Afrobeat 257 Items

Limited edition 45 vinyl black (500 copies worldwide)!
Only one copy per customer!
Calibro 35's new single "Psycheground" flipped by the unreleased “Polymeri (Afro-Utopia Version”) on limited edition 45 vinyl.
“Psycheground” is the new single from the Italian cinematic funk cult combo Calibro 35 available on a super limited 45 vinyl and digital download on May 04. Taken from their heavily acclaimed new album “Decade”, “Psycheground” is an afro-funk stormer that sounds like Tony Allen involved in writing a score for a vintage Hollywood production. The new single is flipped by an alternative and hypnotic afro/tropical version of “Polymeri”. Don't sleep on it, all Calibro 35's previous 45s went sold out in a few days.
Calibro 35 enjoys a worldwide reputation as one of the coolest independent band around. They have been sampled by Dr. Dre on his Compton album, Jay-Z Love Child & Damon Albarn, they shared stages with the likes of Roy Ayers, Sun Ra Arkestra, Sharon Jones, Thundercat, Headhunters and as unique musicians they've collaborated with, amongst others PJ Harvey, Mike Patton, John Parish and Stewart Copeland and Nic Cester (The Jet). Described by Rolling Stone magazine's as the most fascinating, retro-maniac and genuine thing, that happened to Italy in the last years, Calibro 35 now count on a number of aficionados worldwide which includes VIP's fans such as Dj Food (Ninja Tune), Mr Scruff and Huey Morgan (Fun Lovin' Criminals) among others.

With the single "Everything You Do, You Do For Yourself" North-Ghanaian Kologo master Guy One opens the door to his first international release #1, which will be available end of January 2018. Guy One promises what his name is saying: he is the number one artist of Frafra music, named after his people: the Frafra.
"Everything You Do, You Do For Yourself" is his only song having a phrase in English. Here he is following the example of his collegue and friend King Ayisoba, who introduced the use of English into Frafra music a few years ago. The beat is a driving Highlife rhythm. That's the kind of groove we all love Ghana for!
On "Estre" we have special guest Florence Adooni, one of the leading voices of Frafra-Gospel. She is interweaving perfectly with the horn arrangements by Max Weissenfeldt, as well the drummer of the song, and gives after her part the lead to Mr. Guy One - yeah, the number one!

/ Diesler Remix

Mampön are back! unleashing their Afrobeat enchantment on a new 45 release.

Crafted for the dancefloor, "Si Algún Dia Has De Caer" combines party beats with Spanish lyrics. Hectór Rodriguez, the band's guitarist and lead singer, creates a deep connection between celebration and introspection on an enchanting vocal-rhodes introduction before the rhythm takes you for a dance.

On the B-side, Mampön maintains the Afrobeat tradition as more than just dance music—it's a protest, a resistance. "Papeles Rotos" portrays people as slaves with rights on wet, torn paper, urging listeners to forge their path regardless of the cost.

Mampön emerges as a true soft power, destined for every dance floor, spreading Afrobeat magic.

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

North-Ghanaian singer Olando lives as a Frafra in the diaspora of Kumasi, the 2.5 million metropole and capital of the Ashanti people. Living there turned his style into a unique mixture of his rural heritage combined with some portion of urban insanity.
Both songs are with its 163 bpm the perfect climax in any afro-futuristic DJ set. While the A-side Tenan Wu has a playful bass which jumps around the driving Hip-Life beat, the B-side Be Han To'ora Ho Sina is chracterized by its hypnotic ostinato. Both songs are produced by Big Solo, one of Kumasi's most outstanding producer personalities.

Alma Negra Records are proud to present James Stewart, resident DJ and co-promoter of monthly night “Black Atlantic Club” at Le Sucre in Lyon, with his Cotonou EP

Voilaaa is one of the many projects led and produced by Bruno “Patchworks” Hovart, who’s proven over the past 15 years, his place amongst the finest producers of groove music in all genres.
This time exploring the wide spectrum of the African and Tropical Disco scene, he received a massive international support for Voilaaa’s first album, On te l’avait dit, released late 2015 on Favorite Recordings.
With a second effort already planned for spring 2017, Voilaaa has not finished to feed international dancefloors with heavy Afro-Disco vibes.
Here comes the first single from Voilaaa’s upcoming second efforts, made of 3 new killer tunes featuring Lass, Sir Jean, and Pat Kalla.

2016 was the year for Idris Ackamoor & the Pyramids: their album "We Be All Africans" (produced by Philophon and released on Strut Rec.) vaulted them among the global top acts of the current Spiritual Jazz renaissance. The strengh of the group is its deep connection to Africa: not just that their music is inspired by the spirit of Africa, they actually founded themselves on an extended trip to the Motherland in 1972.

On that trip Idris Ackamoor visited the tiny town Bolgatanga in Northern Ghana to play with local Frafra musicians - an experiance which changed his life. Now, after 45 years, Idris dives once more into the magical music of the Frafra people by teaming up with master musician Guy One, the no. 1 Kologo artist of the vital music scene of Bolgatanga. On "Tinoge Ya Ta'a Ba" Guy One sings about the power of unity - a unity you hear clearly on this Afro-Euro-American cooperation: a driving rhythm, a eulogizing saxophone, a gripping voice and in total a journey into another dimension.

We’re introducing: Johnny! Ghanaian Afro-Rock from German producer/composer J.J. Whitefield and an international cast of top shelf musicians. Whitefield, who in the early ‘90s revived the gritty, analogue Funk sounds of the ‘60s and ‘70s with his Poets Of Rhythm, has been working with Now-Again Records for almost a decade, releasing a flock of acclaimed projects with Karl Hector & The Malcouns, Whitefield Brothers, Rodinia and the “Original Raw Soul” anthology. He first started exploring African rhythms with the Whitefield Brothers in the late ‘90s, continuing in the ‘00s with Karl Hector & The Malcouns. He’s been instrumental in launching Ghanaian Afro Beat/Funk legend Ebo Taylor´s international career, decades after the maestro recorded the landmark albums that have inspired thousands. Whitefield recorded two new studio albums with Taylor and toured in his band between 2009 and 2013, where he met Taylor’s son Henry and percussionist/Singer Eric Owusu. The trio now front the Johnny! band and find inspiration not only in Ghana’s hypnotic grooves, but also the full frontal fuzz guitar assault heard on the legion of 70s Zambian Zamrock albums recently reissued by Now-Again. Indeed, Whitefield credits his tours with Zamrock godfathers Rikki Ililonga and WITCH’s Jagari Chanda as instrumental in creating the Johnny’s sonic backdrop. The band is rounded out by Turkish drummer Bernd Oezsevim (Woima Collective, Rodinia) and Indonesian bassist/multi instrumentalist Tomi Simatupang (Whitefield Brothers). This is Dance Rock at the core with the possibilities to stretch out and go into psychedelic realms. The results, spread out over three 7”singles and pressed in a run of 1000 units each, speak for themselves. Every record comes with a download card for WAV files of all six tracks (vocals and instrumentals from each release) and point at a new direction for the music inspired by the Great Continent.

Wallias Band were an Ethiopian jazz/funk outfit active from the
70’s until the 90’s. They recorded and worked with Mulatu
Astatke. They were amongst the first Ethipian bands to tour the
USA.
On ‘Muziqa Muziqa’ saxophonist Seyoum Gebreyes collaborates with
the Wallias Band. Very little is known about Seyoum… ‘Muziqa
Muziqa’ is an uptempo Ethio-funk jam, with a soaring vocal,
driving organ, drums and brass.
‘Muziqawi Slit’ is a chugging, hypnotic Ethiopian jazz funk
groover featuring organ player by Hailu Mergia. Taken from his
‘Tche Belew’ LP originally released on Kaifa in 1977, featuring
Mulatu Astatke, arranged by Girme Beyene.

‘Assiyo Bellema’ – Mulatu goes afro-latin, plus steel drums
courtesy of Frank Holder. Assiyo Bellema was recorded during
Mulatu’s time in London, during which he met Frank, along with
many others including Tubby Hayes and Joe Harriott.
‘Hasabe’ was originally released on Amha in 1969. Soaring
Ethiopian vocals and horns create a classic Ethiopian sound.
Teshome Meteku was leader of Soul Ekos Band - they lived
together! - and were very active in Addis in the 1960’s.

A. Ayaléw Mèsfin ft. Black Lion Band - Ghedawou
Ethiopian dance floor Funk rarity originally released on Kaifa 7” (KF 31) in
1976. Hand claps, guitar lines and call and response lead vocals punctuate the
driving bass line and understated drum groove.
Mesfin played primarily at the Lumumba Club in Addis Ababa’s red light district
and released many 45’s and cassettes during the mid seventies.
He worked very closely with the Black Lion Band (or Tequr Ambessa Orchestra)
AA. Mulatu Astatke ft. Feqadu Amdé-Mesqel - Asmarina
Laid back, drum-heavy, Ethipian jazz taken from the legendary Ethio Jazz’ LP on
Amha (AELP 90). Typifies the sound of the country and the period, truly classic
stuff.
Mulatu will be touring heavily in 2016, which we are very much looking forward
to.

Hailing from Ghana, The Apagya Showband was formed by the legendary Ebo
Taylor and Ambolley after they left ‘Uhuru Dance Band’. The group
produced only a couple of singles.
‘Tamfo’ is a joyous, uptempo Afro-funk groover, laced with horns and
highlife guitar lines.
‘Mumude’ is a fast paced, drum and percussion-heavy, folklore-based
song from 1974. Originally released on Essiebons 7”.

Hamburg maestro Erobique, known for his improvisational spirit and irresistible disco anthems, visited drummer/producer Max Weissenfeldt at his Joy Sound Studios in Ghana. Together with Philophon artist Florence Adooni, he created the swinging catchy tune 'Mam Tola' there, which she sings in her mother tongue Frafra, a prime example of Afro-Soul. On 'Bach In Afrika', Erobique transforms a deep Kumasi-style drum'n'bass jam into a frenetic baroque ceremony by masterfully operating the Hammond 'Extra Voice' in a J.S. Bach-like manner.

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.

From Mac & Party aka. Yaseen Mohammes comes this fantastic Kenyan chakacha taarab dancer with a heavy clavioline keyboard hook. mid 60’s origin

Red Axes are very excited to present the first part of their new project called: “Trips", a multi media venture combining music, film and travelling across the globe in pursuit of extra ordinary collaborations. Niv Arzi and Dori Sadovnik are seeking to discover new grounds and sounds, and to record local musicians, indigenous instruments and present workshops for youth music schools. In March of 2017, the Israeli duo touched down in Africa for the first time, and set up camp in both Ethiopia and Ivory Coast, yielding In Africa, a triple header EP which features three slices of contemporary body music, with both East and West African musical motifs. The project will always present a musical release, on vinyl and digital, that was created on the trip, accompanied with a documentary, showing the whole journey.

Following the success of the Retro-Zouk mixtapes series (4 volumes / 15k plays on Soundcloud), Secousse Radio proudly presents its first official vinyl reissue of a long lost Zouk banger.
Originally released in 1993-1994, those two tracks have been road-tested in various clubs and parties for months and the feedback is clear: it’s dancefloor devastation business.
Their author is Jules Henri Malaki, an established and self-produced artist from Guadeloupe, a French overseas island in the Southern Caribbean Sea.
As the popularity of Zouk music keeps growing every day in Europe, America and Asia, just whisper the name “Makiyaj” to any of the best DJs from the current tropical diggers scene and watch their eyes scintillate… This secret weapon shall not remain secret very long.

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...

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.

Soundway Records present a special summer tribute double a-side 12" with two tracks from African musicians that both passed away within a couple of months of each other at the end of 2013 / start of 2014. Both tracks are perfect smooth summer tropical DJ fodder for the dancefloor.

On the first side South African singer Shaluza Max's massive Mashkandi / house anthem from 2002 gets a first release on vinyl. This track was a huge hit in South Africa and around the world on its release. With a soaring Zulu vocal and big sound it's a fitting reminder of a very talented musician who worked as a very well respected producer, composer and arranger who died tragically young at the age of 47 in January of 2014.

On the flip we drop a fairly unknown track from the mid 1980s from one of the biggest names in African music, Tabu Ley Rochereau. With a kind of almost balearic proto-house congolese pop cut with drum machines, and trademark sweet congo horn section, Hafi Deo is a beautiful track that fell into obscurity by perhaps being too smooth for the world music crowd in the mid 80s. Tabu Ley passed away in November 2013 in his late 70s with over 250 albums and 3000 songs to his name. A true pioneer of the congolese soukous sound, he was also one of the most influential African musicians of his generation.

No shortage of colorful characters emerged from Cameroon's bikutsi scene in the 1980's and early 90's. Gibraltar Drakus is one of the most enduring and enigmatic of the artists who helped transform bikutsi into a beautifully endless fabric of triplet rhythms that eventually reached ears around the world. Following the advent of Cameroon Radio Television in 1987, bikutsi began to supplant makossa and soukous for domination of the local airwaves and the attention of cosmopolitan, thrill-seeking residents of Cameroon's capitalYaoundé and beyond. Biktusi perfectly fused Beti traditional music and increasingly electronic, highly rhythmic guitar-based bikutsi. Mimicking the sound of village-based xylophone music by rigging a mute to electric guitar strings, bikutsi artists provided a relentlessly energetic dance format for those with a taste for music steeped in their hometown sensibility (countering the popular makossa that many felt sounded less indigenous). By the early 1990's, Les Tetes Brûlées were indisputably the most famous and influential artists in bikutsi, due in part to the innovations of their incendiary guitarist Théodore Zanzibar Epeme. Following their first European tour in 1987, the ba...

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.

Originally released in 1990 ‘Voaria’ was written by Benjamin Nhassavele and produced & arranged by the late Tata Sibeko, the revered South African producer and member of Kabasa. Taken from the LP of the same name ‘Voaria’ was released at a time when early house music was emerging as a key influence in the South African musical landscape, an evolement of the Bubblegum pop sound that had fused disco and boogie with township funk. Characterised by Roland kick drums, Yamaha DX7s and Juno Synthesisers the Kwaito sound is the musical heartbeat of ‘Voaria’.

As well as being in Novidade, Benjamin toured the world extensively as part of Alec Kaholi’s Umoja and ‘Voaria’ is a song about his desire to go back to Maputo, his hometown in Zimbabwe. Featuring Benjamin on lead vocals ‘Voaria’ comes in 2 versions, a main House mix on the A side and the Clubhouse mix on the flip which switches up the arrangement placing more emphasis on the magical groove. The 12” is housed in a full sleeve jacket by Bradley Pinkerton based on the original release design.

“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).

Ferdinand "Maréchal" Papillon was part of the makossa wave that moved from Cameroon to France and across the African diaspora in the 80s and 90s, bringing the sounds of rhythms of Douala and Yaoundé to the clubs and dancefloors of Paris. Although best known for his Sakissa style - his own uptempo take on the makossa of Cameroon - Papillon also regularly featured zouk and reggae influenced tracks on his albums, combining Caribbean and African influences into a unique sound that has stood the test of time."Moulongo" originally appeared on Papillon"s highly sought after 1995 album "Homme fort....je suis sérieux" and was recorded at Studio de la Madeleine in Paris. The Moulongo session features a who"s who of the Paris scene of the time - Aladji Touré and Toto Guillaume from Cameroon as well as Congolese guitar greats Ngoma Lokito and Nene Tchacou - and combines dancehall, zouk and makossa elements for a pan-African dancefloor sureshot.

Sol Power Sound is back in a big way with a reissue and remix EP from the legendary Nigerian Ju-Ju king, Chief Commander Ebenezer Obey. The double A-side EP features 'Eyi Yato' a tune from 1981 that captures Chief Commander and his band at their absolute funkiest, with a driving drum and bass groove, wah-wah guitar, and signature call-and-response vocals. Remixers include the legendary dub producer Mad Professor, the disco don Eddie C, and the Sol Power All-Stars themselves.

The Sol Power All-Stars keep things organic with chugging drums, heavy analog synth bass and sequences, as well as Daniel Meinecke’s additional keys and solos. The Canadian disco don Eddie C goes a little electro and a little acid with his analog bass-heavy flip. Like a good dub should, Mad Professor’s version accentuates the drum and bass groove and drenches everything in vintage sounding Mad Professor delay, reverb, and filtered dub-sauce, live and direct from his classic mixing desk. Alongside an extended edit of the original, the Eyi Yato EP is sure to find a permanent spot in DJ record bags around the world.

Mexican sensation Pahua comes to Razor-N-Tape via a huge remix project featuring some of the hottest producer names in current outer-national dance music.

Remixers on this 12” includes both staples and newcomers to the RNT production stable. Label co-head JKriv turns in a late-nite bass mix of the exceedingly popular ‘Porque Yo,’ Captain Planet delivers a percussive & thumping afro-house flip to “‘Espantapajaros’, Tigerbalm brings her chugging international disco flair to ‘Pa’lante,’ Prince of Queens digs deep with a housey dub of ‘Calla,’ and Londoner Clive From Accounts takes ‘Cana Brava’ into moody nu-disco meets amapiano territory.

With a collection of remixes as prolific and solid as these, RNT opted for an expansive 12” and 7” package which features seven of the remixes across two slabs of vinyl, with gorgeous artwork that flips the moonrise eclipse motif of the original Habita album cover perfectly in a slick device that reveals a crescent moon as the record is removed from the jacket.

This package honors the essence of the original music, while flipping it in quintessential RNT club-ready fashion.

Bosq & Kaleta return for the second single off their forthcoming full length album. Uplifiting Afro Disco & Funk are the name of the game on this beautiful release with artwork by Amanda Lobos from Brasil.

It's not possible to pick an A & B side between these two quality cuts, recorded between Bosq's Medellin Studio, NYC & Cotonou, Benin (one of Kelata's hometowns).

Sonayon is a midtempo summertime Afro Disco burner that almost doesn't need a translation from it's Gun (A language native to Benin and some parts of Southern Nigeria) lyrics for you to understand that it speaks of overcoming hardship & brighter days ahead.

Meji Meji, loosely meaning something akin to "two heads are better than one" in Yoruba takes a similarly positive stance, with Kaleta singing about unity over division on a heavy Disco Funk groove with blistering horns and heavy percussion.

Both sides already getting heavy support on dancefloors worldwide.

Reissue of one of the Ultimate Soukous banger! Originally recorded in 1992 in Paris , « Eki Bis « is a party classic. The chorus « 100 % 100% » became a common expression all over the world helped by the hypnotic guitars of the maestros Diblo Dibala and Rigo Star and a smashing uptempo electro acoustic drum beat. Le Cobra de Sundama is a famous singer from Kinshasa (Democratic Republic of Congo ) who composed more than 12 albums backed by great band such as Empire Bakuba , and was considered as The voice like Kofi Olomide or Papa Wemba mixing lingala and French street expressions. After many concerts and tours allover the continent , he finally settled in Angola . The B side features a Dj / radio edit with the addition of few electro synths . Produced in Paris by the great producer Jacky Toto and now officially licensed . Remastered by The Carvery and pressed on limited 500 Deluxe vinyl copies.

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.

Heavy South African cut, unearthed by Dene from LCT, All about the massive title track ''Got My Magic Working''... Phat bassline, machinegun claps dipped in acid! The origins of Amajika is a tale of two worlds colliding at the perfect moment and begin in KwaMushu Township outside Durban. Here would be where a young Tu Nokwe would set up a school to help teach other aspiring youngsters like herself in music, dance and acting. This would become known as the Amajika Youth and Children’s Art Project and would be run from the Nokwe home, a common hangout for artists at the time. Some boast 2000+ pupils going through this program while others claim it wasn’t more than a backyard dance group, but for the lucky group of kids that were members in the mid 80s it would be their chance at stardom. It was during these years that a young aspiring playwright and musician Mbongeni Ngema had come across Tu and her group of gifted youngsters at the Nokwe family home. Although he was touring extensively at the time with the plays Woza Albert and Asinamali, the latter which eventually ended up on broadway, he would spend any time off from the tour with Tu and her dance troop. After being inspired by the American group New Edition, Mbongeni envisioned Amajika as the South African answer and decided to bankroll a studio session. The session would take place in a private studio in Durban.The release of the first single would follow very shortly. The lead track, Tomati-So is a fun swinging groove over some basic programmed drums. The song is dedicated to Tu Nokwe sings of her unique style and kind heart. On his next tour Mbongeni would take the remaining masters with him to the US and had the track remixed. Although it never materialized in a release States side he did return with the remixed tape and release it in South Africa the following year. Much like Tomato So the song was an ode and would be dedicated to the man who was making all their dreams come true. Got My Magic Working sings of going overseas and being a star on Broadway and TV and the man who is making it all happen. All these true predictions are sung on top of a groovy acid bass by a clearly matured troop of artists. During these years of working with Amajika, Mbongeni became very impressed with the exceeding talent of one of the members and decided to cast her in his upcoming musical Sarafina. The other children also wanted to be a part of the Broadway show but not everyone would get a role. This would be the end of Amajika as the next years would be dedicated to creating success on the musical stage. The growing kids that formed Amajika became young adults and pursued their own careers after the fact. Tu Nokwe would leave the country to return years later as the wife of Shaka Zulu on the big screen. To this day she is still very active both on stage and screen while Mbongeni is still writing and adding to the South African Musical Theatre catalog. Fast forward 30 years from the original release to a smokey club where ESA hears Got My Magic Working played by Rush Hours Store’s own Bonnefooi. Instantly he inquires about the track from his homeland and feels it a perfect addition the repertoire of the Afro Synth band he is quietly cooking up. The band’s instrumental take ended up as the B side on a mysterious and limited white label released by Rush Hour in early 2020 but quickly sold out. Here you have compiled the two title tracks from original Amajika singles along with the instrumental version by ESA’s Afro Synth Band for The complete Amajika experience, past to present.

Spirit of Brazil is the new release in the spirit of Vinyl collection.12 unforgotable tunes to rediscover the Spirit of Brazil.

High-in-demand B-Edits return with a Jazz Funk heavyweight and a Tropical deep cut.

Introducing "The Mesmerizers," a mysterious trio of maestros whose debut 7" record transports you to a bygone era of exotic enchantment. Unearthed from the depths of a forgotten studio and given new life, these captivating compositions beckon you into a timeless realm where the boundaries of sound and imagination blur.Within the sultry grooves of this vinyl treasure, The Mesmerizers weave a spellbinding tapestry of exotica, echoing the seductive rhythms and lush melodies reminiscent of a golden age that refuses to be tethered to any specific moment.

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.