Afrobeat 79 Items

In anice gatefold sleeve this vinyl will make you discover the most emblematic artists of Cumbia and other more confidential ones selected and explained by the journalist and expert OSMAN JR. Original versions entirely remastered.

By the mid-1970s, the Southern African nation known as the Republic of Zambia had fallen on hard times. Though the country’s first president Kenneth Kaunda had thrown off the yoke of British colonialism, the new federation found itself under his self-imposed, autocratic rule. Conflict loomed on all sides of this landlocked nation. Kaunda protected Zambia from war, but his country descended into isolation and poverty. This is the environment in which the ’70s rock revolution that has come to be known as Zamrock flourished. Fuzz guitars were commonplace, as were driving rhythms as influenced by James Brown’s funk as Jimi Hendrix’s rock predominated. Musical themes, mainly sung in the country’s constitutional language, English, were often bleak. In present day Zambia, Zamrock markers were few. Only a small number of the original Zamrock godfathers that remained in the country survived through the late ’90s. Aids decimated this country, and uncontrollable inflation forced the Zambian rockers that could afford to flee into something resembling exile. This was not a likely scene to survive - but it did. Welcome To Zamrock!, presented in two volumes, is an overview of its most beloved ensembles, and a trace of its arc from its ascension, to its fall, to its resurgence.

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

The latest release in Now-Again’s deluxe Reserve Edition series: the first ever anthology of Zamrock musician Mike Nyoni’s funky, psych-rock and folkloric 1970s recordings, plus bonus tracks on DL card for WAV files.
Zambian guitarist and singer/songwriter Mike Nyoni’s music is Zamrock only because he came of age during the country’s rock revolution. His preferred wah-wah to fuzz guitar, James Brown to Jimi Hendrix. His 70s recordings – often politically charged, and ranging from despondent to exuberant – are amongst the funkiest on the African continent. He was also one of the only Zamrock musicians to see his music contemporaneously issued in Europe. This anthology collates works from his three 70s LPs – his first, with the Born Free band, and his two solo albums Kawalala and I Can’t Understand You – and presents a singular Zambian musician on par with celebrated artists Rikki Ililonga, Keith Mlevhu and Paul Ngozi. The package also features an extensive, photo-filled booklet contains an overview of the Zamrock scene and Nyoni’s story. Includes a download card to WAV files, including bonus tracks.

Two tasty tunes from Ghana in the seventies! Worth every single penny!

Essential garage Zamrock/soul/funk: the first official reissue of the celebrated band’s one and only album. The musical style that became known as Zamrock came to embody the economic despair that followed the 1973-1974 oil crisis, which flung Zambia into recession and exacerbated a wide range of social tensions. Much of Zamrock also captured the controversy of wider politics in Africa and the world. Perhaps the finest example of this is Black Power by The Peace. - The Guardian. The Boyfriends, from Kitwe’s Chamboli Mine Township, supplied the founding members for Zamrock’s most famous band, Witch, and kick started one of Zamrock’s best bands, Peace. Their sole Zamrock entry, Black Power, recorded at Malachite Film Studio circa 1973/4 and issued circa 1975, sounds like nothing else in the Zamrock canon: a lost message drifiting from the flower power era, imbued with a fiery Zambian voice.

The enigmatic Amara Touré from Guinée Conakry finally getting a well deserved compilation showcasing all of the 10 songs ever released between 1973 and 1980. Cuban influenced music of a different kind featuring amazing spaced-out guitar works!!
Analog Africa compiles a complete collection of Amara Touré’s Afro-Cuban compositions, originally released between 1973 and 1980.

4th strike on Awesome Tapes From Africa, another stunner! The classic Somali band's 1987 recording captures some of the incredible sounds happening in Mogadishu during that era.

Includes signed insert by Sandy.
Cover with seam split.

Signed By Apozora Ayisoba

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.

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.

Nigeria is known as ‘The Giant of Africa’. It’s the most populated country in Africa with more then 250 ethnic groups and many different languages and dialects that gives to the country a rich diversity. This diversity also affects music which plays an important role in every aspect of social life. We, at DTW’s stable are happy to announce the reissue of “Narg Funk Machine” an explosive nigerian “black beat” disco originally released on Coconut in 1979. If you are looking for something weird here you’ve found it. Basically these four tracks are well represents the tangle of richness of nigerian music in this period, They are a melting pot of styles and sounds , where afrobeat, funk, highlife, juju, and psych rock are mixed all together in a cozy and captivating sound. Ready to bring some warmth and hypnotic sound to the dancefloor around the world.

This is a recent recording straight out of Ethiopia, courtesy of the Sheba Sound crew.

Sheba Sound tour the Ethiopian hinterlands, capturing the mesmerising sounds of local talented musicians, using state of the art pop-up recording studios.

The process was captured in the highly acclaimed, award-winning documentary: Roaring Abyss, by Joaquin Piñero:

https://www.amazon.co.uk/Roaring-Abyss-Quino-Piñero/dp/B08329VLRL

The hugely anticipated next release from the Sheba Sound archives, under license to NuAfrique (My45) features crazy, untapped talent of Nebeyu Hamdi, with the Sabat Bet Gurage Band, based in Welkite, western Ethiopia.

The original recordings from 2013 receive ethio-funk bassline overdubbing treatment from Addis Abeba's inspired masenko-bass man of the moment, 'Bubu' Teklemariam.

The full package receives ultimate mixing treatment at The Yard Studio by master dub producer Nick Manasseh (Roots Garden).

The B-side of this EP release features 3 exclusive ethio-dub cuts. Manasseh's inspiration of deep masenko bass and tribal drum rhythms is evident through his dub treatment of the originals. Playing the tracks back through his mixing desk like it was an instrument, the results are completely unique pulsating, punctuated Ethio-dub rhythm tracks.

Watch out Shaka – the Ethiopians are bringing their own dub cuts to town!
Interactive acoustic map of Ethiopia: http://shebasound.com/
Info & DJ bookings, contact: jonbanes@gmail.com

Black Market Brass’ sophomore record, Undying Thirst, is a noxious brew of diesel and bleach; a special long-player full of wasteoid rippers for skullduggerous hover-bike gangs peddling fugazi relics and snake oil tinctures. Hellacious guitars, nitrous-charged percussion, a brass section harsher than paint-thinner, and a special batch of short-circuited electronics and synthesizers will leave your head buzzing into the 31st century. Blasting Undying Thirst from your home speaker system is like going over a waterfall in a rusted out oil barrel, long after the sun has boiled the falls dry.

LP is packaged in high quality Stoughton Tip-On gatefold jacket, LP stored in an anti-static innsersleeve, and includes a download card. Pressed at Gotta Groove Records in Cleveland, OH.

In Gabon, 1983, Frédéric Gassita decided to form the band "Surprise" with his longtime friend Jean-Jean Gateau, having a strong inspiration from the US funk that invaded the radio waves of Gabon: Earth, Wind & Fire, the Commodores, Maze by Frankie Beverly ....
The Guitarist Célestin Assélé Bongo joined the band and provided them the necessary means to record an album. Florence Nang Ekomye, a talented self-taught jazz singer, is immediately recruited, being the voice of Surprise.
Recorded in 1985, benefiting from the unique recording conditions of Studio N'Koussou in Libreville: probably one of the handful studios in the planet to use a Digital 48 Tracks recorder at the time; The result is a sensational production, the use of synthesizers is slamming and the charm of Florence’s voice make the recording quite unique.
Totally unknown until recently, Surprise, primarily an early work from the great composer Frédéric Gassita, still sounds fresh and crisp and we hope it will now get the attention it did not get upon release.

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!

Mukatsuku back on the Afro funk vibe with two exclusive instrumental tracks from legendary Ghanian artist Gyedu Blay Ambolley .Both tracks originally appeared in vocal form from the Austrian label Agogo 'Ketan' album from 2017 .
A couple of timeless & exclusive infectious afro funk instrumentals that work just aswell with lashings of organ and brass stabs with hypnotic driving rhythm guitar. Only 300 hand numbered & pressed on 180 gram wax.

Sleeve Records & Dig This Way teamed back to bring to light the history and the tracks of this iconic early 70' Psychedelic Afro-funk East Nigeria group.
The Hygrades's album will include all 4 rare 45"s united in a single LP with an insert of their story told by a true Uchenna narrator.

Through a musical collaboration between Italian musician Samuele Strufaldi and the villagers of Gohouo-Zagna in the Ivory Coast, a new album called Davorio released on Música Macondo Records, will raise money for a new community library and space in the village. Davorio is the joint efforts of Samuele Strufaldi, and the Guéré musicians of Gohouo-Zagna, located in the Ivory Coast’s Guemon region. The record is a cross-cultural-conversation that tells the villagers’ stories through a modern musical language; one that blends together Guéré music, jazz, and electronica. More than just a record, Davorio is a story about the villagers of Gohouo-Zagna, with their lives, traditions, and cultures animated across the album’s 16-tracks. The profits from the vinyl and digital music streams of the project and the money raised from a Go Fund Me fundraising page, will be used to help construct a library for the villagers, that will provide them with the infrastructure to help further their culture and storytelling for years to come.

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.

Music With Soul returns with another genre-defying instant classic, expanding the limits of the Tropical Dance music universe.
Staying true to the label's essence, founder Alex Figueira places a high bet with this new release, introducing a brand new breed of traditional “Hindoestan” (Indian diaspora in Surinam) music and Cumbia. Taking the music of underground Surinam musician and empresario A. Bechan for an explorative excursion into the depths of the Colombian caribbean coast, this explosive combination raises the bar unquestionably. Equally weird, groovy and trippy, this 45 will turn any party upside down, regardless of any factors. The only problem you will encounter is what to play after. The solution is right on the other side. Just flip the record and give them the Instrumental version, featuring electric guitar, an alternative percussion set up and the beloved classic Juno-60 synthesizer in the leading role for another 4 minutes of dancefloor catharsis.

Cover with OBI has tiny wear and some tiny stains on front, sticker on back cover. With insert. Vinyl seems unplayed. Original Japanese pressing.

Two sizzling South African boogie tracks from Kabasa’s Tata Sibeko. A killer producer, arranger and bass wizard, Tata channels the gloomy current affairs landscape of 1985 into a glimmering Afro-synth nugget. As South African pop embraced 1980s synth sounds, Maxi Singles on 12-inch vinyl became a new canvas of expression with wider grooves for fat beats and extended mixes that suited dancefloors.
The supergroups of the 1970s fragmented into solo recording artists with the likes of Harari’s Sipho ‘Hotstix’ Mabuse releasing his seminal “Burnout” single in 1984. Former Kabasa frontman Tata Sibeko dropped “It’s A Mess” in 1985, addressing the world’s Cold War climate with an appeal to “learn to love each other” and “save ourselves from catastrophe.” The B-side “Afro Breakdance” marked the evolution of Tata’s Afro-global sensibilities from “Afro Funkin’” that had appeared five years earlier on Kabasa’s self-titled debut in 1980. Tata Sibeko (RIP) passed away in 2017 after approving the restoration and reissue of this single. This release is dedicated to his kindness, charm and creative zeal.

Much anticipated re-release of South African disco funk outfit Kumasi's catalogue! Incl the known tunes Picnic (Moger) & Anomakoliwa. Strong from start to finish! TIP!
Kumasi was a group comprised of Ray Phiri, Jabu Sibumbe, Isaac Mtshali and Lloyd Lelosa. Sometime between their formation as The Cannibals (*needing reissues*) and the almighty group Stimela, Kumasi released one album and a couple of singles. The artists had contracts under Gallo and couldn't reveal that they were linked to the music in any way, leading Kumasi to have only a brief mysterious run in the early 80s.
But the secrets out! This release presents a collection of five songs from their incredibly rare full length LP, and adds to that their version of the South African classic, ‘Picnic’. Pressed as a 2x12” compilation, sounding incredible! Kumasi brings a unique blend of disco funk with that special South African tinge.
Ray Phiri died in 2017 - this album goes out in dedication.

Journeyman, DJ, radio presenter, beat raconteur – it’s been hard to keep up with all of iZem‘s movements lately. The innovative Lisbon-based French producer has been hard at work on his debut LP Hafa, exploring the sounds of Latin America and North Africa in a vivid analogue-digital, genre-defying soundscape that is sure to leave your head spinning. Inspired by cultural greats like Jack Kerouac, Paul Bowles, Tahar Ben Jelloun and Matisse, iZem spent time soaking up the atmosphere at the inspiring Café Hafa, an idyllic cliff-pop joint overlooking the strait of Gibraltar, in Tangier, Morocco, which has formed a golden backdrop to his debut LP. Brimming with soulful exoticism, personal narratives and adventurous collaborators, Hafa has been an experiment in taking on the afro-centric sounds of his journey to-date by incorporating modern, introspective songwriting and hybrid beats.
Often writing music whilst crossing continents, the only place iZem allows dust to settle is in the heart, heat and rhythms of his local-global future sounds. A decade of nomadism between Spain, Brazil, Argentina, Ireland and Portugal made way for a series of critically acclaimed EP’s and remixes for Soundway, GAMM, Far Out, Agogo, ZZK records, Wah Wah 45s, and Mais Um Discos. Arrival on the global, forward-thinking, artistically leftfield scene was predicted by Gilles Peterson, XLR8R, Okay Player and fellow tropical hed Quantic. iZem is an acronym for “In Ze Early Morning” and his debut album “Hafa” evokes new days dawning in far-off lands and stirring horizons of the present. So if you aren’t hearing iZem’s pastiche of future tropical rhythms and organic grooves on stations such as BBC, KCRW or Funkhaus Europa, then make sure you you catch him raising the dance floor temperature on one continent or another.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Soundway presents a collection of 18 burger highlife, electronic afrobeat and reggae tracks, highlighting a time when the burgeoning Ghanaian diaspora across Europe and North America was utilising new music technology and recording techniques. A period of movement, emigration and innovation. The dawn of the 80s saw an increase in emigration following a period of political upheaval at home, with many Ghanaians moving to Europe - especially Germany - to find work. Musicians recording both at home and abroad began to blend highlife with outside influences, taking inspiration from US disco and boogie, European new wave and Caribbean zouk and soca, reflecting new surroundings and cementing musical connections forged in London, Hamburg, Toronto and New York. Ghana Special celebrates this key period of musical innovation and cultural exchange that redefined the parameters of Ghanaian music and accelerated the cultural exchange between West Africa and Europe. Features rarities from legends including Pat Thomas, Rex Gyamfi and Gyedu-Blay Ambolley and deep cuts from lesser known artists like Abdul Raheem, Starlite and The Godfathers. Includes extended liner notes, original covers and neverbefore-seen photos. Gatefold 3LP includes deluxe 8pg booklet; 2CD is 6-panel wallet including 24pg booklet.

Soundway presents a collection of 18 burger highlife, electronic afrobeat and reggae tracks, highlighting a time when the burgeoning Ghanaian diaspora across Europe and North America was utilising new music technology and recording techniques. A period of movement, emigration and innovation. The dawn of the 80s saw an increase in emigration following a period of political upheaval at home, with many Ghanaians moving to Europe - especially Germany - to find work. Musicians recording both at home and abroad began to blend highlife with outside influences, taking inspiration from US disco and boogie, European new wave and Caribbean zouk and soca, reflecting new surroundings and cementing musical connections forged in London, Hamburg, Toronto and New York. Ghana Special celebrates this key period of musical innovation and cultural exchange that redefined the parameters of Ghanaian music and accelerated the cultural exchange between West Africa and Europe. Features rarities from legends including Pat Thomas, Rex Gyamfi and Gyedu-Blay Ambolley and deep cuts from lesser known artists like Abdul Raheem, Starlite and The Godfathers. Includes extended liner notes, original covers and neverbefore-seen photos. Gatefold 3LP includes deluxe 8pg booklet; 2CD is 6-panel wallet including 24pg booklet.

Reissue of the debuit album from The Sorcerers. Recently championed by Ethio-Jazz legend Mulatu Astatke on his Addis Abbaba radio show, The Sorcerers take influences from Ethiopiques Ethio-jazz as well as the soundtracks to the european horror films of the 60's and 70's and the british library music of the same era & blend them into one cohesive package. Made up of various stalwarts of the vibrant Leeds Jazz/World scene they were originally formed to contribute some tracks to the compilation "Funk, Soul & Afro Rarities: An Introduction To ATA Records" released in 2014 on Here & Now Records. After receiving a favourable response to their contributed tracks and garnering support from the likes of Strut records founder Quinton Scott and Radio 3's Nick Luscombe (Late Junction) they decided to develop their sound further before recording their debut album.

Rare Groove CollectionExplore the fusion of world music with soul, funk and disco through the Rare Groove Collection.With this new volume, discover unique groove tracks straight from Jamaica!Fully remastered original versionsBrazilian RARE GROOVEDiscover the wonders of Brazilian music from 60s, 70s & 80s. A wave of modernity invades the country and Soul, Funk & Disco influences merge with traditional genres such as Bossa Nova, Samba or Batucada. This union led to a colorful and cheerful groove symbolizing the transformation of Brazil.

As a true reference cultural media, Trace completes its musical offer with a first collection of 3 vinyls!Find the cream of Salsa selected by Trace and journalist Osman Jr.With Tito Rodriguez-Setenta-The Alegre All Star....

Cosmic synth. Polyphonic analog synthesizers and drum machines interpret ancient Saharan folk ballads in an imagined science fiction future. A proposed relaxation guide, sonically lying somewhere between ambient library music and minimal wave. Recorded in Niger and France in the late 1980s.All Recordings by Mamman Sani Abdoulaye.Recorded 1985 - 1988 at Studio Samira in Niamey, Niger and Studio Kham Mai in Paris, France.Instruments include Crumar Bit 99, RCA Victor 70, Yamaha RX5, and Roland TR-505.Painting by Maria Joan Dixon.Layout and design by Christopher Kirkley.

Continuing our work on Sao Tomé and Principe with curator DJ Tom B., we are pleased to announce the release of an anthology of the group África Negra.

This first volume includes 12 of their key tracks, remastered for the occasion and selected only from those officially released on different media. The album is accompanied by a booklet with the original covers and interviews with the band members still with us. A second volume containing only unreleased material, digitized from the studio tapes by their tour manager, and filled with period photos, is expected soon.

Formed in the early 1970s by Horacio, a butcher by trade, and his guitarist friend Emidio Pontes, África Negra is the best known of the great São Tomé and Principe bands. The catchy melodies in the local Forro language, provided by lead singer João Seria, and subtly harmonized by the enchanting backing vocals of the rest of the band, quickly ensured their influence outside the archipelago. Their incomparable blend of Puxa and Rumba rhythms and subtle melodies made them the most regular touring band from Sao Tome.

Their first album (Aninha) was released in 1981, followed by three more in 1983. They contain an incredible collection of timeless hits and have achieved high ratings on the second-hand market. Then came the excellent San Lena in 1986, which was unfortunately only released on cassette, but for which we were able to digitize the original tape. In 1990 their last album in vinyl format (Paga me uma cerveja) was released, the rarest. Three CDs and five cassettes followed in the 1990s. Like most São Tomean bands, they recorded their compositions at Radio Nacional STP, the only studio on the island at the time, whose cramped premises forced the big bands to do sessions outside in the courtyard, at night, facing the ocean and in front of their fans.

Reformed around João Seria, the band has recorded three albums since 2012, and has been touring again for a few years, offering, always with the same energy, their frenzied rhythms, their graceful harmonies, their poetry full of social metaphors, and their typical dance steps.

Kalita are excited to unveil the first ever album reissue of one of - if not the - strongest South African kwaito/bubblegum albums in existence, Jivaro's 1989 masterpiece 'Saturday Fever'.

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

The two Portuguese-speaking African islands of Sao Tomé & Principe, located in the Gulf of Guinea, created an unique music called Puxa : a refined mixture of various musical components from both sides of the Atlantic Ocean. A blend of Semba, Merengue, Kompas, Soukouss, Coladeira patterns, often pushing forward with a voodoo-like energy, solid bass lines, delicate melodies and backing harmonies of the rich Sao Tomean melodic traditions. Very first compilation focusing on the golden age of these island’s sounds, the 16 tracks selected will surely set fire on all dance floors !

Léve-Léve is the first ever compilation devoted to music from São Tome and Principe, two small islands situated off the coast of Gabon in central Africa. The album unravels a story of liberation where the music of Africa, Europe and the Americas unify with a carefree spirit personified by a phrase the islanders use all the time: “léve, léve” (“take it easy”). With echoes of Angolan semba and merengue, of Brazilian afoxê, of coladeira from Cape Verde and dance music from the Caribbean, it is a sound fiercely proud of its island heritage, sung in local dialects and using distinctive local rhythms.

On this record you can hear the cultural and social history of São Tome and Principe, and how live music represented its beating heart. Once known as the “Chocolate Islands” (remarkably, these two tiny islands were the largest cocoa producers in the world, though now this title acts as a reminder of its colonial past), through the years leading up to independence from Portugal, music would be a fundamental voice of liberation and conviviality. Os Úntués were one of the first groups to make an impression, releasing a couple of 7 inches in Angola – the litmus test of success for any of the islands’ groups. They united unique rhythms and dances like socopé, puita and dança-congo – borne from the islands’ largely slave-descendant population – with the sound of pop music beamed in on the radio from Europe, even adding in a little bit of soukous and Brazilian instrumentation. Their main rivals were Conjunto Mindelo, who fused São Toméan rhythms with rebita, an Angolan style, to create high energy puxa, a truly original island rhythm.

From the mid-1970s, coinciding with independence from Portugal in 1975, the islands’ groups featured an even stronger African influence and nowhere was that more apparent than with Africa Negra. They would listen to the latest records from Gabon, Zaire and Cameroon, taking inspiration and trying out phrasing from the greats of Central African guitar playing, developing a devoted fan base off the islands, as well as on. A score of other bands would follow a similar musical path, with a few getting their dues overseas in Angola, Cape Verde, Portugal and across Africa.

Os Leonenses (led by the iconic Pedro Lima), Conjunto Sangazuza, Sum Alvarinho and Conjunto Ecuador were just some of the other bands that formed a lively home-grown music scene that lit up the islands’ bars and open-air shows from the 1950s through to the mid-90s. Regardless of class or age, they were responsible for keeping the population entertained come the weekend, with Sunday matinee shows the highlight of the week, the music not stopping from midday until midnight.

As a Portuguese island colony that was for many years populated with slaves brought from Africa, São Tome and Principe has much in common with other Lusophone countries and boasts a richly complex and idiosyncratic musical DNA. Whilst the musical tapestries of Angola and Cape Verde are well known, São Tome and Principe’s secrets were assigned to the islanders themselves. Until now.

The third instalment in Strut’s essential trip through the rich archives of Nigerian music brings together ‘70s Afrobeat and highlife from Victor Olaiya, Rex Williams, Zeal Onyia and more.

4 heavy remixes by General Elektriks, Chinese Man, Boom Bass and Bost & Bim!

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

Brothers Gerard Mendes (also known as Boy Ge Mendes) and Jean-Claude Mendes display the intriguing combination of Creole Portuguese-African polyrhythms, American boogie, and Brazilian samba; the duo became massive stars among the Cabo Verde diaspora.

This LP includes the killer boogie anthem “Mitamiyo”

Following on from 2020"s debut album "Vodou Alé" and two EPs last year, the collaboration between Haitian seven-piece Chouk Bwa and Belgian production duo, The Ångströmers return with their second album "Somanti". Full of Afro-Caribbean voodoo polyrhythms and bass-weight dub electronics, the group count the likes of Gilles Peterson, Gideon Coe, Trevor Jackson, Worldwide FM as fans.

Nairobi-born Berlin-based sound artist Joseph Kamaru, aka Kmru, shares his new work Stupor on the new Helsinki-based label Other Power. Commissioned by the Helsinki curatorial and commissioning agency Publics, Stupor is comprised of three original long form tracks; “crp-12”, “Even a Tear”, and the title track “Stupor”. The tracks on the album are speculative notes to social architectures and environments the artist has traversed.

More than simply being a band, Addict Ameba is a wide Italian collective that makes brotherhood the weapon to live music together crossing all cultural boundaries. The driving force lies in the heterogeneous background of its members and the relative familiarity with different folkloric areas. The original and ambitious arrangements make the result a delicious soup! In this first work, their personal Afro-latin-beat reveals a sincere meeting between African and Central American traditions… for this reason they are against the drift of continents! The collective is connected to Al Doum and the Faryds, sharing some of their members, the same music label and the Guscio Studio where the album has been cooked thanks to the wisdom of the great master pirate. You can travel halfway between the Atlantic continents, where a gritty guitar deploys a solid knowledge of the stronger Latin-rock - you know the “Santana of Piola” is on board! - but it absorbs Funky and Tuareg riffs too, as well as brilliant psych deviations. Heavy horns abound with solutions and influences, blowing arias of Ethio-jazz or Cuban-Salsa crossings, such as Calypso and Caribbean progressions. However, it’s the rhythmic sailors section that supports all the dynamics of the sound with impeccable qualities of polyrhythm, sending seas of bodies into ecstasy; maybe they learn this rowing on a boat? Panamor represents "a profound union between living beings and objects in an increasingly divided World”. Such pirates of love!

An explosive
compilation highlighting the era when funk and disco sounds
began to infiltrate Cameroon's Makossa style. The beat that
holds everything together originate's from the Sawa people's
rhythms. When these rhythms collided with merengue, high-life,
Congolese rumba, and, later, funk and disco, modern Makossa was
born. Makossa, the beat that long before football, managed to
unify the whole of Cameroon. Some of the greatest Makossa hits
incorporated the electrifying guitars and tight grooves of
funk, while others were laced with cosmic synth flourishes.
However, most of this music's vibe came down to the bass, and
'Pop Makossa' demonstrates why many Cameroonian bass players
are among the most revered in the world.

Nice repress on 180 gram wax!

Originally released in 2005, now on vinyl!

180 gram vinyl!

After their debut album the most multifaceted and unpredictable musical collective in Italy – Addict Ameba – come back with their sophomore album, “Caosmosi”. Faithful to the aim of bringing together different paths, traditions and horizons in their music, the band moves between desert-blues and afrobeat landscapes, with latin rock rides and ethio-jazz parentheses. The vision of the album is further enriched by two absolutely valuable features: Joshua Idehen, Anglo-Nigerian poet and singer and pen of Sons Of Kemet and The Comet is Coming, is the author and lead voice in “Look At Us”, a poem – or perhaps it would be more correct to say a prayer – an invitation to be protagonists and change this time, before it changes us; Rabii Brahim, Tunisian actor and musician, who in "Ya Bled" gives birth to a love song for his land, telling the nostalgia and disorientation of migrant, even when he returns to his homeland. To approach listening to this album you should project that state of melancholy euphoria that you would experience when taking part in the last great party before the disappearance of the human race... Caosmosi!