 piece band Urban Village will release their debut album "Udondolo". Marrying the day-to-day experiences of black South Africans with ebullient elements from traditional Zulu music, Urban Village is the alias of four experimental musicians all born & raised in the township of Soweto at the tail end of apartheid; Urban Village release music under a name which specifically references the blend of cultures, music & rites which were assimilated into the now 1 million strong population of Soweto, when black South Africans from multiple provinces were brought to the area during the establishment of apartheid, under strict segregation from Johannesburg's white suburbs.Born for the most part in the last years of apartheid, whilst growing up the band plunged happily into house and dance music that turned the page of a heavy past. Guitarist Lerato came across older Zulu musicians and their style of maskandi playing. Lerato has since mixed styles from homelands and rural areas, sharpened in club jam sessions (where he went on to meet Tubatsi and form Urban Village) during which spoken word, hip-hop and jazz rub shoulders freely."Udondolo" - partially recorded at legendary Downtown Studios in the heart of Johannesburg and at Figure of 8 studios in the leafy suburbs of Randburg - is a journey through all the colours of Soweto. This is where it draws its consistency, strength & identity. That of Soweto itself - a dormitory town designed to monitor those who were sent there, it has become a laboratory of music where the hopes of an entire people resonate, even today.

Official Mr Bongo reissue of the ultra-rare Nigerian disco-boogie, ‘Viva Disco’, album from 1980. Originally released on the Afrodisia label, this one is unknown to even the most knowledgable collectors out there.
Tunde Mabadu recorded two albums in the 70’s – ‘Viva Disco’ and ‘Bisu’ as Tunde Mabadu & His Sunrise. Perfect examples of golden-era Nigerian disco & boogie, that still hold their own today.
Licensed from Tunde Mabadu and PMG.

Third Man Records is proud to announce the most virile entry in the history of its Blue Series singles: The man, the legend himself Mr. Tom Jones laying his unmistakable voice over Howlin' Wolf's "Evil" and the Frankie Lane classic "Jezebel" (as covered over the years by the likes of Edith Piaf and Anna Calvi). Both tracks were produced by Jack White at Third Man studios.

This deep soul-jazz double-sider, recorded on October 3rd 1972, was released as a seven-inch single on Motella, one of the many labels of the Mavuthela Music division of Gallo Africa (now Gallo Record Company). Mavuthela was founded by the talent scout and producer Rupert Bopape in 1964. This recording of 'The Toreadors', a one-off session group, was produced by Ray Nkwe who worked as an independent producer for several different companies and was responsible for organising many African jazz-oriented sessions in the 1970s and early 80s.

Ndia Egbuo Ndia (Afro-Jigida), an LP recorded by the Nigerian rock group Semi-Colon in 1976, was an experimental response to Fela Kuti’s then-dominant afrobeat sound, substituting Fela’s sophisticated horn charts and jazz leanings with wiry electric guitar work and a passion for vintage rock ‘n’ roll. Long fabled and coveted amongst collectors and DJs alike, the album has remained one of the rarest of the Nigerian 1970s “afro” cycle. Comb & Razor Sound is proud to be reissuing this lost gem of Afro-rock for
a new audience.

This reissue marks the second release from Comb & Razor Sound, following up the success of its inaugural offering, 2011’s Nigerian disco and boogie compilation Brand New Wayo, which was spotlighted on NPR’s All Things Considered and received favorable mention on its “Song of the Day.” The new edition of Afro-Jigida continues Comb & Razor’s exploration of rare, cutting-edge popular music produced in Nigeria in the 1970s and 80s.

Afro-Jigida will be initially released in its original six-track vinyl format, with a deluxe CD release to follow at a later date. As a bonus, the first 1000 copies pressed of the album will include a 7” single featuring the never-before-released demo recording "Our Fada".

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

Soundway Records presents the debut EP from The Mauskovic Dance Band – a heady, tropical blend of cumbia, Afro-Caribbean rhythms and space disco, resulting in a vibrant hypnotic groove destined for bustling dancefloors.
The Mauskovic Dance Band is the brainchild of the Amsterdam-based producer and musician, Nicola Mauskovic. A seasoned drummer, he finds himself constantly in demand – as part of Turkish psychedelic outfit Altin Gün, a recent tour with the revival of Zambian legends W.I.T.C.H., and a worldwide tour with psych-pop artist Jacco Gardner, with whom he then went on to form the dance-oriented duo Bruxas (released on Dekmantel). Throughout this hectic schedule Nic still found time to begin studio experiments that would eventually lead to several 7” singles, released on Swiss label Bongo Joe Records in 2017 under the name “The Mauskovic Dance Band”.
Following this, he tapped long-time collaborators Donnie Mauskovic (vocals, keys, effects), Em Nix Mauskovic (guitar, synth, percussion), and Mano Mauskovic (bass) to make the jump from record to stage. Soon they caught the ear of fabled underground Cumbia producer Juan Hundred, who left his home on a Caribbean island to join the band on drums.
With each band member of varying heritage, the group draws inspiration from diverse genres: primarily Afro-Colombian styles such as champeta, palenque, cumbia and the picó soundsystem culture, as well as the Afro-Disco and No-Wave scenes in their current base of Amsterdam. The city’s hotbed of underground producers has also brought an electronic edge to the band, with vintage drum machines and synthesisers effortlessly melding with Afro-Latin rhythms and slick guitar riffs to create a contemporary sound rich with cultural influence.
Having toured extensively through Europe in 2017 as a staple of festival stages and clubs, The Mauskovic Dance Band continues to build exciting momentum – with appearances at Eurosonic Noorderslag 2018 and an extensive tour of the Netherlands coinciding with the launch of the EP.

‘Dancing Time: The Best of Eastern Nigeria’s Afro Rock Exponents 1973 – 77’ by The Funkees is the latest title on Soundway to mine the rich musical output of 60s and 70s Nigeria. For the 5 year period this compilation spans The Funkees output crackled with dance floor fire.

Having featured on three of Soundway’s most popular titles, across the definitive Nigeria Special compilation series, we felt The Funkees output deserved closer inspection. Presented here (on CD, download & double gatefold LP) are 18 slices of funky Afro-rock grooves hand picked by Soundway’s Miles Cleret from a selection of the bands 45s and 2 long players.

In the early 1970s The Funkees were the number-one east Nigerian band and the only outfit to seriously challenge the popular Lagos based rock combos MonoMono and BLO.

It wasn't long before promoters in the UK came calling and The Funkees packed up their instruments and moved to London where they quickly established a fierce reputation on the live circuit.

Here they recorded two seminal albums before finally breaking up in 1977 amidst some controversy. This collection features for the first time all of their Nigerian 45s alongside the best of their UK album material and is accompanied by a full interview with original member Sonny Akpan, who still lives in the capital.

The past five years have seen amapiano, South Africa's electronic music movement born in the townships of the country's Gauteng province, evolve from an underground sound to a nationwide mainstream staple. Even with its commercial success though, amapiano's DIY ethos has continued to disrupt music creation and distribution in the country. Most amapiano commercial successes today began their careers on cracked versions of production software like FL Studio, distributed their work through file sharing platforms like datafilehost and marketed it using social media pages they controlled and influenced. Amapiano Selections, the debut album by DJ and producer Teno Afrika, gives listeners outside the movement's online release economy an insight into the high-burn nature of amapiano that has spawned a distinct typology under its larger umbrella. Twenty-one-year-old Lutendo Raduvha has spent the bulk of his life moving between different townships on the outskirts of Johannesburg and Pretoria in the Gauteng province. The palette of amapiano styles on the album reflect these influences. But at first, South Africa's youngest electronic music movement lived underground with a small, loyal following. "Amapiano is a genre that I chose because I have a passion for it," says Teno "I started following amapiano in 2016 because I wanted to explore how it's produced. It was not taken seriously in our country." Interestingly, Teno Africa only gives vocals prominence on the closing track "Chants of Africa." As a way of making their music recognizable and relatable for broadcast, amapiano producers have sometimes overly relied on vocals in the form of singing, catch-phrases and party refrains for the purpose. "It was my decision not to use vocals on this project," says Teno "The reason is I wanted people to feel my instrumentals and style because this is my first album." On his closing track the young producer gives a glimpse of the considered approach to music which buoys anticipation for greater things from his future releases.

After two years in the making, Tambour Battant delivers its new album "Galore", 13 tracks that outline the contours of genres and reinvent them. Very eclectic sounds makes this new album: from Brazilian-flavored tracks with the artists Flavia Coelho and Faktiss to heavy-weighted Trap beats with Miscellaneous (of Chill Bump) and Jman. On the other tracks, the duo takes us on an electrifying ride that will pleased all the lovers of heavy bass and powerful kicks. As its name suggests, this new album "Galore" is distinguished by its profusion of styles and influences.

For the original artwork of this new album "Galore", the duo appealed to Pablito Zago, a famous street artist / illustrator who brings his style rich in colors and collages to this album more than explosive!

Tallawit Timbouctou are champions of takamba, a hypnotic traditional music from
Northern Mali. Built around the tehardent, the four stringed lute and pre-cursor to
the American banjo, takamba's droning distortion comes from signature handmade
mics and blown out amplifiers. Accompanied by percussion pounded out onto an
overturned calabash with mind boggling time signatures, the combined effect is
trance inducing. This is the music that long ruled the North of Mali, performed at
festivities, blasting out of dusty boomboxes, and beaming out from village radio
stations. Its origin is shrouded in mystery, and though purportedly dating back to the
Songhai Empire of the 15th century, takamba's heyday was in the 1980s, with the
introduction of amplification. Musicians found a lucrative circuit, performing in
elegant weddings, creating cassettes on demand, and writing songs for their wealthy
patrons. Today takamba has fallen out of popular fashion with the youth, but
continues to thrive in a small network of die-hard traditionalists. Band leader Aghaly
Ag Amoumine is one of the remaining renowned takamba musicians. Descended
from a long line of praise singers, he spent decades traveling across the Sahel,
performing in remote nomad camps and crowded West African capitals. His
compositions continue to circulate today and have become part of the folk
repertoire. His group Tallawit Timbouctou, based in the city of the same name,
continues in the family tradition, and has featured both his brother and nephew as
accompanying members. Recorded at home in Timbouctou, "Hali Diallo" is a
relentless and nonstop recording, true to the form of takamba. Tracks blend
seamlessly into one another, instruments are tuned mid-song, and Aghaly only
pauses singing long enough for the occasional shout-out or dedication. Unfiltered
and direct as it's meant to be heard, Tallawit Timbouctou is a shining example of one
of the last great takamba bands.

Susso, aka bassist / producer Huw Bennett, creates music inspired by, and directly sampling, the magnificent sounds of the Mandinka people, recorded during a recent trip to Gambia. Initially travelling with the aim of gaining perspective as a musician and to discover a new world of music first hand, Huw found himself humbled by such a welcoming community of artists, mostly belonging to the celebrated Suso and Kuyateh griot families. The tracks are composed entirely from original source material, field recordings and Huw’s talents as a multi-instrumentalist; performing tuned percussion from the region including the Mandinka Balafon, Kutiringding drum, aswell drawing on his skill as a professional upright / electric bassist. The music produced has a contemporary electronic sound, whilst still paying homage to a traditional Gambian aesthetic. Keira (meaning peace) guides the listener through Huw’s journey up the River Gambia, being welcomed into remote dusty villages, where your people are the most important thing in life.

Deviation Records is pleased to present you their latest and exiting collaboration with the Mieruba Label Team. The Super Biton has existed since the 60s, like Ségou, its orchestra, the Super Biton has always remained behind what was done in Bamako and in the big cities of Africa. The Ségou orchestra developed and incorporated amplified instruments that mingle with brass, in particular electric guitars, symbols of modernity at the time. It opens up to Cuban music, and congas and bongos complement the sound of the orchestra. The group drew a unique sound from it, a perfect balance between tradition and the modern. There are about fifteen artits on stage, singers, guitarists, drummer and percussionists. The Super Biton has for years been the best known and most sought-after orchestra of Mali outside the country's borders, the Super Biton transcends the only Bambara heritage with its repertoire. Ségou is a crossroads between Bambara, Fulani, Mandingo and Somono cultures and Biton has drawn on all these traditions to create a repertoire extremely rich in rhythms and words. Some musicians completed their training in Cuba. They play "bambara jazz", incorporating a lot of brass instruments such as saxophone, trumpet, clarinet. The compositions are modern and sophisticated. Mieruba Art Center is a place dedicated to the transmission and safeguarding of Malian musical heritage through musical exchange between the older and newer generation - Artist residences, music lessons, rehearsals, Workshops, Masterclasses - and so on. Just as happy former musicians of Mali, the members of Super Biton give lessons on site. It is also the office of the Mieruba-ML label in the same place where Deviation Records is collaborating for the second time on the album - After the « Lost Maestros Collection » - with the support of La Manufacture de Vinyles. Phil of Deviation Records tells: "I am very enthusiastic at the idea of offering you these two volumes of the History of the Super Biton of Ségou, Clique of Super Heroes of sound, a source of inspiration for generations of musicians, DJs and also griots and storytellers of great renown! This double LP compiles the first Chapter of the rich Afro-Jazz-Folk Collection whose tapes have been remastered by Monsieur Jonin and cut at the MB Mastering Studio in Aubervilliers .The gatefold artwork is conceived by Ewwanuelle Collage and formatted by Bertrand Tondeur, Graphic designer of Les Mouches. All that’sleft to say is that i hope that you enjoy listening to the final result !"

Just in time for summer, Sol Power Sound is proud to present its 4th release, the Djidjo Vide EP, a 1-2 punch of Afro house by label heads, the Sol Power All-Stars.

Djidjo Vide, the title track on the A-side, features DC (via Togo) Afrobeat band, Elikeh. It's a vibey slice of propulsive Afro house about finding joy in the face of hardship. Massama Dogo's commanding vocals (sung in Mina) combined with the driving bassline, and aggressive horns (performed by DC's Sticky Bear) make Djidjo Vide a summer sure shot for a roof-top jam, beachside dance floor, or nightclub near you.

The B-side, Tell Me Why is darker and deeper, chock full of percussion, a chopped vocal sample, and in-your-face afrobeat horns (performed by Matt Rippetoe and Joe Herrera of DC's the Harry Bells). It's a late-night beatdown that will set things off proper in a dark room!

With the mighty new From Africa With Fury: Rise, Seun Anikulapo Kuti picks up the mantle as undisputed champion and true prince of the Afrobeat movement.

ROB was an enigmatic recording artist from Ghana who cut two albums for the legendary Essiebons label in 1977. Neither of these were big domestic hits at the time and have since become prized amongst collectors in recent years. The title track from this LP was always one of the most popular on the first Soundway release Ghana Soundz and over the years we have been asked many times to re-issue the LP in it’s entirety. A stranger, slower offering than his more dancefloor funk-laden and Spartan first LP, this record sees ROB in similar territory but with the tempo switched down and the introspection turned up.

ROB’s trademark horns dominate and are supplied by the Mag-2, an army band founded by leader Amponsah Rockson, who named it after the army unit the band played for – the “magnificent” second battalion. In 1977, Rob traveled to the coastal town of Takoradi in search of Mag-2, which had an entire section of its line-up dedicated to horns, with the intension of laying out his proposal to them. Luckily for Rob, the band took him up on it.

With religious overtones and a broody, slightly off-key atmosphere at points it’s certainly one of the stranger afro-funk records to come out of West Africa but with tracks like Loose up Yourself and Make it Fast, Make it Slow he nails it for sure.

After two tracks were successfully taken for a limited Maxi single, the whole album is now available on Double LP - Nicely remastered. Patience, Violet ,and Pinky recorded their first Album in 1992. Knowing each other from the music scene, the back up singers turned friends teamed up with Emmanuel Diale and signed with Mob Music to embark on their music career as their own act. The first two albums were straight African Disco, A leftover sound of the 80's that some had still hoped to capitalize on. By the time they released their third album Why O Nketsa so Baby, loosely translated to "Why are you doing this to me Baby", Kwaito was still called either Disco or International House, and it was new sound that was taking over. The third album was influenced by the Shangaan sound made largely popular by artists like Penny Penny and Peta Teanet. Looking back now, at the time Mob Music was really leading the pack with this new sound. Being one of the last labels to have official releases with artwork and a group of young talented producers given full creative freedom they pushed the sound in a way only few other labels of that time can be given the same credit. For their fourth and final album on Mob Music they worked with legendary producer/songwriter Malcom "X" Makume. With three years of songwriting experience and stellar talent behind the desk the result was the LP Malende. Eight tracks that would combine the early kwaito sound with the more uptempo International House topped off with productions heavily inspired by what had been slowly making its way from Chicago over the last 10 years. At the time they had some success and to this day are well known amongst the real heads. The girls would go on to record one final album once their contract with Mob was up and then after a 5 album catalog would hang up their matching outfits for work a in a newly free South Africa. They remain friends to this day.

‘Unconscious Collective’ is the first album by PS5, the new ensemble led by Pietro Santangelo (Nu Guinea, Slivovitz, Fitness Forever) - and it will be out for Hyperjazz Records on 21st May 2021. It’s a further step in the label’s path in trying to connect the musical tradition of South Italy, the love for African-American music, and new ways of expression. ‘Unconscious Collective’ is a musical experiment where layered memories and hidden feelings resonate as if they arise directly from the most recondite part of the unconscious, suspending the stream of consciousness. With the aim to create a state of trance and override the human reason, this is an imaginary round trip across the Mediterranean Sea and the Atlantic Ocean, ideally connecting Naples with Northern and Sub-Saharan Africa and Latin America. The arrangements wrote by Santangelo are based on great freedom of improvisation: while the melodic textures of the two saxophones didn’t give any clear references, the other musicians followed the rhythmic pulse and its unpredictable ways. The music moves naturally along an imaginary line highlighting the ancestral connection between Jamaica and Ethiopia or between Nigeria and Cuba. In the background, Naples is a synthesis of all the sonic ingredients, mixed and cooked in its own mystical and spicy belly. Besides Santangelo himself on the tenor and soprano saxophones, the collective is made up of: Paolo Bianconcini, a brilliant Neapolitan percussionist with a very deep Afro-Cuban background; Giuseppe Giroffi, young and talented alto, and baritone saxophonist; the bassist Vincenzo Lamagna and the drummer Salvatore Rainone, both loyal members of the former Santangelo’s trio. Recorded live at the Auditorium Novecento in Naples, the legendary studio of Phonotype Records, ‘Unconscious Collective’ is mixed in analog format by Fabrizio Piccolo and mastered by Davide Barbarulo at his 20Hz20KHz Studio.

Acid Jazz Records continue their exclusive licensing agreement with Albarika Store, the legendary record label that defined the sound of Benin and influenced the entire region of West Africa and beyond.

More dancefloor dynamite from Benin's almighty Orchestre Poly-Rythmo de Cotonou Dahomey, this time in the form of 'Gbeti Ma Djro'. Confusingly described on the centre label of the 1971 original issue as ’Soul’, this is in fact a prime slice of Afro-psych-funk complete with wails and grunts over fierce drums and picked guitar. 'Angelina II’ is a much warmer affair that rides a shuffling mid-tempo pachanga groove. Both tracks were transferred, restored and mastered from the original 1/4 inch tape.

In 1972, Orchestre Abass released two incredible singles on Polydor. These records - featuring Samarin Banza, Haka Dunia and other afrofunk masterpieces - were powerful enough to knock any music head out, but it wasn’t until the discovery of some unreleased material by the band that the seeds for this project were planted.

All the music was licensed directly from the various composers of these songs. The vinyl is pressed on 180 High Quality Virgin Vinyl and the gatefold contains previously unseen pictures and a detailed biography of the might band.

Acapella versions of every! single! track! from Off The Meds’ self-titled debut album released in late 2020. The Swedish-South African super group’s front man and vocalist Kamohelo Khoaripe standing alone in the spotlight this time, his unique Zulu-Tsotsitaal-English flow lovingly recorded and processed by the Off The Meds production team. Each track comes with a short/sweet musical introduction, fully optimised for the modern professional discjockey. Out now as a super limited hand-stamped 12′’ vinyl .

Comet is pleased to announce the third volume of the Afrobeat Makers Series: Nu Guinea - The Tony Allen Experiments.
By re-working the original magic drum patterns from the Afrobeat master Tony Allen, Nu Guinea created a compilation of tracks which is charged by a voluminous electronic jazz-Psyche funk imprint.
For this release, Comet Records teamed up with Early Sounds Recordings, the berlin label, also home to duo Berliners Nu Guinea.
The Naples formed, Berlin-based duo, is a project that arose out of jam sessions, melting synthesizers with instruments, containing a handmade sound that is not aiming for perfection but genuineness. It can be understood as a steadily shaping form, always open for collaborations with other musicians.
They've previously collaborated with singer Wayne Snow (fellow berliner artist on Comet) for the vocal edit of Nu-World, also delivered a remix for Wayne Snow’ ʻRosie Epʼ both recently released on Tartelet Records.

Incl. her in demand tune "Tomorrow" . Six-track anthology of South African singer Ntombi Ndaba, featuring 2 songs from 3 of her solo albums, Mina Ngiljaji (1988), Mama Nature (1989) and Why Me (1991).
Ntombi Ndaba first rose to fame in 1985 with Ntombi & Survival, becoming one of the most popular singers of the bubblegum era. After setting up the independent label Anneko with her producer A.T. ‘Rubber’ Khoza in 1988, she went solo. Following Khoza’s death in the early 1990s, Ndaba never recorded again.

Incl. her in demand tune "Tomorrow" . Six-track anthology of South African singer Ntombi Ndaba, featuring 2 songs from 3 of her solo albums, Mina Ngiljaji (1988), Mama Nature (1989) and Why Me (1991).
Ntombi Ndaba first rose to fame in 1985 with Ntombi & Survival, becoming one of the most popular singers of the bubblegum era. After setting up the independent label Anneko with her producer A.T. ‘Rubber’ Khoza in 1988, she went solo. Following Khoza’s death in the early 1990s, Ndaba never recorded again.

Highlights:The Only Album Ever Recorded By Peruvian Sax Player Nilo Espinosa And His Group, Also Known As The Nil's Jazz Ensemble, Remains Not Only As One Of The Truly Grails For Collectors Of Latin-American Jazz But Also As An Outstanding Piece Of Music On Its Own.After Years Unavailable, Our Reissue Presents This 1976 Album In Its Full Glory, With Remastered Sound And Original Artwork, Including The Rare Promo Poster.Pressed On 180g Vinyl.Description:Once Resettled In Lima, Peru, In 1974 After Spending Some Time Playing In A Jazz Quintet In Berlin, Sax Player Nilo Espinosa Would Put Together The Nil's Jazz Ensemble, A Top-Notch Array Of Local Talent Consisting Of Pancho Sáenz (Trumpet), Miguel 'Chino' Figueroa (Keyboards), Oscar Stagnaro (Bass), Andrés Silva (Drums And Percussion), Jorge Montero, Richie Zellon And Ramón Stagnaro (Guitars).They Recorded One Single Album That Remains Not Only As One Of The Truly Grails For Collectors Of Latin-American Jazz But Also As An Outstanding Piece Of Music On Its Own. The Opening Song "Reflexiones" Is A Mind-Blowing Jazz-Funk Number Right Up There With The Very Best Of The Genre, Written By Black Sugar's Former Member Miguel 'Chino' Figueroa, Featuring A Fantastic Work On Trumpet And Rhodes.The Album Also Includes A Cover Of The Rare Groove Classic "Hard Work" That Could Have Easily Sneaked Into The Funkiest Side Of The Prestige Catalogue.Following The Success Of This Album, Espinosa Would Expand His Band To A Big Band Format And Tour Local Theatres And Clubs In Lima, Where Jazz Music Was A Popular Genre At The Time.Our Reissue Presents This 1976 Album In Its Full Glory, Pressed On 180g Vinyl With Remastered Sound And Original Artwork, Including The Rare Promo Poster.