Search "record store day" 597 Items

Release: 2024 / EU – Original

Genre: Organic Grooves

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LP | 2018 | EU | Original (Hot Casa)

Deke Tom Dollard

Na You

LP | 2019 | EU | Original (Soundway)

Release: 2018 / EU – Original

Genre: Organic Grooves

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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!

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Dexter Story

Bahir

17,99 €*

Wejene Aola Feat. Kamasi Washington

Release: 2019 / EU – Original

Genre: Organic Grooves

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Dexter Story is an artistic spirit in the truest sense of the phrase. From his work as a multi-instrumentalist for acts like the Sa-Ra Creative Partners, to his management role with Snoop Dogg and his turn producing Daymé Arocena’s 2017 album Cubafonia, Story understands the business from every conceivable angle.
Initially inspired by the music and cultures pervasive throughout the Horn of Africa, Story translated his experiences there into his previous album Wondem, followed closely by the single Wejene Aola featuring jazz luminary Kamasi Washington, both on Soundway Records. If Wondem was a brief glance into Story’s new creative vision, Bahir is a pinpoint refinement of that purpose, the fine-tuning and expanding of the world he created on his Soundway debut.
On Bahir, Story steps in front of those influences and melds his world into the one he fell in love with so strongly while in Africa. One way in which he’s done so is by incorporating musicians from both sides of this coin. LA luminaries are featured throughout, as are African contemporaries he encountered throughout his travels. Sudan Archives gives a show-stealing vocal performance on “Gold”, while the Ethiopian producer Endeguena Mulu adds impenetrable and psychedelic texture to the album’s title track.
So Bahir finds the polymath musician not stuck between two worlds, but as a member of both. We get Ethiopian jazz tonalities, Tuareg grooves, ekista dance rhythms, Afro-funk, Somalian soul and forays into more contemporary jazz rhythms, too. Angelenos like Miguel Atwood-Ferguson and Josef Leimberg give the record its backbone, while African artists like the Ethiopian singer Hamelmal Abate give Bahir its glimmer and shine.

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Dexter Story

7" | 2016 | UK | Original (Soundway)

10,99 €*

12" | 2022 | EU | Original (Awesome Soundwave)

Release: 2016 / UK – Original

Genre: Organic Grooves

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For his next release on Soundway Records, Los Angeles-based Dexter Story hooks up with long time friend and compatriot of music, the saxophonist, jazz composer, producer and band-leader Kamasi Washington. A fierce, rumbling electro Ethio-Funk groove provides the platform for an intense and powerful interplay between Washington on tenor sax and Todd Simon on trumpet. An instrumental cover version of Tilahun Gessesse's 1970s cut of the same name, it's Story's homage to the oppressed Oromo people of Southern Ethiopia. Backed on the flip by the one cut from Story's 'Wondem' long-player that did not make it to vinyl when the LP version was cut, Nia Andrew's sublime and atmospheric collaboration on Eastern Prayer will keep all those happy who grumbled at it's exclusion from wax first time around. This is a record that no lover of Ethio-Jazz, Afro-Beat or Funk should be excused for not owning.

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Digital Afrika

Heart Of Drums

12" | 2018 | EU | Original (AM)

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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With obvious intent Nui and Simon set out to create an album that encompasses all of their influences and experiences as musicians and journeymen in the world of African inspired rhythm and sound and have arrived at a work that is at once global, innovative and deeply funky. It’s been an incredible journey that has taken them from the wilds of the northern hinterlands of New South Wales in Australia to the dreamy secret gardens of Marrakesh, from the onsite recordings of Afro-Cuban choirs of Havana, to the Gnawa street sounds of Moroccan medinas. Nui and Simon have traversed the globe to create these recordings and have collected diverse and international group of artists to collaborate with in the making of Heart of Drums. Artists such as Cazeaux Oslo, who is an African-American Mc and vocalist hailing from California. Olugbade Okunade , Nigerian trumpeter and vocalist , was formerly a member of the Femi Kuti Positive Force band. Members of Clave y Guaguanco, One of Cuba’s foremost folkloric groups, who have been around since the 60’s. Lalita Yagnik, Portuguese Speaking Indian, vocalist and martial artist. Radouan Naim, Traditional Moroccan vocalist and instrumentalist. And Close Counters, Australian Up and coming Electronic duo. Digital Afrika is made up of two main protagonists: Zhonu ‘Nui” Moon (Future Roots) An African-Australian producer, percussionist and Dj that has performed and recorded all over the world. With a strong focus on African music,He has worked with the likes of Femi Kuti , Mulatu Astake and Tony Allen. And Simon Durrington (Si Fixion ) who is an Australian based producer, keys player and DJ. With extensive experience of working with Melanesian , Indian and world musicians. Drawing on these influences, Si weaves these styles together seamlessly with his unique high quality electronic production. This album ‘Heart of Drums’ is a synergy of lush analog electronica and fiery African percussion, vocals and instrumentation. With occasional reinvented throwbacks to the Disco and Funk era as well as forward thinking Afro-futuristic Record bag essentials, Heart of Drums really brings the party! These are constructed dance floor motivators for any environment. The artwork for this record deserves special mention as the mask was handcrafted by the interesting and talented artist Ju Mu Monster. Based in Berlin, the studied fashion designer creates colourful, wildly dancing image-worlds, in which beings from diverse cultures are combined with shamanism and spiritual worlds. Her enchanting works of art include murals and canvases as well as magical masks. All tracks produced and arranged by Zhonu (Nui) Moon & Simon Durrington

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Dion & Nonku

All I Need

11,99 €*

LP | 2021 | US | Original (Awesome Tapes From Africa)

Release: 2018 / EU – Original

Genre: Organic Grooves

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All I Need is a 15-minute electronic jam produced by Dion Monti and is accompanied by the vocals (lead and loops) of South African Artist Nonku Phiri. Created in 2015 in their Johannesburg studio, this recording depicts the beginning of their sonic journey and a development of their joint sound. The track evolves from a very subtle beginning towards an emotional climax whilst referring to lyrics of Radiohead’s ‘All I need’ and ‘Ideotheque’. For this release, they are joined by South African Producer Jakinda & Cologne’s Christian S (Cómeme). Jakinda forms half of the duo Stiff Pap and describes his sound as Afro-future electronica, a sound containing elements of Gqom, Tribal-House, Ethiopian Electronica and Kasi-Tech. Christian S makes use of his distinguishable style and creates the most abstracted version of this track, not scared to heavily cut up the vocals and apply his pitched drums. In addition, the release is hand-stamped with a drawing by Nonku.

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DJ Black Low

Uwami

DJ Click & Hamadcha De Fe`S

Release: 2021 / US – Original

Genre: Organic Grooves

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In many ways, DJ Black Low's debut album, Uwami, shows the signs of an artist's first offering in any musical genre. Showcasing fluency in a broad range of styles and stuffing a number of ideas to the record's brim is the 20 year-old producer's attempt to both introduce himself to a wide listenership and stamp a recognizable sound in their minds. In other ways, somewhat out of the young South African producer's control, Uwami goes against the grain. The album comes at a time when South African electronic music is being fundamentally disrupted. Amapiano, the electronic music movement which first gained popularity with a small, core group of followers, now dominates the mainstream. Well-known and pervasive, amapiano borrows from a diverse palette of musical styles which are popular in South Africa's largely Black townshipsjazz, kwaito, dibacardi, deep and afro house among them. Instead of pandering to the seemingly insatiable local appetite and growing global penchant for amapiano though, on Uwami DJ Black Low seeks out the limits of the sound du jour and tries to stretch them. On his solo productions, he uses the samples and compositional norms that make amapiano hits the bedrock on which to experiment and improvise. With collaborators, DJ Black Low improvises within the boundaries of listener-friendly grooves. The sound he creates has foundations of what could easily have progressed into captivating amapiano songs on their own. But he uses improvised but structured electronic percussion and distortion sounds to drive the tracks in a particular direction. What remains is something like a deconstructed amapiano. For a young producer living in the townships of the greater Pitori area of South Africa's Gauteng province, there were few avenues available for Radebe to pursue a career in music. His trajectory shows the vulnerability of this pursuit. "I had started producing in 2013 and it so happened that I lost my equipment in 2014. I couldn't afford to buy equipment. In 2017, a friend of mine who had been making music found a job and decided to quit music. He gave me his equipment and I was able to start producing again. That's when I started getting back to it. I tried to pick up where I had left off, with hip hop and commercial house but I found that amapiano was the popular music. I liked it, so I started producing it."

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Art Of Beat

LP | 2022 | EU | Original (No Fridge)

DJeudjoah & Lieutenant Nicholson

Release: 2022 / EU – Original

Genre: Organic Grooves, Rock & Indie

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The Hamadcha of Fez are dervishes belonging to the very old (xvii) Moroccan Sufi brotherhood Hamdouchiyia. Its members are mystics who sing and dance to trance in honor of the holy founder, the miracle worker Sidi Ali Ben Hamdouch.During a performance their amazing spiritual and artistic practices transmit to those who approach them their “baraka”, a divine grace.The audience vibrates and moves to the rhythms of the dervishes songs, tempos, stories and fascinating dances.Dj Click puts down his suitcases in the heart of the old city. He goes in search of atypical sounds coming from the heart of the streets, soaks up the atmospheres, then offering us a sound postcards where tradition alongside modernity.He is the first producer to be accepted into their brotherhood for a such meeting!

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2LP | 2022 | EU | Original (Hot Casa)

31,99 €*

12" | 2020 | UK | Original (On The Corner)

Release: 2022 / EU – Original

Genre: Organic Grooves

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2+ is the 3rd album of DjeuhDjoah & Lieutenant Nicholson. A new sound stopover in their funky trip since their beginning with T’es qui ? album in 2015. This new building stone prolongs their critically acclaimed album Aimez ces airs released in 2019. What’s new? 15 tracks , eclectic, soft, deep, and funky, where electro, soul even afro beat touches , or bossa nova live together harmoniously. DjeuhDjoah & Lieutenant Nicholson make praise of slowness (« Pas si vite »), address environmental issues (« Coeur béton »), social statements on (« Police », « Raie publiques », « clic »), childhood on (« Bola Mba ») , the post colonial relation between Africa and the other continents. Love is also really well presented ( « Thé à la menthe «, « Ping Pong ») and why not sailing to Essaouira in Morocco ? During the summer of 2020 , when the french national radio asked them to perform a live cover , our french funky duo chose the famous « Né quelque part » by Maxime Leforestier released in 1987. Their Suave interpretation, haunting beat and spatial & languid atmosphere give a fantastic tribute to this beautiful melody and strong lyrics. They found a very intimate link with chorus in Zulu, harking back to the strong connection they made with South Africa during their last tour. It became clear that they needed to put this track on their new album , as their now club remix classic « Bwe Dlo « performed with their friend David Walters. After their tour in South Africa, they met « Cool Affair », the musician and electro house producer in Johannesburg who made a beautiful remix of « Aimé Césaire » which close perfectly this new opus. Recorded at « Le triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement , even during the pandemic… On 2+, we can also hear the swirls of Antoine Berjeaut at the trumpet and bugle, magic keys from Florian Pellissier , two new flagships of the French jazz scene. Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional « French song « to make the world dance. They want to keep their international audience , from Australia, Japan, Usa, South Africa to name a few the dance floors of the world will ignite with this new album . The French touch will still shine !

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Dngdngdng

Dengue Dengue Dengue

12,99 €*

7" | 2016 | EU | Original (Cree)

Release: 2020 / UK – Original

Genre: Organic Grooves

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Dngdngdng is Dengue Dengue Dengue's new alias for this release of extra sensory perception. The duo have projected rhythmic visions of lost continents, unknown worlds and the unseeable past and future that is present all around us. By channeling rhythmic patterns from the matrix they're able to translate the waves of radiation around us which originated at the cosmic event which created the universe. Dngdngdng reach deep into their sonic imagination to draw from interlocking time signatures and variant tempos. From the cosmic interference and mathematics Dngdngdng create a polyrhythmic theme that brings the sound of continents lost and imagined to our ears. Dengue Dengue Dengue have established themselves as one of the most pioneering artists on the leftfield electronic scene in recent years with heavyweight support by the likes of Boiler Room, Resident Advisor and Bandcamp weekly.

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Doran Versatile Hector

Let It Out / Destruction

12,99 €*

Dudu Tassa & The Kuwaitis

Release: 2016 / EU – Original

Genre: Organic Grooves

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Born in Matura Village, Trinidad in 1949, Doran Dorril Hector aka ''Versatile'' began his career as a guitarist in a quartet singing group called the ''Orchids'' in 1965. He first began writing and performing Calypso in 1967 for the North East Competition in Sangre Grande where he emerged 1st runner up to the Mighty Poser.

He further went on to be judged the best singing teen at the Teen Talent Competition held at Scarlet Ibis Hotel in 1968 performing Otis Redding’s ''Dreams To Remember''. The prize was a recording session at Telco Records and it was at this company that Dorril released his first record ''Dance With Me''.

In the late sixties he also began travelling as a lead singer with Ed Watson and the Brass Circle, visiting the entire English-speaking Caribbean. He also went to New York, Miami, The U.S. Virgin Islands and Guadeloupe.

In 1970 he decided to get into the Calypso genre and changed his artist name to ''Versatile''. Before getting on the front stage he began doing background vocals for several calypsonians in the Calypso tents during Carnival season. He also began to work as a background vocalist at Max Serrao’s Caribbean Sound Studios, K.H. studios and Semp studios.

After saving some money from working in the entertainment business, Dorril decided to do a self-financed recording in 1974 and recorded ''Country Boy Come To Town'' at K.H. studios in Sea Lots, Port of Spain, a calypso-pop crossover song. The song was a minor success in Trinidad.

In 1975 he went into a partnership with K.H. studios to record his next single ''Let It Out''. The song was a mixture of Calypso, Funk and African influences and served as a good example for the newly evolving musical artform called ''Soca''. However, Dorril was still unable to write down his music and arrangements for the studio musicians. Ellis Chow Lin On (then manager at K.H. studios) introduced Dorril to Pelham Goddard who had just formed his band ''Roots''. Pellham Goddard wrote down the arrangements and Roots recorded the backing track. Among the musicians were names like Clive Bradley and Michael ''Toby'' Tobas. Dorril released the record on his own ''Hector'' label.

Back in the studio in August 1977 he recorded the socio-critical song ''Destruction'', a soulful reggae tune. The backing track was recorded by Colin Lucas and his newly-formed band ''Sound Revolution''. After Carnival the following year the song became a big hit in Trinidad and the wider Caribbean and finally Dorril’s signature song.

Dorril kept recording his own material and is performing live to this day. He is also an active member of T.U.C.O. (the Trinbago Unified Calypsonians Organisation).
7'' Single (45 RPM) in picture sleeve. 2 tracks. Total playing time 7 mns.

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2LP | 2024 | EU | Original (World Circuit)

31,99 €*

Release: 2024 / EU – Original

Genre: Organic Grooves

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Dumi-Maichi-Na Chi Maraire & Nyunganyunga Mbira

Tichazomuona

LP | 1986 | EU | Reissue (Nyami Nyami)

Where The Old Gods Play Act 1

Release: 1986 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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Nyami Nyami Records presents a reissue of a rare gem from the Gramma Records catalog , the historic Zimbabweean label. Dumisani Maraire, the leading creator of modern mbira, settled in the USA in the late 60s where he popularized the traditional music of the Shona people. Tichazomuona is the first album he recorded in liberated Zimbabwe, in 1986, with his wife Maichi and daughter Chiwoniso. You can hear the very young singer on lead vocals on the title track, long before she went on to perform solo on the international stage. We launched Nyami Nyami with her last recording Zvichapera and are happy to also release now her very first.

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Dun Ringill

LP | 2023 | EU | Original (The Sign)

Release: 2023 / EU – Original

Genre: Organic Grooves

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3LP | 2018 | EU | Original (Analog Africa)

Dur-Dur Band

Dur Dur of Somalia

36,99 €*

LP | 2023 | EU | Original (Out Here)

Release: 2018 / EU – Original

Genre: Organic Grooves

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Analog Africa are proud to present the 27th release of their Analog Africa Series. A fantastic, hypnotic and funky compilation from the Dur-Dur Band of Somalia that comes out on a Triple LP.

When Analog Africa founder Samy Ben Redjeb arrived in Mogadishu in November of 2016, he was informed by his host that he would have to be accompanied at all times by an armed escort while in the country. The next morning, a neighbour and former security guard put on a military uniform, borrowed an AK-47 from somewhere and escorted him to Via Roma, an historical street in the heart of Hamar-Weyne, the city’s oldest district. Although previous Analog Africa releases have demonstrated a willingness to go more than the extra air-mile to track down the stories behind the music, the trip to Mogadishu was a musical journey of a different kind. It was the culmination of an odyssey that had started many years earlier.

In 2007 John Beadle, a Milwaukee-based musicologist and owner of the much loved Likembe blog, uploaded a cassette he had been handed twenty years earlier by a Somalian student. The post was titled ‘Mystery Somali Funk’ and it was, in Samy’s own words, “some of the deepest funk ever recorded.” The cassette seemed to credit these dense, sonorous tunes to the legendary Iftin Band. But initial contact with Iftin’s lead singer suggested that the ‘mystery funk’ may have actually been the work of their chief rival, Dur-Dur, a young band from the 80s.

Back then, Mogadishu had been a very different place. On the bustling Via Roma, people from all corners of society would gather at the Bar Novecento and Cafe Cappucino, watch movies at the famous Supercinema, and eat at the numerous pasta hang-outs or the traditional restaurants that served Bariis Maraq, a somali Beef Stew mixed with delicious spiced rice. The same street was also home to Iftinphone and Shankarphone, two of the city’s best known music shop. Located opposite each other, they were the centre of Somalia’s burgeoning cassette distribution network. Both shops, run by members of the legendary Iftin Band, would become first-hand witnesses to the meteoric rise of Dur- Dur, a rise that climaxed in April of 1987 with the release of Volume 2, their second album.

The first single ‘Diinleya’ had taken Somalian airwaves by storm in a way rarely seen before or since. The next single, ‘Dab,’ had an even greater impact, and the two hits had turned them into the hottest band in town. In addition to their main gig as house band at the legendary Jubba Hotel, Dur-Dur had also been asked to perform the music for the play “Jascyl Laba Ruux Mid Ha Too Rido” (May one of us fall in love) at Mogadishu’s national theatre. The play was so successful that the management had been forced to extend the run by a month, throwing the theatre’s already packed schedule into complete disarray, and each night, as soon as the play had finished, Dur-Dur had to pack their instruments into a Volkswagen T1 tour bus that would shuttle them across town in time for their hotel performance.

The secrets to Dur-Dur’s rapid success is inextricably linked to the vision of Isse Dahir, founder and keyboard player of the band. Isse´s plan was to locate some of the most forward-thinking musicians of Mogadishu´s buzzing scene and lure them into Dur-Dur. Ujeeri, the band’s mercurial bass player was recruited from Somali Jazz and drummer extraordinaire Handal previously played in Bakaka Band. These two formed the backbone of Dur-Dur and would become one of Somalia’s most extraordinary rhythm sections.

Isse also added his two younger brothers to the line-up: Abukar Dahir Qassin was brought in to play lead guitar, and Ahmed Dahir Qassin was hired as a permanent sound engineer, a first in Somalia and one of the reasons that Dur-Dur became known as the best-sounding band in the country.

On their first two albums, Volume 1 and Volume 2, three different singers traded lead-vocal duties back and forth. Shimaali, formerly of Bakaka Band, handled the Daantho songs, a Somalian rhythm from the northern part of the country that bears a striking resemblance to reggae, Sahra Dawo, a young female singer, had been recruited from Somalia’s national orchestra, the Waaberi Band. Their third singer, the legendary Baastow, whose nickname came from the italian word ‘pasta’ due to the spaghetti-like shape of his body, had also been a vocalist with the Waaberi Band, and had been brought into Dur-Dur due to his deep knowledge of traditional Somali music, particularly Saar, a type of music intended to summon the spirits during religious rituals. These traditional elements of Dur-Dur’s repertoire sometimes put them at odds with the manager of the Jubba Hotel who once told Baastow “I am not going to risk having Italian tourists possessed by Somali spirits. Stick to disco and reggae.”

Yet from the very beginning, Dur-Dur’s doctrine was the fusion of traditional Somali music with whatever rhythms would make people dance: Funk, Reggae, Soul, Disco and New Wave were mixed effortlessly with Banaadiri beats, Daantho and spiritual Saar music. The concoction was explosive and when they stormed the Mogadishu music scene in 1986 with their very first hit single, ‘Yabaal,’ featuring vocals from Sahra Dawo, it was clear that a new meteorite had crash-landed in Somalia. As Abdulahi Ahmed, author of Somali Folk Dances explains: “Yabaal is a traditional song, but the way it was played and recorded was like nothing else we had heard before, it was new to us.” ‘Yabaal’ was one of the songs that resurfaced on the Likembe blog, and it became the symbolic starting point of this project.

It initially seemed that Dur-Dur’s music had only been preserved as a series of murky tape dubs and YouTube videos, but after Samy arrived in Mogadishu he eventually got to the heart of Mogadishu’s tape-copying network – an analogue forerunner of the internet file-sharing that helped to keep the flame of this music alive through the darkest days of Somalia’s civil strife – and ended up finding some of the band’s fabled master tapes, long thought to have disappeared.

This triple LP / double CD reissue of the band’s first two albums – the first installment in a three-part series dedicated to Dur-Dur Band – represents the first fruit of Analog Africa’s long labours to bring this extraordinary music to the wider world. Remastered from the best available audio sources, these songs have never sounded better. Some thirty years after they first made such a splash in the Mogadishu scene, they have been freed from the wobble and tape-hiss of second and third generation cassette dubs, to reveal a glorious mix of polychromatic organs, nightclub-ready rhythms and hauntingly soulful vocals.

In addition to two previously unreleased tracks, the music is accompanied by extensive liner notes, featuring interviews with original band members, documenting a forgotten chapter of Somalia’s cultural history. Before the upheaval in the 1990s that turned Somalia into a war-zone, Mogadishu, the white pearl of the Indian Ocean, had been one of the jewels of eastern Africa, a modern paradise of culture and commerce. In the music of the Dur-Dur band – now widely available outside of Somalia – we can still catch a fleeting glimpse of that golden age.
Listen & Enjoy!

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Dur-Dur Band Int.

The Berlin Sessions

Tape | 2022 | US | Original (Awesome Tapes From Africa)

Release: 2023 / EU – Original

Genre: Organic Grooves

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Tears are in the eyes of Xabiib Sharaabi, nicknamed the Somali King of Pop when he entered the stage of Berlin"s HKW. It is a mix of nostalghia, pain and joy. Like many Somalis he had been deprived overnight of both glamour and friends, the war in his homeland had sent him into exile. The glamorous discos and beachfront stages Mogadishu had once been famous for, had disappeared as the city was bombed to the ground. The King of Somali pop found himself stranded in Sweden, many others like the members of Dur-Dur Band Int. ended up in London which until today has the largest Somali diaspora in Europe. In the last decade many early recordings of Somalia"s funk, soul and disco era have been reissued. This record is not a reissue. The Berlin Session - it is the first studio album of its kind since the golden days of Mogadishu came to a halt three decades ago. It is the living proof that Somali music is hot, funky and (!) well alive. The record captures a historic reunion which took place in 2019 in Germany"s capital Berlin. London-based Dur-Dur Band Int. an eight-piece powerhouse of Somali livemusic unites with three legendary Somali singers: Xabiib Sharaabi, Faduumina Hilowle and Cabdinur Allaale. Fueled with a restored sense of pride, the freshly reunited band installs itself in a Neukölln studio for three days.

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Dur-Dur Band

Volume 5

16,99 €*

LP | 1985 | EU | Reissue (Afrosynth)

Release: 2022 / US – Original

Genre: Organic Grooves

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Dur-Dur Band emerged in the 1980s, during a time when Somalia's contribution to the creative culture in the Horn of Africa was visible and abundant. Seeking inspiration outside the impressive array of Somali traditional music that was encouraged at the time, everyone from Michael Jackson and Phil Collins to Bob Marley and Santana were fair game. This recording, which was remastered from a cassette copy source, is a document of Dur-Dur Band after establishing itself as one of the most popular bands in Mogadishu. The challenge of locating a complete long-player from this era is evidenced bythe fidelity of this recording. However, the complex, soulful music penetrates the hiss. In a country that has been disrupted by civil war, heated clan divisions and security concerns, music and the arts has suffered from stagnation in recent years. Incidentally, more than ten years after Volume 5 (1987) was recorded at Radio Mogadishu, the state-run broadcaster was the only station in Somalia to resist the ban on music briefly enacted by Al-Shabab. Dur-Dur Band is a powerful and illustrative lens through which to appreciate the incredible sounds in Somalia before the country's stability took a turn.

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E&S Brothers

Taduma

21,84 €* 22,99 € -5%

LP | 2023 | EU | Original (Easy Star)

Release: 1985 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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E & S Brothers’ 1985 album Taduma holds a unique yet overlooked place in the history of South African dance music. When Shadrack Ndlovu and Ernest Segeel teamed up with Dane Stevenson, owner of Blue Tree Studio in downtown Johannesburg, and journeyman producer Taso Stephanou, South Africa’s bubblegum era had just begun, spurred on by the success of Shangaan disco. The relative success of their debut 12” ‘Don’t Bang The Taxi Door’, marketed aggressively at taxi ranks throughout the country, helped put the Blue Tree label on the map and E & S were invited back to record a full album: Taduma, featuring on keyboards Dr Buke, an in-demand session player from Soweto.

Rooted in Africa, yet purely electronic, Taduma was a moderate hit, spurred by tracks like ‘Taxi Door’ and ‘Mhane’, its hypnotic refrain ‘Mhane, famba na wena’ meaning ‘Mother, I am going to you’. Other tracks like ‘Mapantsula’ and ‘Be Careful’ place Taduma within the street-savvy ‘pantsula’ style and dance synonymous with consecutive waves of music from disco to kwaito, house and beyond, while ‘Sikele Masike’ repurposes a traditional Shangaan work song. Vocally E & S are closer to rapping than singing, in a combination of English and vernacular – predating other credited pioneers of kwaito in SA like Senyaka and Spokes H. Driving the music instead of vocals are waves of searing synths over rudimentary but explosive drum machine sounds – the word ‘Taduma’ meaning the sound of the drum.

Remastered from the original tapes and reissued for the first time, Taduma will be available on vinyl and digital platforms from early 2022 via Afrosynth Records.

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Easy Star All-Stars

Ziggy Stardub

Release: 2023 / EU – Original

Genre: Organic Grooves

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Ebo Taylor And The Pelikans

Ebo Taylor & The Pelikans

LP | 1976 | EU | Reissue (Comet)

29,99 €*

LP | 2016 | UK | Reissue (Mr Bongo)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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A Ghanaian funk LP from the afrofunk master. one of Ebo Taylor's rarest and most sought-after! Ebo Taylor and The Pelikans is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs and artwork as per the original release. Originally released by Ghanian Abookyi label in 1976, Ebo Taylor and The Pelikans is one of Taylor’s most elusive releases, and marked the first time he sang on the seminal Ghana Funk anthem “Come Along”. The album saw the legendary musician, producer, composer and arranger joining forces with 12-piece Cape Coast Ghanian band ‘The Pelikans’ led by Bessa Simmona with rhythm guitarist Fifi Orleans Lindsay. Put simply, there has never been a musician and artist quite like Ebo Taylor. As an artist, arranger, musician and producer he’s a combination of James Brown, Nile Rodgers and Quincy Jones: He not only created some of the greatest funk songs ever recorded but as much if not more than that, his genius as an arranger gave the signature sound to high life and afrobeat that was made famous by his one-time London roommate (from when they were both music students, in The early 1960s) Fela. And his funky guitar brought a percussive sound to the rhythm section that didn't exist before.

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Ebo Taylor

My Love And Music

Disco Highlife Reedit Series Volume 1

Release: 2016 / UK – Reissue

Genre: Organic Grooves

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Originally released in 1975 on Gapophone Records, George Prah’s label, hailing from Ghana. Only available in very limited quantity (reportedly 500 copies) due to the musical vacuum imposed by the military dictatorship in the country at the time.

Laid back, lush, highlife vibrations from start to finish, with noticeable reggae influences throughout.

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Ebo Taylor & Pat Thomas

12" | 2019 | EU | Original (Comet)

Disco Highlife Reedit Series Volume 3

Release: 2019 / EU – Original

Genre: Organic Grooves

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Comet presents the first release from its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco reedits by LeonxLeon and Leo Nanjo.
Founder of Comet Records, Eric Trosset, started working with those great heroes of West African music, back in 2010. Taking on the role of manager/publisher, Comet teamed up with Strut Records and musician/producer Ben Abarbanel Wolff to revive Ebo Taylor‘s international career with a string of album releases: Love & Death, Appia Kwa Bridge and Life Stories. In 2014, he collaborated with Pat Thomas & The Kwashibu Area Band on a new album, gathering together the old ‘pals’ (Ebo Taylor, Pat Thomas, Tony Allen) in producer Kwame Yeboah’s studio in Accra.
It is with great pleasure that Comet launches this new series. Let's make this beautiful and timeless music the soundtrack to an unforgettable summer!
On side A, comes “Enye Woa” by Pat Thomas, originally released in 1988 on Nakase Records and taken from the album Me Do Wiase. It’s killer disco cut, and as innovative a piece of highlife as it was 30 years ago. Paris-based producer LeonxLeon has been cooking up songs in his Parisian home-studio since 2013. He did a remarkable remix of Cerrone's "Funk Makossa" and more recently released his new Rokanbo EP on Cracki Records. His remix of “Enye Woa” is a classy modern disco cut with funky bass and spacey synths.
On side B is “Atwer Abroba” by Ebo Taylor, a stand out up-tempo track from the album Twer Nyame, originally released in 1978 on Philips West African Records. Tokyo-based multi-instrumentalist/producer/arranger Leo Nanjo formed the first Japanese afrobeat group, Kingdom Afrorocks. Since the band broke up in 2014, Leo has been producing and arranging music with various collaborations, such as DJ Muro, Pushim and Misia. This is a trippy afro-futurist, broken-beat reedit with highlife grooves flying to deep space.

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Ebo Taylor & Pat Thomas

12" | 2020 | EU | Original (Comet)

Ebo Taylor, Pat Thomas & Uhuru Yenzu

Release: 2020 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Comet presents the third release of its new Disco Highlife series, featuring remastered originals by Ghanaian legends Ebo Taylor & Pat Thomas and disco re-edits by Trus’me and Tiger Tigre. On Side A, “Yes Indeed” is a heavy afrobeat piece out of the legendary LP Super Sounds Namba recorded in Togo and released in 1981 on Abotar Records. This awesome synthetic afrobeat is featuring the two biggest stars of Ghana Ebo Taylor and Pat Thomas. Trus’me Version is cross Atlantic production between Trus’me from Lisbon and Benjamin Tierney from LA. An effortless collaboration of musicianship and production, using the seductive Simmons drums, Ensoniq Esq-1 on percussion, Casio Cz-5000 on the lead & a solid Moog rogue on the bass. The additional production complimenting the original direction, whilst intoducing it to a modern day eclectic dancefllor, courtesy of Prime Numbers Records. On Side B, “Yesu San Bra” is a strong funky disco highlife anthem by Ghanaian legend Pat Thomas. This disco highlife classic has originally been released in 1980 on the Ivory Cost label Pan African Records. Tiger Tigre’s rework is a mysterious secret weapon deployed to decimate dance floors. Adding with his characteristic bleepy twist, a punchy kick drum fully acoustic, an heavy liquid bass line and transforming this disco highlife classic into a euphoric and hypnotic piece of progressive house. Vincent Taeger aka Tiger Tigre is a french artist producer, drummer, a virtuoso who just released his debut album Grrr ! to his credit for numerous collaboration as producer with international artists like Allen, Oumou Sangare, Sebastien Tellier, Charlotte Gainsbourg, Franz Ferdinand, Chilly Gonzales, Gregory Porter, Saul Williams…

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Hitsville Re-Visited

LP | 1982 | EU | Reissue (Mr Bongo)

LP | 1978 | EU | Reissue (Comet)

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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Hard-to-obtain, vintage highlife from three true giants of the sound; Ebo Taylor, Pat Thomas & Uhuru Yenzu. Originally released in 1982.
In 'Hitsville Re-Visited', the mighty trio add a dose of uptempo funk into traditional highlife grooves.
The legendary Ebo Taylor was involved in many funk and highlife records to emerge from Ghana in the 70's and 80's. He worked with bands such as Apagya Show Band, C.K. Mann as well as Pat Thomas, on this, and several other records.
Taylor recorded another album with Uhuru Yenzu in 1980 – 'Conflict' – which is also available on Mr Bongo.
Pat Thomas career began in 1969 with the ‘Broadway Dance Band’, leaving a year later to join the ‘Uhuru Dance Band’. He then played with Ebo Taylor’s ‘Blue Monks’ and finally formed the ‘Sweet Beans’ in 1973 where he really made his name.
Thomas and Taylor's careers span more than 50 years now and they both still tour to play around the world.
Licensed from Essiebons. Official Mr Bongo reissue.

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Ebo Taylor

Twer Nyame

29,99 €*

LP | 2022 | EU | Original (Egoli)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Ebo Taylor “Twer Nyame” is being reissued on vinyl by Comet Records, pressed on high quality vinyl, with label designs and artwork as per the original release. Originally released in 1978 on Philips-West African-Records. Classic highlife sounds; uptempo grooves, vocals, tons of percussion, guitar, horns and organ lines. Featuring the stand-out ‘Atwer Abroba’. Ebo Taylor is one of Ghana's finest producer/arrangers. Taylor was heavily influential in the unique sound that emerged from the country in the 70's; a combination of traditional Ghanaian with Afro-beat, jazz, and funk rhythms. He worked with bands including Stargazers Band, Broadway Dance Band, Black Star Highlife Band (with Teddy Osei and Sol Amarfio who later joined Osibisa), Apagya Show Band and fellow musicians C.K.Mann, Gyedu-Blay Ambolley and the legendary Pat Thomas.

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Eddy De Clercq & Friends

Afrotronic

21,24 €* 24,99 € -15%

Afrotronic Orlando Voorn Remixes

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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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.

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Eddy De Clercq & Friends

LP | 2022 | EU | Original (Egoli)

Afrotronic –Orlando Voorn Remixes

Release: 2022 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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" These six remixes by legendary producer Orlando Voorn are inspired by Amapiano from South Africa, mesmerizing beats and grooves from North Africa, Dub Step, Deep House and future Techno. "

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Eddy De Clercq & Friends

LP | 2022 | NL | Original (Egoli)

19,99 €*

LP | 2018 | EU | Original (Heavenly Sweetness)

Release: 2022 / NL – Original

Genre: Organic Grooves, Rock & Indie, Electronic & Dance

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Used Vinyl

Medium: VG+, Cover: VG+

close to NM

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Edmony Krater

An Ka Sonjé

16,99 €*

Eliza Carthy & The Restitution

Release: 2018 / EU – Original

Genre: Organic Grooves

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Following the reissue of his cult album “Ti jan pou vélo”, Heavenly Sweetness decided to continue the collaboration with Edmony Krater and record a new album! The first one in 30 years! As an avant-gardist percussionist, singer and trumpet player, Edmony Krater has always worked to develop and promote the Gwoka music of Guadeloupe and to feed it with different influences, from Jazz to Reggae.

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Queen Of The Whirl

2LP | 2022 | EU | Original (Hem Hem)

27,99 €*

Release: 2022 / EU – Original

Genre: Organic Grooves

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Emahoy Gebru Tsege Mariam

Spielt Eigene Kompositionen

LP | 2013 | US | Reissue (Mississippi)

Ephat Mujuru & The Spirtit Of The People

Release: 2013 / US – Reissue

Genre: Organic Grooves

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A most unusual & stunning album. Tsege Mariam Gebru is an Ethiopian nun who has dedicated her life to helping others. She has been composing & playing music on the piano since the 1960's. Her music is a unique mix of Western classical music in the vein of Erik Satie, Ethiopian music & Religious Christian meditation music. On this reissue of her first LP, originally released in Germany in a very small pressing, we find Tsege Mariam Gebru playing her own compositions solo on piano. She plays with restrained grace & purity. The record invites repeated listening well and is filled with spiritual warmth.

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Mbavaira

LP | 2021 | US | Original (Awesome Tapes From Africa)

LP | 2022 | EU | Original (Analog Africa)

Release: 2021 / US – Original

Genre: Organic Grooves

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Ephat Mujuru Exemplifies A Unique Generation Of Traditional Musicians In Zimbabwe. Born Under An Oppressive Colonial Regime In Southern Rhodesia, His Generation Witnessed The Brutality Of The 1970s Liberation Struggle, And Then The Dawn Of Independent Zimbabwe, A Time In Which African Music Culture_long Stigmatized By Rhodesian Educators And Religious Authorities_experienced A Thrilling Renaissance. Under The Tutelage Of His Grandfather, Who Was A Respected Spirit Medium And Mbira Master, Ephat Showed An Early Talent For The Rigors Of Mbiratraining, Playing His First Possession Ceremony When He Was Just Ten Years Old. By Then, Guerilla War Was Engulfing The Country And His Grandfather Muchatera Tragically Became A Victim Of The Violence, A Devastating Blow To The Young Musician. In The Midst Of The Liberation Struggle, Mbira Musicbecame Political. Eventually, The Rhodesians Were Defeated, But Rather Than Return To The Past, The Nation Of Zimbabwe Was Born And A New Future Unfolded. Ephat Threw Himself Into The Spirit Of Independence, Singing Of Brotherhood, Healing, And Unity: Crucial Themes During A Time When The Nation's Two Dominant Ethnic Groups, The Shona And The Ndebele, Were Struggling To Reconcile Differences. Ephat's Band Would Eventually Follow The Popular Trend And Add Electric Instruments. But Before That, He And Spirit Of The People Released Two Allacoustic Albums, And They May Well Be The Most Exciting And Beautiful Recordings He Made In His Career. Mbavaira, The Second Of These Albums, Was Released In 1983. As The Independence Years Moved On, There Would Be Fewer And Fewer Commercial Mbira Releases. But For The Moment, Ephat Had The Required Stature And Reputation. Also, With The Energy And Drive We Hear In These Recordings, And The Unmistakable Lead Vocals By His Uncle Mude_truly One Of The Greatest Mbira Singers Of The 20th Century_the Album Could Easily Rivalthe Pop Music Of Its Day. Within A Few Years After The Release Of Mbavaira, It And Albums Like It Became Harder To Find In Zimba...

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Ernesto DJedje

Roi Du Ziglibithy

32,99 €*

12" | 2023 | EU | Original (Aweh)

Release: 2022 / EU – Original

Genre: Organic Grooves

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If someone would have told me years ago, when I started the label, that one day I would be releasing music by Ernesto Djédjé, the king of Ziglibithy himself, I would have personally driven them to the closest psychiatric institute such is the magnitude of the artist and his iconic tune “Zighlibitiens”.

The star of Ernesto Djédjé started rising in the late 60s, when he became the guitar player and leader of Ivoiro Star, founded by Amédée Pierre, star of Dopé, the leading musical style at the time. Annoyed by the “congolisation” of the Ivorian music that was taking place within the band, Ernesto left the group and emigrated to Paris in 1968 to record his first few singles arranged by Manu Dibango and influenced by Soul, Rhythm & Blues and Jerk. Those recordings reflect the musical mood at that time which was dictated by two musical trends within the Ivoirian scene: Traditional music, embodied amongst others by Amédée Pierre on one hand and imported music from the States, Cameroon and Zaïre on the other. And while the first trend was generally neglected, the youth fully embraced the second and as a result bands such as „Les Black Devils“, „Djinn-Music“, „Bozambo”, “Jimmy Hyacinthe”, shot to stardom overnight by recording mainly funk and disco music. It is within this context that Ernesto would draw the inspiration for a future formula.

Returning to Côte d‘Ivoire in 1974 Ernesto began looking for like minded musicians to form the mighty “Ziglibithiens”. Diabo Steck (drums), Bamba Yang (keyboards & Guitar), Léon Sina (Guitar) and Assalé Best (chef d´orchestre and Saxophon) would become the core of the group and together with Ernesto they began thinking of ways of combining the rhythms and chants of the Bété people and fuse them with Makossa, Funk and Disco and create a musical style that was both Ivorian and International. He called his experiment Ziglibithy and his first two albums, immortalised at the EMI studios in 1977 in Lagos and released on the Badmos label, took West Africa by storm turning Ernesto Djédjé into an icon overnight and one of the legends of African music. Ernesto Djédjé died in mysterious circumstances on June 9th, 1983 - at the age of 35 - shocking the whole Ivorian nation. And although the end came abruptly, it didn’t come soon enough, and Ernesto had time - within 5 albums - to cement his legacy as one of the most innovative artists the Ivory Coast ever produced.

The song Zighlibitiens, brought to Colombia by an aeronautical mechanic in the early 1980, would become a huge hit on the Caribbean Coast. Renamed “El Tigre” by locals soundsystem operators - certainly due to the Badmos logo - that particular song would reach legendary status in Barranquilla and Cartagena. Setting fire to uncountable local parties, it has become one of the most sought-after Album in that part of the world. And so, while Ziglibithy has mostly disappeared from the airwaves of its country of birth, on the other side of the Atlantic, its fire continues to shine bright.

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Esa & Kamazu

Shukuma

17,99 €*

12" | 2019 | EU | Original (Favorite)

Release: 2023 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Aweh is back to present Shukuma, the highly anticipated collaboration between label head Esa and South African Kwaito legend Kamazu from Soweto. This record, created between 2020 and 2022, is a testament to the power of musical synergy and South African cultural aweh-ness.

As part of Shukuma, the title track and the EP also lies the future Kwaito classic, Muntu. This dance floor banger not only showcases the creative prowess of Esa and Kamazu but also features a collaboration with Dirty Bungalow, adding a unique touch to the overall EP. Muntu has already been featured in the esteemed podcast series, The Invisible Hand.

To further enhance the experience, Esa has collaborated with talented artists Floating B_strd and Sanoy to create an exquisite art piece that perfectly captures the essence of Shukuma. The final artwork will be revealed on the official release day, adding an element of surprise and anticipation. This is a Kwaai Collab you don't want to miss.

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Esnard Boisdur

Mizik Bel

15,99 €*

Estricnina/El Canijo De Jerez Y Juanito Makande

Release: 2019 / EU – Original

Genre: Organic Grooves

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“You don’t need to be a fan of Gwoka or even Antillean music in general to fall in love with the deep, expressive voices of the singers of the genre. Artists like COSACK, ANZALA and ESNARD BOISDUR have fascinated music lovers around the globe for decades. It’s not only the drumming style accompanied by their beautiful melodic intonation, but also the revolutionary spirit of these songs that make them a unique and powerful document of the culture and the history of the Antilles and the Caribbean.
I remember the first time I listened to this type of drumming and signing, live at the re-enactment of the slave riots, and being completely emotionally overwhelmed by it. Some of my record collector/DJ colleagues and friends – first and foremost Hugo Mendez and Émile Omar – shared the same fascination for the genre and kept inspiring me, and countless others, by their DJ sets at Tropical Discoteq in Paris, where I have had the pleasure to be one of the residents for five years and counting. At one of those nights, I met my friend Pascal Rioux from Favorite Recordings and told him about an amazing unreleased track I received months before, on a home-burned CD, from ESNARD BOISDUR. Among other beautiful songs, it contained one outstanding track, a mix of modern Gwoka and Zouk called “MIZIK BEL”.
When I started playing that track out, there were fierce reactions on both ends. The crowds loved it and after a while you could hear people cheer when they heard the first notes. Many DJs and labels wanted it, demanded it, and would even go as far as to block or unfriend me if I refused to comply. It became clear to me that the track had to be released on vinyl for the first time and made accessible to people who wanted to play it, while giving the original artist full credit. At the same time, I knew a remix version of the track that would pay respect to the original could only be created by getting the original stems, and not by editing the main track and pressing it into an “electronic dance corset.” Pascal agreed to the idea and started the licensing work and the search for the stems, which resulted in an ongoing three-year quest that was crowned by the finding of the ADAT containing the original tracks.
As AFRICAINE 808, Dirk Leyers and I spent considerable time trying to re-create the composition of the original, respectfully slicing and re-arranging it, adding new instrumentation, and recording additional percussion and talking drum with our percussionist ERIC OWUSU (Pat Thomas/Ebo Taylor). We stretched it, adding a krauty synth part without losing the focus of Esnard’s beautiful voice and lyrics, describing Caribbean music in all its diversity and beauty.
With this in mind, I hope you can now enjoy the beauty of “MIZIK BEL” as much as we have so far.” – (DJ NOMAD, June 2019).

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Hemos Visto Cosas Que Harian Vomitar A Un Murciela

LP | 2016 | Original (K Industria)

20,99 €*

Release: 2016 / Original

Genre: Organic Grooves

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LP | 2016 | EU | Original (Paris DJs)

Etienne De La Sayette

Maputo Queens

27,99 €*

LP | 1976 | US | Reissue (We Are Busy Bodies)

Release: 2016 / EU – Original

Genre: Organic Grooves

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Composer/arranger/producer Etienne de la Sayette is a frenetic globe-trotter and a relentless collector of musical instruments. Founder and headhunter of, among others, the Frix and Baeshi Bang groups, co-founder/saxophonist for Parisian Ethio-Jazz band Akalé Wubé, Etienne might mostly be a live musician, he manages nonetheless to find the time for audio production, remixes and synch music. 'Maputo Queens' is his first solo album, a deep afrojazz masterpiece for thoughful moods and after-hours atmospheres, with some masterful blends of spices from all over the globe.

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Etubom Rex Williams

Ubok Aka Inua

33,99 €*

LP | 2020 | EU | Original (Teranga Beat)

Release: 1976 / US – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: Near Mint

Record is close to NM!

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Evritiki Zygia

Ormenion

LP | 1974 | EU | Reissue (Hot Casa)

Release: 2020 / EU – Original

Genre: Organic Grooves, Rock & Indie

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Teranga Beat proudly presents Ormenion, a record by the group Evritiki Zygia. Ormenion is a historical region that dates back to the Byzantine Empire. It is the northernmost inhabited region of Greece, where the last railway station of the country is located. During the 1920's it was inhabited by refugees coming from the North and Eastern Thrace. Immigration is central to the history of the region of Thrace, where many songs refer to refugees and moving populations. The name of this particular place
was selected as the album title due to its delicate cultural and geographic status: Ormenion coincides with the borders of three different countries (Greece, Bulgaria and Turkey) and its history counts several waves of immigration that gave way to cultural and even linguistic exchange -elements that obviously left their mark on the group.
The group Evritiki Zygia was founded in 2007 by five musicians who played mostly in local festivals, their main concern being the preservation and evolution of the Thracian musical tradition. The collaboration with Teranga Beat helped this project evolve even further. Forms of arrangement different than the ones used in local feasts and festivals, were introduced giving more space to the dynamics of the instruments and allowing musicians to show both their improvisational and compositional skills. The distinctively psychedelic element of Thracian music was enhanced with the introduction of the CRB-Diamond 800 organ and the Moog, giving the whole project a hybrid sound with a unique identity. The album contains both covers of traditional songs and original
compositions.
The band's highest point was their appearance at the Womex Festival in 2018, where their music was presented for the first time in front of an international audience. This was an extremely important achievement for us, given that up until then this type of music
remained unknown even to Greek audiences. But it was also a great and very creative experience for the band, as it broadened up its musical horizons.The album was recorded on an analog 24-track tape Otari MX 80 in two sessions that took place on May 18 and 19 2019. It is a live recording that captures the energy of the group’s live performances. The LP version of the album is a Deluxe Edition and comes with a high gloss laminated gatefold cover, a printed insert and a digital download code. The CD packaging is Digipak with Slipcase, including a booklet with photos and liner notes outlining the story of the band.

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Ezy & Isaac

Soul Rock

LP | 2020 | EU | Original (Sounds Of Subterrania)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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This Incredible afro-soul album was recorded in Italy in 1974 by the two Nigerians Ezy Hart and Isaac Olashugba. Ezy is known for his vocals while Isaac for playing saxophone. They are ex-members of Fela Kuti’s band, The Koola Lobitos and The Don Ezekiel Combination. After doing amazing collaborations together, recording a few Christian-Funk albums, and touring West Africa, these two finally settled in Italy. The Funky Fella, a group of 12 top Italian musicians such as Maestro Leoni from Rifi records, produced three albums with Ezy and Isaac. The first one is called Soul Rock and is considered as a Soul masterpiece. It contains the bomb track called “Bawagbe” ; This track is very tuff, hypnotic afro-soul groove with ruff Yoruba chants, smacking congas, afro horns, funky breaks and a wicked percussion breakdown of rattling cowbells. It`s a very unique collectors’ item for the afro-funk lovers and more. Hot Casa Records also included a bonus track called “I’m Ready For you”, coming from the rare funky 7inch released in 1976.

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Faratuben

Sira Kura

25,99 €*

LP | 2024 | EU | Original (Elmir)

Release: 2020 / EU – Original

Genre: Organic Grooves

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Between Aarhus and Bamako lie 6,593 kilometers – and a deep socio-economic divide. This is why people have long been drawn from Africa to Europe. Unfortunately, the opposite is rarely the case. “Sira Kura”, the debut album from the Danish-Malian band Faratuben, shows what is possible when musicians move out of their comfort zones and meet at eye level. The music from this Bamako-based band is not just another variation of Afrobeat, nor a retrospective reminiscence of Fela Kuti. It is an electrified version of the centuries-old Bwa and Bobo music, and differs from the traditional Kora sounds of a Toumani Diabaté and Salif Keïta with its increased pressure and tempo.
The three Danes, Mikas Bøgh Olesen, Jakob de Place and Mads Voxen, came to Mali as part of an exchange program of the Conservatoire de Arts et Metiers Multimédia (CAMM), where they heard traditional Bobo music for the first time. Bobo is what the French colonizers called the Bwa people, an oppressed minority living in Burkina Faso and northern Mali. The percussive music of the Bwa is driven by various percussion instruments and the sound of the balofon, a type of xylophone with calabashes suspended below. The three Danish music students were completely enthralled with this dynamic sound that accompanies religious ceremonies as well as weddings and parties in Mali.
Guitarist and studio owner Dieudonne Koita, vocalist Sory Dao and balofon virtuoso Kassim Koita, formed a band that was originally intended to perform only once: at the Bamako Jazz Festival. The name Bobo Jazz Experience was used on the posters at the time. But the performance was too grandiose not to continue. At the Bogolan Studio in downtown Bamako, the musicians recorded the songs “Terete” and “Pari” a short time later, which rapidly went into heavy rotation at the TV station ORTM and on various Malian radio stations. In the meantime the band had decided on the name Faratuben, a combination of the words “farafin” (black) and “toubabou” (white).
The musicians often live and rehearse together in the mountains outside Bamako, in a village called Kati, which the Koita family calls home. The Koita family is a large clan that has produced many important musicians. “Electrification is quite new in our tradition, and the first person to play Bwa music on an electric guitar was our father, Pakuene Koita”, says Dieudonne. His brother Kassim has been voted best balofon player in Mali four times. Faratuben are also becoming more and more successful in Mali, playing at weddings, parties and increasingly at big festivals like “Spot on Mali Music”.
In short, it was high time for a debut album! “Sira Kura” is extremely varied fusion, in which the pulsating polyrhythms of Bwa music are organically combined with elements of jazz and art pop – played at a dreamlike higher level. “A modern mix of 10CC and Osibisa”, as keyboarder Mikas calls it. And indeed, such overwhelming melodiousness and such complex songwriting is rarely found in Afrobeat. In Bambara, one of the many languages spoken in Mali, “Sira Kura” means “new direction”.
But Faratuben is about more than parties and good moods. The rousingly combative “Mi Njan Mure Mure” tells of days when Mali was a French colony: “You took our land, you took our space, you torture us, you treated us with barbarity.” The musicians see their band as living anti-racism. As Dieudonne says: “I never thought before that I could meet white people on an equal footing and on one level. That white people live, eat and sleep in my house and live together with my family, just like I do. Such a thing is very rare in Mali. We are happy and proud that through Faratuben we can show that it is possible to create a community beyond race and skin color.”
Meanwhile, the band has also gained a loyal fan base in Scandinavia. In Denmark, where the album was released last year, “Sira Kura” was awarded the Danish Music Award for the best “globalpop” album. And in August, the musicians also received a nomination for the DMA Roots Award.
Faratuben are now back again after being stuck in Aarhus from March to August due to Corona, and could only return to Mali at the end of the month. In their luggage, they carry the songs for their second album, which were written during their quarantine. But, until then, “Sira Kura” will ensure that autumn in Germany sizzles. Bwa music rules!

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Farid El Atarche

The Early Years

23,74 €* 24,99 € -5%

Fathili & The Yahoos / The Wings

Release: 2024 / EU – Original

Genre: Organic Grooves, Rock & Indie

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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.

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Mabala Part 1 / Gone With The Sun

7" | 2018 | EU | Original (Mr Bongo)

11,99 €*

12" | 2018 | EU | Original (Atangana)

Release: 2018 / EU – Original

Genre: Organic Grooves

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Fathili & The Yahoos came from Kenya. Soulful but raw, mid-tempo afro-funk. Licensed from Melodica music stores courtesy of our great friend Abdul Karim. The Wings were a Nigerian band. 'Gone With the Sun' featured on their 1974 album 'Kissing You So Hard' and fuses bluesy disco, funk and soul moods with quirky synths and effects!

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Fedia Laguerre

Divizion

20,99 €*

Fela Kuti, Moblack, Emmanuel Jal & Henrik Schwarz

Release: 2018 / EU – Original

Genre: Organic Grooves

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Founded in 2018 by DJ and producer Deni-Shain – the man behind acclaimed compilations Space Echo and Pop Makossa -, Atangana Records is the logical follow-up to more than 20 years of travels, constantly on the lookout for new artists and music around the world. As a “tropicalist globetrotter”, in this new project Deni-Shain, in partnership with Thomas Vicente, co-owner of the French restaurant “Le Verre Volé”, aims to dig, reproduce & transmit cross-cultural music, usually unreachable and/or less known by the public.
The goal is simple: share the love of music and to rediscover the pleasure of voicings, percussions and sadly forgotten harmonies, whether you find yourself in a jam packed club or the intimacy of your home.
Atangana’s first releases will be looking at the Caribbean’s Islands, especially into Haiti with the reissue – highly expected by various diggers – of the acclaimed single « Divizion » by singer Fedia Laguerre. Originally released in 1981, this first 12" comes with a remix by Voilaaa and an instrumental cut exclusively based on the additional work by the French afro-collective.

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International Thief Thief (I.T.T.) (Armonica & Moblack Mix) / Chagu 2024 Repress

12" | 2020 | EU | Reissue (Defected)

16,99 €*

LP | 2019 | EU | Original (Knitting Factory)

Release: 2020 / EU – Reissue

Genre: Organic Grooves

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2024 Repress

These are the words of legendary Nigerian musician and activist Fela Kuti, words that remain as true as ever over two decades since his untimely death. A pioneer of the Nigerian revolution, his fight against police oppression remains an ongoing conversation in the country. Now, Defected pays tribute to the vital work of Fela with a special 12” release, as Armonica and MoBlack revisit Fela Kuti’s ‘International Thief Thief (I T. T.)’ as the fight against systemic corruption continues to be a pressing issue in Nigeria. The A-Side features Armonica & MoBlack’s flawlessly executed and ever respectful remix of the record where Fela called out and directly attacked former Nigerian president General Obasanjo and Moshood Abjola, the CEO of Nigeria’s biggest national telecommunications conglomerate I.T.T and Decca Records. Their homage to Fela brings a powerful and culturally relevant piece of music to the forefront of dance culture in 2020.

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Fela Kuti & Roy Ayers

Music Of Many Colours

Release: 2019 / EU – Original

Genre: Organic Grooves

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Music of Many Colours is a joint album between Roy Ayers and Fela Kuti, recorded after a three week tour of Nigeria’s major cities in 1979, during which Roy Ayers performed as the opening act for Fela’s band. The two artists decided to record the album as a round-up to the tour.

Roy Ayers describes the experience saying, “I met Fela Kuti in Nigeria in 1979, and we fell into a great relationship, good personal and music vibes, and we recorded that album together. Fela also came to USA in the eighties and we performed at NYC's Madison Square Garden. Amazingly energetic, Fela Kuti had a very original concept that was called Afro Beat – a genre with a very unique identity and exceptional music. One of Fela Kuti's most impressive qualities was that he was undeniably a brilliant show man, as a musician and as a huge dancer as well. His African concept was truly original… The tour was about two black men together coming together, one from Africa and other from USA, a very exciting collaboration."

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LP | 1973 | UK | Reissue (Knitting Factory)

Afrodisiac

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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LP | 1981 | UK | Reissue (Knitting Factory)

Coffin For Head Of State

Release: 1981 / UK – Reissue

Genre: Organic Grooves

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LP | 1973 | UK | Reissue (Knitting Factory)

Gentleman

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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International Thief Thief (I.T.T.)

LP | 1979 | UK | Reissue (Knitting Factory)

Release: 1979 / UK – Reissue

Genre: Organic Grooves

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Johnny Just Drop (J.J.D.)

LP | 1977 | UK | Reissue (Knitting Factory)

Release: 1977 / UK – Reissue

Genre: Organic Grooves

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LP | 1977 | UK | Reissue (Knitting Factory)

No Agreement

Release: 1977 / UK – Reissue

Genre: Organic Grooves

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LP | 1972 | UK | Reissue (Knitting Factory)

Shakara

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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LP | 1992 | UK | Reissue (Knitting Factory)

Underground System

Release: 1992 / UK – Reissue

Genre: Organic Grooves

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LP | 1976 | UK | Reissue (Knitting Factory)

Upside Down

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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V.I.P. (Vagabonds In Power)

LP | 1979 | UK | Reissue (Knitting Factory)

Release: 1979 / UK – Reissue

Genre: Organic Grooves

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LP | 1976 | UK | Reissue (Knitting Factory)

Yellow Fever

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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LP | 1976 | UK | Reissue (Knitting Factory)

Zombie

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Fela Ransome-Kuti & The Highlife Rakers

Fela's Special

7" | 2017 | EU | Original (Soundway)

10,99 €*

2LP | 1971 | UK | Reissue (Acid Jazz)

Release: 2017 / EU – Original

Genre: Organic Grooves

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Soundway Records presents Fela's Special 7" single, the first recorded tracks from the great Fela Kuti.
This item usually comes with the extensive Highlife On The Move 3xLP compilation, but due to an accidental over-pressing we have a small number of these 45’s for sale individually.
Very limited stock available.

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Ferry DJimmy

Rhythm Revolution

42,99 €*

Rhythm Revolution Colored Vinyl Edition

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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Acid Jazz presents one of Afrobeat’s most mysterious and rare records by a former schoolteacher, boxer, Jacques Chirac's bodyguard, and Beninese musical visionary: Ferry Djimmy - Rhythm Revolution.

The album was originally recorded in the mid-1970s in support of Benin’s revolutionary leader Mathieu Kérékou. Rumour has it that less than two hundred copies survived a late-‘70s fire.

Ferry Djimmy’s life story is one of the most extraordinary you’re ever likely to hear. Born in 1939, Jean Maurille Ogoudjobi (the nickname Ferry comes from ‘ferry djimmy’ being short for ‘please forgive me’ in Yoruba as he was a very smart but unruly kid), Ferry had 43 siblings. By the late 1950s, he started a career as a schoolteacher. As a tall and imposing young man, Ferry also started a parallel career as a boxer. When he wasn’t teaching or fighting, he also caught up with the emerging night scene in the city of Cotonou, where local folklore, Congolese rumba, highlife and Cuban adaptations were favoured by local audiences as well as some blues, jazz and rhythm’n’blues.

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Ferry DJimmy

LP | 2023 | UK | Original (Acid Jazz)

28,99 €*

Freedom Train Record Store Day 2024 Edition

Release: 2023 / UK – Original

Genre: Organic Grooves

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Feso Trombone

LP | 1984 | EU | Reissue (Lantern)

Five Day Week Straw People

Release: 1984 / EU – Reissue

Genre: Organic Grooves

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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!

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LP | 2018 | EU | Reissue (Morgan Blue Town)

30,99 €*

Release: 2018 / EU – Reissue

Genre: Organic Grooves

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7" | 2020 | UK | Reissue (Lyskestrekk)

Flammer Dance Band

Mer / Holder Rytme

Issue No. 1 - Benga Music (A Signature Genre From Kenya)

Release: 2020 / UK – Reissue

Genre: Organic Grooves

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Flammer Dance Band back with two new hip-shaking garage funk tunes! 2023 Repress edition in different sleeve artwork colourway Another essential from Lyskestrekk Records.

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FLEE

LP | 2017 | EU | Original (FLEE)

34,99 €*

LP | 1977 | EU | Reissue (Hot Casa)

Release: 2017 / EU – Original

Genre: Organic Grooves

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6 rare and almost forgotten benga tracks from Kenya including edits by Nik Weston, Jaakko Eino Kalevi and Africaine 808!

Inculding a 16 page printed silkscreen magazine!

FLEE is a collective of dedicated afro-diggers, driven by the enthusiasm to find and preserve semi-forgotten genres. For their first release they focused on an old Kenyan music genre called “Benga”. The record will be completed by a printed silkscreen magazine retracing the history of the genre, which will feature original archive pictures, great authors from the region, such as Emmanuel Mwenda, as well as the writer and singer of the eclectic Kenyan Band, Yellow Light Machine, Ondiso Madete. This vinyl compiles six rare and for some unreleased benga tracks, edited by contemporary artists (Nik Weston aka Mukat, Jaakko Eino Kalevi and Africaine 808), with the aim of approaching this genre with an innovative perspective, transcending simple nostalgia.

Only 200 copies of this first issue!

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Francis The Great

Ravissante Baby

LP | 1977 | EU | Reissue (Hot Casa)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Rare funk & Avant-Garde soul from a seven years old kid singer featuring the best of French and Cameroonian musicians diaspora, recorded in Paris in 1977.

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Francis The Great

Ravissante Baby

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: Near Mint

Anywhere Trouble Feat. Cristina Violle

Franck Biyong

12" | 2020 | EU | Original (Hot Casa)

Fred Locks Meets The Creators

Release: 2020 / EU – Original

Genre: Organic Grooves

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After a few other successful projects, Franck Biyong, French-Cameroonian Afrobeat composer, guitar player and singer is back on Hot Casa with a hot futuristic Afro-Brazilian club anthem.
The similarities and filiations between traditional West-African drumming and Afro-Brazilian religious musical rites are many: under colonial rule African people and African slaves outwardly practiced Christianity but secretly prayed to their own God, Gods, or Ancestor spirits. So we aimed at keeping the gritty urban menacing sound and poetry of Afrobeat with the percussive mass rumble of Batucada and poignant beauty of Carioca. We then got in touch with Cristina Violle, the first lady of “Samba de Roda” in Paris who graced us with a startling inspired and heartfelt melody. The first completed version of the song then briefly went on alternative radio, we also made plans to release a vinyl version, but for one way or another we shelved the project, without thinking we would get back to it again…until a few months ago.
We went back to the studio last summer and started ironing the song again from scratch. That same initial spirit and energy caught hold of us again from the day we started and we worked relentlessly to create a balanced but experimental track, showcasing rootsy sound, pop instrumentation, tight world beat drumming, song structure, jazzy horns, spacey synthesizers, choral-like vocal harmonies with call and response figurative vocals.
We now proudly present this brand new record; Like our predecessors years ago, we subconsciously did our best to keep alive a longtime tradition of cultural tradition of African Artistic Renaissance, pushing further musical themes of contemporary African sound. To be continued…

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Love And Harmony

LP | 2024 | UK | Original (Burning Sounds)

Release: 2024 / UK – Original

Genre: Organic Grooves

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12" | 1985 | EU | Reissue (Soundway)

Free Youth

We Can Move

14,99 €*

Free Man Violet Vinyl Edition

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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Soundway Records reissues Free Youth’s long sought-after 1985 single “We Can Move”, their only release - fully restored, remastered and available for the first time on digital and 12” vinyl. “We Can Move” is the first known iteration of Ghanaian hip hop, emerging at the dawn of ‘hip-life’ (hip hop meets highlife).
Free Youth comprised three main members: Terry “Sir Robot” Bright, Lenny “Nii Addy” Dimple, and Abednego “King Abed” Ayim Bright. In the early 80s they began performing in clubs and parties across Accra, with friends and other dancers occasionally joining them on stage – including Reggie Rockstone, who later went on to find commercial success.
In 1985, the band were approached by a producer and invited to record at a local studio. Without having written down any music, Terry, Lenny and Abed sang the parts and beatboxed the rhythms to the session musicians prior to recording. Out of this session came “We Can Move”, a blend of hip-hop and Afro-funk with a proto disco-boogie beat, punchy trumpet riffs and melodic rapping.
Included in the Soundway reissue is an exclusive instrumental cover version of “We Can Move” from Welsh ensemble Drymbago. This replaces the original B side track “Freedom Video Centre”, which was an advertising jingle for a business associated with their former producer. Soundway Records is pleased to deliver Free Youth the release that they were after, 34 years later.

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Friimen Muzik Company

LP | 1976 | EU | Reissue (Tidal Waves Music)

19,79 €* 32,99 € -40%

LP | 2021 | EU | Original (Space Echo)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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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

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Galathea

LP | 1981 | EU | Reissue (Mondo Groove)

Release: 2021 / EU – Original

Genre: Organic Grooves

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Galathea is the new project by DJ Massimo Napoli, and the title of his first solo album. Borrowing the name from the homonymous Nereid from the Greek mythology, the album is a deep dive into dub, spiritual jazz and African surroundings. Over 12 tracks, the LP conceals a strong personality. Departing from club culture with particular emphasis on electronic dub, Galathea unfolds into many influences and styles, making it a unique listening experience. Mediterranean culture, afro and cinematic melodies, jazz, spiritual echoes, and soothing beats lead the listener into a subliminal escape, where the fluidity and the convergence of genres freely progress into a dream-like journey. In "Spiritual Wind," the essence of spiritual jazz can be perceived on the central 5/4 rhythm, the deep double baseline, and the vocals. In "Afrique," the melody and the rhythmic Nigerian Afro-funk blend with dub tonalities into a subtle listening experience, enriched by Kadi Koulibaly's vocal performance. In "Dune," the album moves from Africa to the Caribbean; it is a tribute to the Cuban and Puerto Rican culture, sonically achieved with the interplay of Latin rhythms and dub sounds. “Black Sand" is an Afro dub jazz composition; John Lui's poignant vocal performance accompanies the dub sounds and African instruments. In "Scirocco," the warm and hypnotic atmosphere merges with Asian hues; it is reminiscent of the Shurhùq (or "midday wind") - a warm wind that blows from the Southeast over the Mediterranean Sea. The result is an explosive combination of music traditions with the addition of dub timbres. In "Simeto," Asian influences merge with jazz. The delicate sitar blends with dub atmospherics like river ripples gently flowing towards the sea. Simeto (in ancient Greek "Symaithos") is the river flowing into the Ionian Sea from the slopes of Etna. "Sunset Dub" was written in collaboration with musician and producer Salvo Dub; the song starts with a dynamic, percussive session and progresses into minimal dub tonalities and electronica. "Sirens" is an ethereal song composition enhanced by the sounds of the sea and the sea birds, as well as the haunting sirens' voices. "Karma Blues" is an Afro-blues track with impact. The kora and the reggae singing perfectly paint the recording and its gentle and atmospheric progression. "This is African Jazz" is inspired by the Savannah sounds; it carries the listener on a refined journey accompanied by an African dub and percussions. "Amanecer" was conceived as a soundtrack to welcome the sun, with the strings accompanying the sea sounds and the chanting of the sea birds.

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Galaxy

Giant Panda Guerilla Dub Squad

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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One of the best boogie records of Nigeria repressed for the first time. Produced in 1981 by Jake Sollo and performed by himself flanked by the outstanding funky bass by Randy Taylor and the great vocal performances from the Galaxy girls. Recorded and produced in England but originally released only in Nigeria

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Love In Time

LP | 2023 | EU | Original (Easy Star)

Release: 2023 / EU – Original

Genre: Organic Grooves

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12" | 2019 | UK | Original (Mother Tongue)

Gin Tonic Orchestra

Stefania EP

7" | 2022 | EU | Original (Four Flies)

Release: 2019 / UK – Original

Genre: Organic Grooves

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Gin Tonic Orchestra, a brand new band out of St. Etienne (France), debuts
on Mother Tongue Records with a lush soulful tribute to their native city.
Afro-latin grooves, juxtaposed elements of funk and ethereal flute solos
backed by a stunning remix by UK legend Kaidi Tatham.

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Giuliano Sorgini

Mad Town / Ultima Caccia

LP | 1990 | EU | Reissue (Zehra)

Release: 2022 / EU – Original

Genre: Organic Grooves

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Four Flies is delighted to present a super juicy treat for all 7-inch vinyl devotees: the first 45 ever to feature tracks from Giuliano Sorgini’s masterpiece ZOO Folle. To ensure maximum DJing pleasure, we’ve picked two of the grooviest tracks from the original recording session, never before released in this format. The psychedelic funk number “Mad Town”, on Side A, drags you in with its infectious drum breaks and the rapid yet hypnotic flute of Nino Rapicavoli. “Ultima Caccia”, on Side B, is sheer afro-tribal bliss, with drums by Sorgini himself and massive funky percussion by legendary session player Enzo Restuccia. If you want an ace up your DJing sleeve, look no further

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Gnawa Music Of Marrakesh

Night Spirit Masters

LP | 2022 | UK | Original (Music In Exile)

Release: 1990 / EU – Reissue

Genre: Organic Grooves

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Remastered vinyl reissue of this 1990 Bill Laswell / Richard Horowitz production of local Gnawa musicians, recorded in the Medina of Marrakesh. According to Allmusic.com „a must for fans of both African and Middle Eastern music” and voted one of the „10 essential Gnawa albums” by Songlines.

The Gnawa are an ethnic minorityin today’s Morocco, descendents of slaves from West Africa who were brought to Morocco in the 16th century and who (although they quickly converted to Islam) nevertheless brought with them remnants of their animistic practices.

The Gnawa perform a complex ceremony (called lila or derdeba) that over the duration of several hours recreates the genesis of the universe by the evocation of the seven main manifestations of the divine, represented by seven colours. Those ceremonies, led by a master or „maleem“, are still taking place today privately while Gnawa music in general has clearly been modernizing and thus become more profane, but witnessing a performance is still an astonishing experience.

With the exception of a handful of recordings by Paul Bowles and Philip Schuyler (more ethnographic documents in a field recordings style), Gnawa music was barely heard outside of Morocco before 1990 – one of the first westerners to come and record the music was Bill Laswell, back then running his Axiom label that portrayed a wide range of ethnic music and musicians like The Master Musicians Of Jajouka or Maleem Mahmoud Ghania, to
name just two. „Night Spirit Masters“, recorded in the Medina of Marrakech, delivers soulful tracks of lead and group singers in call/ response mode, fired by sentirs, drums, hand clapping, and qrakechs, while others are drum features or sentir/ vocal pieces.

Over 30 years after its initial release, this essential Gnawa album is finally available again - remastered and on 180gr audiophile vinyl! „Gnawa, bottom heavy trance music of North Africa. Repetitive bass lines, generated by the gimbri or sintir with metal clappers, hand drums and voice. Seven trances, seven colors, seven scents, Gnawa not only moves, it can remove.“
Bill Laswell
Hell's Kitchen, NYC, May 2022

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Gordon Koang

Community

25,99 €*

Grant Phabao Afrofunk Arkestra

Release: 2022 / UK – Original

Genre: Organic Grooves

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First, we had Unity. Now, South Sudan’s undisputed ‘King of Music’, the Juba-via-Melbourne eccentric outsider Gordon Koang, returns with his second full-length of original material since emigrating to Australia, the masterly titled follow-up, Community.

Eight tracks recorded in Melbourne with a cast of the city’s finest musical minds, including Zak Olsen, Jesse Williams, David “Daff” Gravolin and Jack Kong, the record draws upon Gordon’s pitch-perfect pop sensibility and compulsion for composing irresistibly catchy melodies. Add to this brew the extensive creditienals of his collaborators, who are known for their work with Trafik Island, ORB, Leah Senior and more, and you have yourself a perfect blend of East African pop and vintage psychedelia that is surely one of the most interesting records of the year, outstripping it’s Australian counterparts both in songwriting, production value and downright good energy.

After seeking asylum in Australia in 2012, Gordon Koang, along with his cousin, collaborator and bandmate Paul Biel, has gone on to become something of a darling in the Melbourne music community, delighting audiences year round with high energy shows and an irresistible enthusiasm. The pair have settled in the city’s outer suburb of Frankston, where Koang sits in isolation at home while Biel goes out to work each day; he was born blind, and has never seen neither his homeland in the Upper Nile Valley of South Sudan nor his new home on the streets of Melbourne.

This has done little to stop Koang channeling his creativity energy into music; he writes incessantly, and Community marks the twelfth full-length album of his career and his second since arriving in Australia (the previous ten currently lost to the streets of Juba in CD and cassette form - sure to be unearthed one day by Western tastemakers!)

His years of waiting for permanent residency in Australia, and prior to that of Civil War and unrest at home, have done little to dull the bright point of Koang’s positivity. He is without a doubt the man with the biggest smile in the room. A few short minutes with Koang will leave the listener walking away in a daze, his trademark phrases and bouncing laughter echoing for weeks. Community does for listeners what Koang can’t do himself - it reaches out to thousands around the world, providing him with a platform to personally greet and smile at each individual, to share a few words of encouragement and a quick observation about the warmth of the sun, or pleasure in simply being in company. If there is a silver lining to be found, chances are Gordon has already written an album about it.

The record is warm, fuzzy, catchy, lighthearted, and it packs a punch. It rocks hard with the best of them, Olsen’s beautiful production value drawing out the best in Koang’s eccentric and spiralling melodies, the band grinding themselves into an endless groove before bursting into some new impossible melody. Somewhere between William Onyeabor and King Gizzard, this is surely the soundtrack to round out what has been an incredible year of music post-pandemic.

Community is out everywhere Friday, November 11 via Music in Exile / Above Board (uk/eu) / Polyvinyl/Dispatch Dept. (North America).

Music in Exile is a not-for-profit record label and artist services company based in Melbourne, Australia, championing stories of culturally and linguistically diverse musicians and striving for a music industry that fairly represents all in our society.

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LP | 2018 | EU | Original (Paris DJs)

28,99 €*

LP | 2017 | EU | Original (Born Bad)

Release: 2018 / EU – Original

Genre: Organic Grooves

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Limited edition of 250 copies only!
Only one copy per customer!
Access to groovy, funkin', rockin', psychedelic, revolutionary (etc.) African music as we've grown to like it at Paris DJs was not for everyone before the internet age. For Paris DJs co-founder Loik, it began in the early 80s when he met with a former Fela Kuti horn player, who introduced him to Afrobeat. When Loik arrived at Radio Nova in 1986 (he was radio programmer there between 1987 and 1997), he then discovered marvels of African Music (other than Fela), through the radio's vast record collection, which soon led to the word-famous "La Sono Mondiale" concept.
At the same time, Grant Phabao, in his late teens, discovered Congolese music through friends from Zaire. He gets access to Afrobeat in the mid-90s with a Fela Kuti CD gathering the "Zombie" and "He Miss Road" albums, which long-time friend Djouls brought back from his diggin' sessions in Paris. Many friends ripped and burned that CD, for sure. Then the legendary Daktaris album happened on Desco Records in 1998, followed by the beginning of the Antibalas, the Comet Records & Strut Records compilations in 2000, and soon after Soundway Records… the rest is history but that's roughly how African Music started for us at Paris DJs.
At this point we met online with Calumbinho on the Soulseek P2P network. Such a mind-bending experience… The man was sharing hundreds of full albums, all sorted by country, and had music from every corner of 1960s/70s/80s Africa! We asked for advice, he listed 50 records to begin with! All those records, digital files, influences & experience gathered together gave birth in 2006 to a series of mixes on the Paris DJs podcast, "African Mashed Potato Popcorn", blending old and new African music from all over the world. It was an instant smash, DJs from all over the world reaching out asking us to keep on focusing on this amazing music coming from Africa (or inspired by music from Africa).
Around that time, the Paris DJs crew met with musicians from Antibalas (Martín Perna, Duke Amayo / USA), and from the Poets Of Rhythm/Karl Hector bands (Ben Abarbanel-Wolff, Jan Whitefield / Germany). They had all played with Fela Kuti's guitar player Oghene Kologbo by then. The German guys had even started a band with him, the Afrobeat Academy, releasing an album together in 2007. Little did we know that from this point on, Kologbo and African music would grow to become a very important part of our lives.
We started collaborating with Samy Ben Redjeb from Analog Africa, Miles Cleret from Soundway or Quantic from Tru Thoughts, among many others very influential record collectors, for some exclusive mixes of rare afro/latin music on the Paris DJs podcast. In 2009 we co-organized the first Ebo Taylor show in Europe, with German musicians from the Afrobeat Academy/Whitefield Brothers/Jimi Tenor crew backing him along with Kologbo. Soon we helped open the Superfly Record Store and got our hands (and ears) on many rare, original African Records. Loik started recording Kologbo's second solo album "Africa Is The Future" (featuring Tony Allen and Pat Thomas!), Grant Phabao was producing his first afrofunk tunes, and all this new music was damn funky…
Phabao went on a trip to Benin and Ghana, where he ended up hooking up with Ben Abarbanel-Wolff, who was recording with Ebo Taylor and Pat Thomas there. After a two-year period during which Grant Phabao and Djouls partnered with famous Irish-born, Paris-based producer Doctor L, and released with Cameroonian artist Franck Biyong no less than 16 digital albums and conceptual compilations, the Paris DJs label was born in 2012, with the addition of poster artist Ben Hito to the gang.
Five compilations in the "Tropical Grooves & Afrofunk International" series were released, with artists from all over the world, featuring the first tracks from the Grant Phabao Afrofunk Arkestra project, with Grant Phabao at the controls and many guests from the now global African music scene adding their own, original touch. Most of those were compiled in the "Massive Hits From the Grant Phabao Factory" LP in 2015.
It was a long read, many years of learning and sharing back, but we wanted to tell how African music slowly but surely infiltrated its way into Paris DJs' daily life, which led to the Kologbo LP being released at the end of 2017, and to this Grant Phabao Afrofunk LP to be released june 2018, featuring 20 guests among which Tony Allen, Oghene Kologbo, Sandra Nkaké, RacecaR, members of Antibalas, The Breakestra, Brownout, Fela Kuti's Egypt 80, Jungle Fire, Les Frères Smith, Ebo Taylor's Afrobeat Academy, Osemako… coming from Paris, Berlin, Lagos, Washington, Austin or Los Angeles!

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Group Doueh & Cheveu

Dakhla Sahara Sessions

18,99 €*

Release: 2017 / EU – Original

Genre: Organic Grooves

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The Dancing Devils Of Djibouti

Groupe RTD

LP | 2020 | US | Original (Ostinato)

29,99 €*

Estrellas Remixes EP Black Vinyl Edition

Release: 2020 / US – Original

Genre: Organic Grooves

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The first ever international album from Djibouti and Ostinato's first studio recorded album. This ain't a compilation or reissue!

A stunning collision of Indian Bollywood, Jamaican dub and reggae, sleek horns inspired by Harlem’s jazz era, Somali funk, and the haunting and joyous synthesizer melodies of the Red Sea by Groupe RTD, one of East Africa’s best kept secrets.

Recorded in three days -- as per the strict limit set by Djibouti's national radio authorities -- with a state-of-the-art mobile recording studio replete with the very best audio interfaces and carefully positioned microphones around a less than soundproof room to achieve a vibrant, professional sound while maintaining the analog warmth of decades prior.

A portion of Bandcamp sales will be donated in equal parts to:

• The Djiboutian Embassy in Germany to purchase masks and other essential supplies for Djibouti.

• Amref Health Africa Covid-19 Fund (amref.org/donations/covid19/)

-------------

More than one news report refers to Djibouti as “a place where nothing ever happened” that “would not register significantly in the global consciousness except for its strategic location in East Africa."

These deeply ill-informed observations could not be further from the truth.

While the music of Somalia is widely celebrated, its neighbor, the Republic of Djibouti, formerly known as French Somaliland, is home to an equally deep reservoir of its own unique Somali music.

The small but culturally grand country on the mouth of Red Sea remains one of the few places in the world where music is still entirely the domain of the state. Since independence in 1977, one-party rule brought most music under its wing, with almost every band a national enterprise.

No foreign entities have been permitted to work with Djibouti’s rich roster of music — until now.

In 2016, Ostinato Records met with senior officials of Radiodiffusion-Télévision Djibouti (rtd), a.k.a. the national radio, to discuss a vision for lifting the shroud on Djiboutian music as the young country of less than a million people increasingly opens up to the world. Three years later, in 2019, Ostinato became the first label granted full authorization to access the national radio’s archives, one of the largest and best preserved in Africa, home to thousands of reels of Somali and Afar music.

But just next door, in RTD’s recording studio, a world class band entirely unknown outside the country, whose songs are a living embodiment of the archives, lay in waiting. Composed of sensational new, young talent backed by old masters, the band — Groupe RTD — is the national ceremony outfit. By day, they perform for presidential and national events and welcome foreign dignitaries.

By night, when no longer on official duty, Groupe RTD is clearly one of East Africa’s best kept secrets.

Helmed by Mohamed Abdi Alto, possibly the most unheralded saxophone virtuoso in all of Africa, a Djiboutian national treasure, and the horn maestro on track 8 of our Grammy-nominated Sweet As Broken Dates compilation, and mentored by Abdirazak Hagi Sufi, originally from Mogadishu and composer of track 9 on the same compilation, Groupe RTD is the finest expression of Djibouti’s cosmopolitan music style.

Situated on the Bab El Mandeb (Gate of Tears) strait, a historic corridor of global trade connecting the Suez Canal and the Red Sea with the Indian Ocean, Djibouti is blessed with influences from East Asia, the Arabian peninsula, India, and even more distant sounds.

Djiboutian music, particularly the addictive brand wielded by Groupe RTD, is, by their own admission, the juncture where Indian Bollywood vocal styles, offbeat licks of Jamaican dub and reggae, sleek horns inspired by Harlem’s jazz era, Somali funk and the haunting and joyous synthesizer melodies of the Red Sea collide.

Sax player Mohamed Abdi Alto — so talented that they added “Alto” to his legal name — honed his trade from a steady diet of John Coltrane and Charlie Parker. Abdirazak’s guitar style draws heavily from his love affair with Jamaican music. Young singers Asma Omar, who won a youth talent contest to join the band, and Hassan Omar Houssein are fluent in the classic hits of Bollywood and Indian music. Synth player Moussa Aden Ainan brings a distinctly dexterous Somali touch, reminiscent of the exceptional keys work of Somalia’s Iftin and Waaberi Band. Their sound is kept afloat by measured Tadjouran rhythms, courtesy of drummer Omar Farah Houssein and dumbek player Salem Mohamed Ahmed’s perfect interplay.

But recording this album was Ostinato’s biggest challenge yet. A web of bureaucracy and strict rules had to be navigated. Djibouti’s authorities gave us only three days to record the entire set, with no extension. Up for the task and eager to deliver, the musicians promptly tore down the “no smoking or chewing khat” sign in RTD’s recording studio and began a heated, three-day, khat-fueled devilish feast of music amid a smokey haze, unleashing the very reason the band was founded: to strut Djibouti’s majestic music on the world stage when the opportunity arrived.

The recording equipment in the radio had not been upgraded in decades and technical neglect meant we had to devise a novel approach to ensure the highest quality recording possible. With the help of Djibouti’s head of customs, we flew in a state-of-the-art mobile recording studio replete with the very best audio interfaces and carefully positioned microphones around a less than soundproof room to achieve a vibrant, professional sound while maintaining the analog warmth of decades prior.

This game-changing setup, a far cry from the old days of field recordings, is Ostinato’s vision for the future: to capture the contemporary sounds of Africa and the world flawlessly, in any environment or circumstance.

We proudly present Ostinato’s premier studio recorded album and the first ever international album to emerge from Djibouti — Groupe RTD: The Dancing Devils of Djibouti.

This album, if listened to at an inappropriate volume, should firmly register Djibouti in the global consciousness, shifting its image from a strategic outpost of geopolitical games to cultural powerhouse.

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Guts

2x12" | 2024 | EU | Original (Heavenly Sweetness)

Afro-Jazz Clear Yellow Vinyl Edtion

Release: 2024 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Limited to 1000 copies worldwide, only available with GUTS and HHV.

In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)

From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)

Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)

On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)

Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet.

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Guy Warren

LP | 2019 | US | Reissue (Return To Analog)

Release: 2019 / US – Reissue

Genre: Organic Grooves

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LP | 2018 | UK | Reissue (Mr Bongo)

Gyedu Blay Ambolley

Simigwa

Hailu Mergia & Dahlak Band

Release: 2018 / UK – Reissue

Genre: Organic Grooves

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Legendary Ghanain album – with one of the music iconic covers ever! – that fuses Highlife, afrobeat, folk and funk. Ambolleys debut solo album originally released in 1975, written and produced with Ebo Taylor. Ambolley grew up during the peak of Highlife in Ghana and was a key figure in its fusion with soul and funk influences from the USA. He played in many bands including Houghas Extraordinaires, Meridians Of Tema, Ghana Broadcasting Band and the Uhuru Dance Band, for which he was recruited by his friend, Ebo Taylor. The group went to Nigeria in 1973 to play with Fela at his legendary Shrine spot. ‘Simigwa’ was a chance for Ambolley to release his own productions and to experiment to a certain extent. A main inspiration for this album was the work of the mighty Mr. James Brown, something that is evident from the rhythm section, horns, vocal stabs and percussion breaks throughout the record. Official Mr Bongo reissue, replica original artwork. Licensed from Essiebons.

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Wede Harer Guzo

Tape | 2022 | US | Original (Awesome Tapes From Africa)

Hailu Mergia & The Walias Band

Release: 2022 / US – Original

Genre: Organic Grooves

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Hailu Mergia & DahlakBand's Wede Harer Guzois the third release onAwesome Tapes FromAfrica for Ethiopiankeyboard and accordionmaestro. In the yearssince Shemonmuanaye,Mergia has revamped histouring career, playingfestivals and clubsworldwide, including arecent tour supportingBeirut. By 1978, AddisAbaba's nightlife wasfacing challenges. Theruling Derg regime imposed curfews, banning citizens from thestreets after midnight until 6:00 am. But that didn't stop some peoplefrom dancing and partying through the night. Bands would play fromevening until daybreak and people would stay at the clubs untilcurfew was lifted in the morning.One key denizen of Addis' musical golden age, Hailu Mergia, waspreparing a follow-up to his seminal Tche Belew LP with the famedWalias Band. It was the band's only full-length record and it had beena success. But his Hilton house band colleagues were a bit tied uprecording cassettes with different vocalists. Still Mergia, amidstrecording and gigs with the Walias, was also eager to make anotherrecording of his instrumental-focused arrangements. So he went tothe nearby Ghion Hotel, another upmarket outpost with a popularnightclub. Dahlak Band was the house band at Ghion at the time.Together they made this tape Wede Harer Guzo right there in theclub during the band's afternoon rehearsal meetings, with sessionslasting three days.Dahlak Band catered to a slightly more youthful, local audience, whileMergia's main gig with the Walias at Addis' swankiest hotel had amixed audience that included wealthy Ethiopians, foreign diplomatsand older folks from abroad. Therefore, their sets featured lighter fareduring dinnertime and a less rollicking selection of jazz and r&b.Meanwhile, Dahlak was known more for the mainly soul and Amharicjams they served up for hours two nights a week to a younger crowd.Mergia released Wede Harer Guzo ("Journey to Harer," a city ineastern Ethiopia) with Sheba Music Shop, which was located in...

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Tezeta

LP | 2021 | US | Original (Awesome Tapes From Africa)

22,79 €* 23,99 € -5%

Hailu Mergia & The Walias

Release: 2021 / US – Original

Genre: Organic Grooves

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Unknown recording outside Ethiopia which documents Mergia Hailu & The Walias legendary early period. Beautifully-rendered instrumentals of classic Ethiopian standards, "Tezeta"is the follow-up reissue of the hugely popular seminal Ethiopian instrumentals LP "Tche Belew" (atfa012). It was a Cassette-only release in 1975 on the band's in-house label, to fund their record store. From their genesis as members of the Venus club in-house band in the early 70s, Hailu Mergia and the Walias Band were at the forefront of the musical revolution during an era where modern instruments and foreign styles superseded the traditional fare to become the staple sound of Ethiopia. No one would argue that the Walias were the trailblazing powerhouse of modern Ethiopian music. They were the first band to form independently without affiliation to a theatre house, a club or a hotel; unprecedented and risky as they had to raise all funding for expenses by themselves including buying equipment. They were the first to release full instrumental albums, considered to be commercially unviable at the time. They opened their own recording studio, with band members Melake Gebre and Mahmoud Aman doubling as technical buffs during sessions. They were also the first independent band to tour abroad. In short, they were the pioneers every band tried to emulate; some more successfully than others. Odds are, any Ethiopian over the age of 35 who had access to TV or radio by the early 90s, will instantly recognize the sound of Walias. What is not a given is, how many would actually identify the band itself. Barely a day went by without hearing the Walias either in the background on radio or as an accompaniment to various programs on TV. This Tezeta album, the band's second recording, released in 1975, is one of those that have been impossible to find for nearly three decades. Sourced by Awesome Tapes From Africa and expertly remastered by Jessica Thompson, its unique and funky renditions of standards and popular songs of the day are so quintessentially Walias, flavorful and evocative. Hailu's melodic organ, unashamedly front and center in every track, makes even the complex pieces accessible. Profoundly engaging; it's an immersive trip down memory lane for those of us getting reacquainted with it, while also an enthralling and gratifying experience for fresh ears.

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Tche Belew

LP | 1997 | US | Reissue (Awesome Tapes From Africa)

LP | 2020 | US | Original (Awesome Tapes From Africa)

Release: 1997 / US – Reissue

Genre: Organic Grooves

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The album will be released by Awesome Tapes From Africa for the first time outside Ethiopia, with its original track sequence and album art along with exclusive period photos from Mergia’s personal scrapbook.

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Hailu Mergia

Yene Mircha

Soweto To Harlem HHV Exclusive Record Store Day 2024 Yellow Vinyl Edition

Release: 2020 / US – Original

Genre: Organic Grooves

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It's been a long, winding road to Hailu Mergia's sixth decade of musical activity. From a young musician in the 60's starting out in Addis Ababa to the 70's golden age of dance bands to the new hope as an emigre in America to the drier period of the 90s and 2000s when he mainly played keyboard in his taxi while waiting in the airport queue or at home with friends. More recently, with reissue of his classic works and a re-assessment of his role in Ethiopian music history, Mergia has played to audiences big and small in some of the most cherished venues around the world. With 2018's critical breakthrough "Lala Belu" Mergia championed himself and consolidated his legacy, producing the album on his own and connecting with listeners through the sheer creative power of his version of modern Ethiopian music. His subsequent performances revealed an artist who is in no way stuck in the nostalgia for the "golden age" sound. The press agreed, including the New York Times, BBC and Pitchfork, calling his music "triumphantly in the present" in its Best 200 Albums of the 2010's list. Mergia's new album "Yene Mircha" ("My Choice" in Amharic) encapsulates many of the things that make the keyboardist, accordionist and composer-arranger remarkable_elements that have persisted to maintain his vitality all these years, through the ebb and flow of his career. The rock solid trio with whom he has toured the world most recently, DC-based Alemseged Kebede (bass) and Ken Joseph (drums), forms the nucleus around which an expanded band makes a potent response to the contemporary jazz future "Lala Belu" promised. "Yene Mircha" calcifies Mergia's prolific stream of creativity and his philosophy that there is a multitude of Ethiopian musical approaches, not just one sound. Enlisting the help of master mesenqo (traditional stringed instrument) player Setegn Atenaw, celebrated vocalist Tsehay Kassa and legendary saxophone player Moges Habte from his 70's outfit Walias Band, Mergia enhances his bright, electric band on this recording with an expanded line up on some songs. Mergia produced the album which features several of his original compositions along with songs by Asnakesh Worku and Teddy Afro. An artist still reinventing his sound every night on stage during his marathon live sets, this 74-year-old icon refuses to make the same album twice. The album feels as urgent and risky as his concerts can be, pushing the band to the outer limits of group improvisation and back with chord extensions during his exploratory solos. "Yene Mircha" captures this live experience and fosters an expansive view of what else could be in store for this tireless practitioner of Ethiopian music.

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Hal Singer Jazz Quartet

LP | 1976 | EU | Reissue (Afrodelic)

Soweto To Harlem Record Store Day 2024 Black Vinyl Edition

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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HHV exclusive vinyl edition on yellow vinyl, limited to 100 copies. Only available at hhv.de!

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.

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Hal Singer Jazz Quartet

LP | 1976 | EU | Reissue (Afrodelic)

22,79 €* 23,99 € -5%

LP | 2023 | EU | Original (Real Gone Music)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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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.

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Hamza El Din

Al Oud

38,99 €*

LP | 1976 | UK | Reissue (Matsuli Music)

Release: 2023 / EU – Original

Genre: Organic Grooves

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Limited clear vinyl LP pressing. It's fair to say that what Ravi Shankar did for the sitar, Hamza el Din did for the oud (the short-necked Arabian lute): bringing a little-known instrument to the attention of the West and popularizing it. Indeed, he ended up playing oud with everybody from the Grateful Dead to the Kronos Quartet to his one-time roommate Sandy Bull. But El Din's gifts went beyond that of an oud virtuoso; he was also an accomplished singer and composer, and you will hear all of those talents on full display on this seminal album, released on Vanguard in 1965 soon after his star-making appearance at the 1964 Newport Folk Festival that attracted the attention of Bob Dylan and Joan Baez. Meditative, mesmerizing, and haunting, Al Oud features nine original compositions based on Nubian folk traditions; at first it's the exotic sound of the oud that draws you in, but it's the rhythmic pulse of the music and the expressive quality of El Din's voice that keeps you riveted. Our first-ever American LP reissue of this classic record comes in a clear vinyl pressing limited to 900 copies, complete with original artwork featuring liner notes by Jamal Mohammed Ahmed, at the time Sudan's Ambassador to the United Nations. A richly rewarding listen.

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Harari (The Beaters)

Rufaro

LP | 1976 | UK | Reissue (Matsuli Music)

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Top reissue of their in demand 1976 LP by the super group. Includes the long jam ''Oya Kai'', keeps on going.. Also holds their known tune ''Musikana'', killer groove. Alec Khaoli, Selby Ntuli and Sipho Mabuse with their first album as Harari made a great debut channeling a raw energie following up their LP as the beaters. The Beaters – Harari was released in 1975. After changing their name, Harari went into the studio late in 1976 to record their follow-up, Rufaro / Happiness. In 1976 they were voted South Africa’s top instrumental group and were in high demand at concert venues across the country. Comprising former schoolmates guitarist and singer Selby Ntuli, bassist Alec Khaoli, lead guitarist Monty Ndimande and drummer Sipho Mabuse, the group had come a long way from playing American-styled instrumental soul in the late sixties to delivering two Afro-rock masterpieces. Before these two albums the Beaters had been disciples of ‘Soweto Soul’ – an explosion of township bands drawing on American soul and inspired by the assertive image of Stax and Motown’s Black artists. The Beaters supported Percy Sledge on his 1970 South African tour (and later Timmy Thomas, Brook Benton and Wilson Pickett). But their watershed moment was their three month tour of Zimbabwe (then Rhodesia) where they were inspired by the strengthening independence struggle and musicians such as Thomas Mapfumo who were turning to African influences. On their return, the neat Nehru jackets that had been the band’s earliest stage wear were replaced by dashikis and Afros. “In Harari we rediscovered our African-ness, the infectious rhythms and music of the continent. We came back home inspired! We were overhauling ourselves into dashiki-clad musicians who were Black Power saluting and so on.” Sipho Hotstix Mabuse, talking of the band’s time spent on tour in the (then) Rhodesian township from where they took their name. As well as expressing confident African politics, Alec Khaoli recalled, they pioneered by demonstrating that such messages could also be carried by “...happy music. During apartheid times we made people laugh and dance when things weren’t looking good.” The two albums capture the band on the cusp of this transition. One the first album Harari, Inhlupeko Iphelile, Push It On and Thiba Kamoo immediately signal the new Afro-centric fusion of rock, funk and indigenous influences. Amercian soul pop is not forgotten with Love, Love, Love and, helped along by Kippie Moeketsi and Pat Matshikiza a bump-jive workout What’s Happening concludes the album. The second album Rufaro pushes the African identity and fusion further, with key tracks Oya Kai (Where are you going?), Musikana and Uzulu whilst the more pop-styled Rufaro and Afro-Gas point to where Harari were headed to in years to come. The popularity and sales generated by these two classic albums saw them signed by Gallo and release just two more albums with the original line-up before the untimely death of Selby Ntuli in 1978. Whilst they went on to greater success, even landing a song in the US Billboard Disco Hot 100 in 1982, it was never the same again. “Harari’s music still speaks directly to one of my goals as a younger artist: to express myself as an African without pretending that I don’t have all these other musical elements – classical, jazz, house – inside me.” (Thandi Ntuli, niece of Selby Ntuli).

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Harari (The Beaters)

Rufaro

Release: 1976 / UK – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Sealed, Cover: Sealed

International Dance Record

Harmonious Thelonious

LP | 2016 | EU | Original (Italic)

LP | 1979 | EU | Reissue (Isle Of Jura)

Release: 2016 / EU – Original

Genre: Organic Grooves, Electronic & Dance

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Brighter than the sun of Africa and hotter than the desert wind Scirocco: Harmonious Thelonious returns with his fourth album. It comes with the enticing title “International Dance Record” and as always, much of it revolves around the vertical component of music: Harmony. The Düsseldorf producer has been exploring the infinite possibilities of electronic music production under pseudonyms like Antonelli Electr. since the late 1990s. He has produced contemporary voodoo art as part of the trio The Durian Brothers. Yet the new album is not a standard procedure. Rather, he shifts the harmonies of African music and juxtaposes them by a whole tone, generating simple harmonic changes with a magical effect. His unusual tonal game runs through half of his album, yet is not its major theme. That, rather, is hypnosis. All of his new tracks run through without detailed arrangements, have heavily infectious melodic passages and create a repetitive pull of mythical power.

Overall, his music today is airier and more receptive than anything he has presented to the world to date as Harmonious Thelonious. The brute force beats his previous albums “Talking”, “Listen” and “Santos” have been replaced by simple rhythm box grooves. They are repeatedly joined by short highlife guitar themes, bright flute melodies and feathery keyboard hooks. Africa is also only partially a reference for this unclassifiable and cheerful dance sound, which is entitled “International Dance Record” for good reasons. Because this time the priority is on immediate movement and pieces like “Talking About” or the remake of “Muziek”, still crude on his 2012 EP “Ting Tong”, both nod to House without directly being that. A longplayer between worlds that creates its very own – and despite all its exoticism, somehow remains absolutely grounded.

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Harry Mosco

Peace & Harmony

19,99 €*

LP | 2021 | UK | Original (Hive Mind)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Official LP reissue of 'Peace & Harmony' by Nigerian funk royalty Harry Mosco, Originally released in 1979. Incl the big tracks ''Sexy Dancer'', ''Step On'' and ''Do It Together'' Isle Of Jura digs deep going back 40 years for the reissue of Harry's 1979 album which is something of an undiscovered gem that touches upon Disco, Funk, Boogie, Soul and Dub. Harry passed away in 2012 and we’ve worked closely with his son on the reissue.
Harry Mosco is best known as the founder of legendary 1970s Nigerian Afro-Funk band The Funkees. Originating as an Army band after the Nigerian Civil War they lead the wave of upbeat music produced by young artists in Nigeria in response to the darkness of the recently concluded civil conflict. Following a notable hit single ‘Akula Owu Onyeara’ the band split in 1977 and Harry pursued a solo career.
‘Peace & Harmony’ was Harry’s third LP continuing the rich vein of form found in previous albums ‘Country Boy’ and ‘Funkees’ (For You Specially). He was a visionary who wrote, arranged and produced each song on the LP assisted by Mark Lusari on engineering duties (P.I.L, Jah Wobble & Prince I), whose Reggae and Dub influence can be felt on title track ‘Peace & Harmony’ and ‘Peaceful Dub’. The LP contains two certified floorfillers of Studio 54 era Disco Funk in the shape of ‘Sexy Dancer’ & ‘Step On’ and two slow jams, the soulful ballad ‘She’s Gone’ and horn lead album closer ‘Do It Together’. Mr Funkees was printed on the cover to help record buyers make the connection between Mosco and his former band

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Hassan Wargui

Tiddukla