Afrobeat 189 Items

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.

Limited to 500 copies on white vinyl!

Inspired by Fela Kuti, Ebo Taylor, Tony Allen and the sounds of West Africa, London 8-person collective Kokoroko presents its first EP. The four tracks reveal a musical vision of Afrobeat, soul, West African roots and inner-London jazz nuances. The wonderful "Abusey Junction" was already included on last year's Brownswood sampler "We Out Here", which was frenetically acclaimed by the trade press (Wire, Monocle, New York Times, etc.) and named compilation of the year 2018 by the London Rough Trade stores.

Modern Afrobeat productions.

"New collaboration with the impeccable and diverse studio skills of Spanish producer Kiko Navarro, pairing him with the vocals of veteran Beninois powerhouse Kaleta and the indefatigable talents of The Ibibio Horns, who are both fast becoming a label staple.

On the title track Kiko lays down a superbly inspired afro groove which takes its lead from the funk, disco & afrobeat which were causing profuse sweating and serious inflammation of dancefloors across Nigeria and West Africa in the late 1970s. Over these rhythms The Ibibio Horns conjure up a powerful concoction with their blazing horn section and scintillating keys, peppered with Afla Sackey's bouncing balafon. Kaleta reigns supreme on the vocal delivery, serving a challenge with his call to the dance... "Funky man dey sleep? You go wake him up!"

On the flipside Kiko drops the clutch and sets the thrusters to full force. In his tougher Koki guise he jettisons the live bass and horns, switching up the groove with an insistent and throbbing, acid inspired, electronic bassline. Weighted down by chunky electronic beats Koki turns away from the funkier vibes and looks toward a more house oriented vision. Over this solid framework Kaleta's vocals stand front & centre while the synth stylings of Scott Baylis lift the groove into the outer atmosphere. Both versions provide instrumental mixes which allow the arrangements to breathe deeply, the non-vocal elements to shine and provide serious creative tools for the club jocks."

Holy Grail South African jazz funk cover of Grandmaster Flash ‘The Message’. Vive La Musique is proud to bring you an official reissue featuring South African artist - the late great Sipho Gumede - in his ‘Boogie Man’ guise and prolific producer Greg Cutler. Originally released in 1984, ‘Jika Jika’ is an audaciously sassy version of Grandmaster Flash's 'The Message'. A Linn drum machine and Jupiter 4 synth recreate the feel of the hip hop masterpiece, whilst Sipho’s infectious bassline and a soulful female chorus, bring a whole new dimension of South African groove to the cut. A mysterious rap vocal makes this arguably South Africa’s first ever hip-hop record. The flip sees a jazzy synth taking the lead over a gritty version of the instrumental for an even sleazier experience. Recorded at the famous mobile Battery Studios in Botswana, an essential space for black South African musicians during apartheid, the original vinyl release was limited to a few hundred promotional copies and is impossible to find. The release has been carefully remastered for this official reissue, which comes in a beautiful colour sleeve, based on the original artwork. "The remasters sound Brilliant!I am loving it all over again nearly 40 years later! Will be great to see this debut on 7"' . Greg Cutler (Original producer)

The fifth release on Canopy continues to up the ante and expand on the tropical Techni-colour palette already set out by the label.

Alafia was a studio project from the mid 80s in Paris. Masterminded and written by musical maverick Phil Han Mandounou and bringing together musicians from Benin, Cameroon and the French Antilles. The project is a superbly orchestrated and expertly delivered exploration of funk and afro off-beats with 80s synth leanings. Precise musicianship and forward leaning afro synth funk wizardry. Dextrous, extrovert, playful and masterful.

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.

Following up on their acclaimed debut EP Yagana in 2022, the 5-piece band return with a brand new offering: Backslider. Dressed as if they would be equally comfortable starring in a modern spaghetti western as they are cutting slick silhouettes on a festival stage - are Guinean singer Falle Nioke, Graham Godfrey on drums, Steve Pringle on keys, Tom Dream on guitar and Josh Ludlow on bass.´As Pigeon develop and hone their sound further, Afrodisco remains at the core while jazz and no-wave make way for new elements of electro, rock and synth pop. The introduction of sequencers and drum machines sprinkles a little more structure into the mix, however the recording process still very much embodies the DIY spirit of band members that enjoy jamming together. With previous support from Gilles Peterson, Elton John, Iggy Pop, Bandcamp, NPR, Uncut and many more, the new Pigeon will undoubtedly fly off the shelves.

French label Favorite Recordings presents the new 12" from Magic Source (from The Mighty Mocambos and Bacao Rhythm & Steel Band). Expect tropical disco and funk flavours, hypnotic percussion and a really well-produced cover of Tom Tom Club's "Genius Of Love". Tip!

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

Mastered from the original analog tapes for the very first time, Sharp-flat brings you the Witch Disco Singles as you’ve never heard them before. WIT 4 carries a single edit of 'My Desire' backed with 'You Are My Sunshine' from the group's classic 'Movin’ On' LP from 1980.

By the end of the 1970s, Witch was a Zambian music institution. Active since 1972, they had survived the Zamrock years and left an impressivegarage, psych and prog discography in their wake. But at the outset of the 1980s, the band was ready to embrace the modern sounds of a new era. Undertaking personnel changes and relocating to Zimbabwe, they were primed by the independence celebrations of their neighboring country to undertake their mythical transformation into an African disco powerhouse.

With access to a state of the art recording studio in Harare, Witch produced two exquisite albums in the early 1980s. Appearing in 1980,Movin’ On was preceded by the single “My Desire,” which featured new member Christine Jackson on lead vocals. With an upfront funky bass-line, falsetto backing vocals, swirling synths and tight horns, it was a searing hot disco offering that made no bones about the fact that the Witch was ready to get down. Composer/vocalist Stanford Tembo’s mid-tempo burner “You Are My Sunshine" was the perfect fit for the flip.

Documenting the band’s drift from disco into boogie, Witch’s final album Kuomboka was released in 1984 without an accompanying single. New lead vocalist Patrick Chisembele injected youthful energy and a modern soul edge, most notably on “Erotic Delight” with its crisp drums, slinky keys and intoxicating bass groove. Pop reggae was alson within the album’s stylistic purview by way of the closer “Jah Let the Sunshine” as well as “Change of a Feeling,” the flip side of a recently discovered single that wasn’t originally released.

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.

Since his introduction in the 60’s, Roger Damawuzan has lit stages on fire, whether it be with The Rickers Orchestra or with The Melo-Togo Orchestra (taking home 2nd place for the first National Festival of Tologese Music). His first 7" vinyl Wait For Me is a holy grail for diggers all around the world. It was such a hit that Togolese music is and will forever be stamped by Roger Damawuzan. He was principal in introducing Gazo, Akpesse and Kamou rhythms to modern day soul music. Relentless and unstoppable, Roger Damawuzan is now making a comeback with a heavy funk 7 inch! This release contains an unreleased single from the album Seda , which will be available on October 14th 2022. Such a force of nature, this album could have been only captured, if not mastered, by one studio. Such mission was accomplished by the legendary studio Otodi (Office Togolese of Disks) by utilizing solely analog equipment to translate and to breath all of Damawuzan’s soul into this album. Roger Damawuzan could have been supported by only one group. Led by Peter Solo, the members of the Vaudou Game and Lomé’s most talented musicians are at Damawuzan’s disposal for this new soul DJ friendly vinyl.

A soundtrack of Sudan's revolution and the first ever international release of the Beja sound, performed by Noori and his Dorpa Band, an unheard outfit from Port Sudan, a city on the Red Sea coast in eastern Sudan and the heart of Beja culture.

Beja Power! is a living archive of the finest, most heartfelt Beja songs—a six-track portal to another time and place, of melodies long forgotten and never before interpreted by an electric and brass-driven ensemble. Few older Beja recordings were produced. Even fewer, if any, remain.

Electric soul, blues, jazz, rock, surf, even hints of country, speak fluently to styles and chords that could be Tuareg, Ethiopian, Peruvian or Thai—all grounded by hypnotic Sudanese grooves, Naji's impeccable, airy tenor sax, and of course, Noori's tambo-guitar, a self-made unique hybrid of an electric guitar and an electric tambour, a four-string instrument found across East Africa.

A truly ancient community, Beja trace their ancestry back millennia. Some say they are among the living descendants of Ancient Egypt and the Kingdom of Kush. They are even depicted in the hieroglyphics. Beja melodies—nostalgic, hopeful and sweet, ambiguous and honest—are thousands of years old. Yet their sounds are also reminiscent of Dick Dale's 1963 "Misirlou" and jazz great Charlie Rouse's 1968 "Meci Bon Dieu". This album could be 6,000 years, 60 years, or 6 months old.

Along with his Dorpa Band, formed in 2006, Noori's instrumental Beja music forms the latest link in an unbroken chain of an inherited, arresting sound that is local as it is global, a gift of a storied past and the exchanges of the well-traveled Red Sea.

Ostinato Records is honored to bring the nearly forgotten Beja sound in all its nostalgia, sweetness, honesty, and power, recorded and mastered to maintain the warmth of Sudan's signature aesthetic, to your sound system.

180g heavyweight vinyl with a 10" x 10" insert.

Guadeloupe 1986. The football World Cup has all the Islanders' eyes riveted to their TV sets. At every half time breaks, local TV channel RFO broadcasts a music video on repeat: ‘’Tou’t Jou Pa Min’m". Max Rambhojan, the local singer responsible for this monster tune, has arrived.
In the video, he effortlessly sings and kickstarts a joyous street party with his band, Show Man, his dancers, kids, friends, family and what seems like the whole neighbourhood. The song will gain cult status from then on, cementing the power of the 'Zouk Chiré' sound, a high tempo version of Zouk, highly influenced by Guadeloupe's Carnival mass drum bands. Max self-releases his first solo album on vinyl in 1985, enrolling some of the best musicians the scene has to offer: his band leader King Klero, Guy Jacquet of les Vikings de la Guadeloupe fame on production duties, Ramon Pyrmée on synths, Claude Vamur, Meliza… In 1992 a new solo album follows. By then the artists have familiarized themselves with computers and the sound has gone full-on digital. In that album Max records an updated version of his “Tou’t Jou Pa Min’m” anthem to great effect.
Reducing Max Rambhojan to a zouk artist would be a mistake. He’s first and foremost a master of Gwo-Ka, a musical practice born during the transatlantic slave trade and performed by all ethnic and religious groups of Guadeloupe. It has never ceased to exist and has become a major part of the Island folk music culture. Max Rambhojan was schooled as a kid by Gwo-Ka pioneer Guy Conquette, and quickly joined the backing band of another legend, Ti-Sélès. That sound is the root of his particular style, especially vibrant on two tracks in his repertoire: “Cecilia” and “On Jou Matin”, both featured on this release's b-side. A touch of Spiritual Jazz is also palpable, allowing a magical vibe to spread, giving birth to some of the deepest music from this era.
In 2019, Max still performs Gwo-Ka every week-end in Guadeloupe and also hosts a show on local radio Media Tropical, 88.1FM. Secousse and Hot Mule are proud to present those 4 lost gems on wax and digital, carefully restored and remastered.

This two mindblowing songs were entirely recorded, mixed and mastered with old analog tapes, and played with vintage instruments which recalls the sound of bands like Poly-Rythmo De Cotonou or El Rego!

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.

Francis The Great "Look Up In The Sky " is taken from the 1977 Ravissante Baby album later re-issued by French label Hot Casa back in 2015 from which this version is licensed. This hypnotic instrumental re edit version has the track's main focus immersed in the irresistible afro funk groove highlighting the pounding bass from Victor Edimo & Toto Guillaume on guitar over 7 minutes . Hand-numbered to 400 only copies with the b side being a unique full side lazer etching of the Mukatsuku label logo.

Our Albarika Stores 7-inch series returns with one of the masterpieces of lo-fi Afro-funk: 'It's A Vanity' by Gabo Brown and Orchestre Poly-Rythmo.

Originally released in the early '70s, it is a fine example of the way that Benin's premier group could perfectly nail a James Brown-style groove and then twist it to make it uniquely their own thing.

'It's A Vanity' is one of the masterpieces of low-fi Afro-Funk, and has been widely sought after (and become extremely valuable) since it was comped in 2008. We've paired it with the first reissue of 'Nougbo Vehou (La Verité Blesse)' - licensed directly from bandleader Clement Melomé's family - for a must-have double-sider!

Favorite Recordings proudly present a new series of 7" reissues with a simple concept: each side dedicated to one French funky track coming with its original artwork. You just have to flip it! Starting with "Funky Baby Love" by Paul Fathy, it could not get funkier! The French boogie track originally compiled by Charles Maurice on French Disco Boogie Sounds Vol. 3, is your perfect tool for the dancefloor. It brings together all the ingredients of a great production with irresistible disco strings, a catchy chorus supported by beautiful backing vocals and its final climax will bring the dancers to a point of no return. On the other side, you get an exclusive reissue of West-Indies band Corail', with their song "Karukera C'est Comme Ça" taken from their eponymous album. This under-the-radar, zouky and funky track will surprise every listener with its appealing arrangement and lyrics: "Ça va danser / Sur l'île aux oiseaux". Soon, you won't be able to get it out of your head. The bass is groovin', the rhythmic guitar is infectious and digital keyboards are on point: we're pretty much sure this one will become sooner or later a banger of its own.

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.

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 .

By 1995 Kwaito was already a well established and distinguishable sound compared to the International House Remixes that preceded. The tempo was slowed down, Soulful vocal samples were replaced by catchy and repetitive hooks and versus sang in vernacular. The new hit sound had a template and studios worked around the clock to pump fresh releases into the demanding market. After the successful 1995 release of Import mixes Vol 4, The Groove City team behind the productions now decided to venture into the territory of Mid Tempo. They would craft an album for a young frontman with the help of Kwaito pioneer Oscar Warona, and without much trouble, the team had their first hit on their hands. Filling the boots of their cars with copies of the cassettes and taking the stock to various townships around Johannesburg the tape quickly circulated and sold out every new batch that was printed. Demand was high for the release but as with much of the music at the time, the fast paced demand for the music moved on. Without a follow up release Scotch failed to ride the momentum built by the debut and remained largely unknown although he is still in the music industry to this day. Even with their first artist release being a success, the following years proved more difficult in reaching such a large audience for the Kaleidosound studio. With popularity for the genre growing, the simple templates for early classics were changing as Kwaito fused with hip hop. Rapping took over as the preferred vocals for the masses. Mysterious production teams and labels that served as guides for music lovers were eclipsed by frontmen and groups that could draw crowds. The fight for fresh sounds continued as the airwaves became the main battleground for artists and the more club oriented music was pushed back underground, eventually evolving into some of the earliest examples of Deep House seen on the continent. The Kaleidosound production team would finally strike gold again in 1997 when reviving Groove City for vol. 5 which acted as the debut for the newly formed group Chiskop. The group would become superstars of the new commercial era that followed, sparking solo careers for the members and creating some of the biggest hits the genre knew. To this day Scotch remains one of the best albums to come out of the golden era of Kwaito. Although it was outperformed by other groups from the time it has a special place for those who knew it and can still be found as a treasured piece in many collections. The various people involved created a one off fusion of sound that has remained fresh for 25 years. Playful lyrics over floaty grooves resulted in favourites like “Jam Alley” which uses catch phrases from the beloved TV show and “Bafana Bafana” guaranteed to get the boys on the dance floor. Here you have these two tracks taken from the album pressed on a club ready Maxi Single for the Deejays

“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).

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.

Two great songs from the Cranes band of Uganda 1974, the harmonics in Tony Senkebejje’s vocal perfomance is another level! Both sides guaranteed to get your dancefloor moving, you can forget about finding the original of this, loud pressing done by Frank The Carvery, comes in green custom silk pressed Afro7 bag. This is a pre-order, ships mid-may.

Limited to 300 copies!

Jimi Tenor delivers another 7" on Philophon. This time he teamed up with the two glorious gospel queens Florence Adooni and Lizzy Amaliyenga from Bolgatanga/Northern Ghana. This release is a first insight into the next album by Jimi on Philophon, which will be released later the year.
Vocalize My Luv is a charmingly presented lure for love. The secret of the song is that drummer Ekow Alabi Savage's upfront high-life beat is triggering a Jimi-operated Korg MS-20 bass synth. Man and machine are melting down into a light and sportive groove, which irresistibly invites you to do some frisky aerobic moves on the 3am dancefloor. Ki'igba is a classic Frafra gospel song by Alogte Oho, completed with some jubilating flute by master Jimi.

After much online hype shrouded in mystery, Soundway presents the first in a new series of 12” releases which will make available many hard-to-find and in-demand dancefloor tracks on loud, DJ-friendly pressings.
On this first 12” are two late 1980s Ghanaian highlife cuts taken from the catalogue of Nakasi Records. Nakasi was run by the late producer Nana Asiedu (Big Joe) - a well-known figure in the Ghanaian and African music community of 1980s London.
The A-side showcases a track from Jon K’s second solo album, which was a re-working of a traditional Fanti language Asafo company song Asafo Beesuon. Made famous by C.K.Mann on his seminal album ‘Funky Highlife’, this version very much reflects the more westernised late 1980s sound of highlife music recorded in the UK, Holland, Canada and Germany for both ex-pat Ghanaian audiences and those back home in West Africa.
The album features the stalwart session musician Alfred Bannerman, the go-to Ghanaian guitarist known for the classic cut of ‘Let Me Love You’ by Bunny Mack, among many other tracks over the last 40 years, including his work on contemporary releases for Soundway such as Konkoma and Ibibio Sound Machine.
On the B-side, Pat Thomas (the brother in-law of Big Joe) needs little introduction having been touring the world extensively in recent years with the Kwashibu Area Band. Somehow this dancefloor-heavy cut has eluded recent compilations and reissues. With horns arranged by long time friend and collaborator Ebo Taylor, it’s an instantly recognisable sound that also features Rex Gyamfi - himself a well-known purveyor of 1980s ‘burger-highlife’.

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

Two standouts from
Aiye People magnificently revived: crisp sound, top-notch pressing in
a Voodoo Funk house-bag, with a two-by-one-foot poster.

Introducing a new scintillating, transatlantic collaboration from Names You Can Trust and Loboko, a new group created in the fertile ground of modern New York City's melting pot. The band's debut recording features the young Congolese vocalist and guitar virtuoso, Yohni Djungu Sungu, alongside Soukouss-Stars legend and master bassist in his own right, Ngouma Lokito. The group is rounded out by drummer and co-founder Morgan Greenstreet (himself a contributor to Nyct and Combo Lulo's debut recording, amongst others). He, along with Yohni, helped spawn the group's few but raucous NYC live appearances with various members throughout a couple year period before 2020.
Built upon those influential jam sessions, Loboko took two original compositions to the studio in an effort to document some of the traditional Congolese music they have been cooking up. Rooted in a now ubiquitous guitar-driven sound of African soukous that have permeated the greater Caribbean music landscape for up to six decades, Loboko's take on the ethnic Baluba rhythm, mutuashi, adorns the single's A-side as "Kanyunyi." The B-side stand-out "Ekenge" draws from the Seben style. It's a familiar sound to those sound system aficionadas, an intoxicating guitar combination that has reverberated from the heart of the Congo, through a wave in France's popular African music industry, and into the discerning selections of Colombia's Pico culture. Loboko's original take on these rhythms is quite unique in 2023, eschewing any modern production crutches for the raw pedigree of an electrified trio, and ultimately represents a clear window into the group's authentic live performances.

In early 2022 bandleaders Eric Owusu and Yannick Nolting went to Ghana to work on the first tracks of the upcoming sophomore EP. Down in Accra they joined forces with Eric's former bandmates from the Kwashibu Area Band. In the well known Kwashiman area, Jembaa Groove teamed up with legendary producer and multi-instrumentalist Kwame Yeboahs at his Kwashibu Music Studio. The rhythm section was completed by iconic drummer Francis Osei and US-based Paa Kow. The track features rising Sheffield - based Ghanian Singer K.O.G, who has become a household name in the UK Afro-Jazz Scene and who's raw and powerful singing style Yannick and Eric thought would be the perfect match for this tune. "Sweet My Ear" is about a new day breaking in. A new dawn. A new vibe and energy coming up. A hymne to sweetness. Received thru all the senses. The smelling, the tasting, the hearing, the feeling. Symbolized thru the imaginary female energy/character, Yemanja, also known as the goddess of the sea.

Description : Taken from “What Goes Up Remixed” LP from 2019, licensed exclusively from Future Rootz in Chicago, Dinked Records are pleased to commit two of the standout remixes to 45 with Cut The Infection edited down to fit our favourite format. Guaranteed to rock your dancefloors this festive season – if these bangers don’t get your head nodding then nothing will!

Discover the essential high tempo Singeli Sound that currently echoes throughout Dar es Salaam in Tanzania. This accompanying release to the mini-documentary on the scene from NTS, focuses on two of the central studios in the scene and their singular takes on Singeli; with Pamoja, helmed by Duke, and the inimitable DJ Sisso

The meeting of Alieu and Randomized Coffee gives light to this new project, in which the Roman duo tackles a production that skillfully links Mediterranean influence to ancestral Africa in a patchwork woven of typical African ethnic elements to those of house and electronica in a "groovy" body that enhances the classical side of the African country in a modern musical mood and rhythm. The story tells about the day before an arranged marriage ceremony. Masanneh is a handsome and well-known man in his village of the Mandinka Tribe, born and raised in the village of Kudang, near the river that flows through the entire country; the Gambia. Many in the village believe him to be charismatic and generous, others believe him to be a venal materialist devoted to money. Masanneh decides to consult Cherno Jallow, a wise Marabout, to figure out how to deal with his future. He therefore moves westward to the village of Bondali, in Foni, where before practicing his work as a skilled trader he talks to Landing Sawo, the district chief, from there he hears the sound of a Kora played by Jali, while across the road he sees a beautiful woman Mariama Gomez passing by.

Reissue of Amédée Ô Suriam's banger 'Hot Shot' in editted form, comes with two very dope remixes by 'Manoo'.. Sourced from the master tapes and properly remastered!

Amédée Ô Suriam was one of those flamboyant souls touched by grace. Percussionist, author, composer, singer, stylist, sculptor, the Martiniquan put his divine inspiration at the service of a hybrid and visionary creation. His sudden death in 1992, while in his thirties, left behind him "Tension Hot-Shot", his only solo release from 1989. A resolutely avant-garde track, whose fusion of traditional African and Caribbean music with the beginnings of the house movement in Europe is underlined by the subtitle "Afro House" on the A side of the EP, a term that was barely used until then. It is this mysteriously precursory track that Chineurs de House has found, remastered and reissued today, finally shedding light on the fascinating work of an artist who had fallen into oblivion.

Vocals (Tension Hot-Shot) : M.C. Kann, Amédée Ô Suriam & Marie-José FA Chorus-Keyboard (Tension Hot-Shot) : Luther Pérau Chorus (Tension Hot-Shot) : Prosper St-Aimé, Rémi Laposte Synth-Bass (Tension Hot-Shot) : Fred Montabord Saxophone (Tension Hot-Shot) : Pietro Lacirignola Structure (Tension Hot-Shot) : Allan Dee, J.C. Broche

Arp Frique returns to the scene with a new album after a string of releases, leaving the cratediggers and dancefloor tastemakers with underground classics like Nos Magia, Voyage and Nyame Ye. On ''Analog People Digital World' he embraces the digital coldness of Yamaha’s classic DX7 synthesizer to create a refreshing listening experience using only the FM synthesis-based sounds from this machine to find new heat for an analog world, reflecting on the digital revolution we are living through. The album features Ghanaian songstress Mariseya (Omampam, Jah Kingdom, Digital World, Roi Salomon), Cape Verdean OG Americo Brito (Go Now Wetiko) and Surinam funkstar Sumy, who joins the record on the opening track “Spiritual Masseuse”. Arp Frique closes the album with “Duncan Truffle”, a very intense and wobbling instrumental echoing Bootsy and Bernie Worrell on a solo exercise. Expect an analog-digital exploration of lofi funk, highlife, zouk and reggae. Does that DX7 sound hot or cold to you?

'Kekete Bue' is the first new album from legendary Congolese musician Kanda Bongo Man since 2010, and his first vinyl release in over two decades.
The master of soukous, the infectious and uptempo guitar-driven music from the Democratic Republic of the Congo, Kanda's latest album features new tracks alongside reinterpretations of some of his classic songs.

The unique sounds of Ray Phiri's Stimela are showcased on this gem of a 12” EP from 1986. It was originally released only in South Africa on Gallo / CBS Records, although a 12" featuring the track 'I Hate Telling A Lie' was previously released on Plum Records in 1983. It has now become a sought-after item due to its addictive and original-sounding Balearic disco / cosmic boogie-esque nature.

Stimela were a popular and successful Mbaquanga / fusion outfit led by the guitarist, vocalist, songwriter, producer and arranger Ray Phiri; who was previously a member of the legendary band The Cannibals. The musicians would go on to gain global fame after featuring on Paul Simon's iconic 'Graceland' album and the mega tour that followed.

Kicking off the EP is a magical track that floored us from the first moment we heard it and one that has since become a Mr Bongo firm favourite. ‘I Hate Telling A Lie’ is a slow, infectious building groove that sits somewhere between lowdown jazz-funk, soul, reggae and gospel with shades of new wave pop and Balearic. It’s a truly stunning track that is hard to pigeonhole and all the better for it.

Another highlight from the EP is the monster instrumental, synth-boogie sound of 'I Love You'; championed by DJs such as Jeremy Spellacey (Crown Ruler). This hypnotic groove bubbles to perfection and is a slo-mo chugger extraordinaire.

We hope you dig it as much as we do.

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

Born in a Gambian griot family, kora virtuoso and afro-fusion pioneer Jally Kebba Susso has been active in the UK music scene for twenty years. While based in London, he has tirelessly, through both personal and collective endeavours, built a singular musical identity by working hard on making the timeless Mandinka kora, an instrument he's been playing since his youth, sound like never before, combining the ancient West African strings with forward-thinking aesthetics and myriad of musicians and producers from the thriving London music scene such as Onipa, Dark Sky and Kay Suzuki. Jally Kebba Susso has already released two albums as a solo musician ("Malaye Warr", 2012 and "Banjul - London", 2017), as well as a member of the successful afro-fusion band Afriquoi, whose latest EP has garnered a very wide support, culminating in several million streams and performances on some of UK's biggest festival stages (Boomtown, Glastonbury). Freedom! A heartfelt shout expressing the newfound joy of an African musician whose working conditions, despite his long-standing roots in the London music scene, have sometimes been precarious. A newfound freedom to be able to look ahead and fully persue one's need of self-actualisation. Hence this new EP, written with the help of Jally's accomplished band members (Yuval Juba Wetzler, Nim Sadot and Oli Arlotto) and produced by Tom Excell (Onipa, Nubiyan Twist), whose 4 tracks all deal with topics (identity, homesickness, family, social justice) which are dear to Jally's heart as a Gambian native and West African musician settled in Europe. A pleasant atmospheric opener, "Wulu Doula" rides on a classic Afrobeat groove, while Jally reminds us how we are only what we become, no matter where we come from and who we inherit from. "Justice" is a stomping mandinka funk hit, in which "freedom, equal rights and justice" are claimed by Jally for all fellow artists and musicians from the West African diaspora working in Europe. Clearly anchored in Gambian music tropes and reminiscent of the pioneering mandinka fusion of Ifang Bondi, "Fakoly" tells the story of Jally's family lineage, as a member of the 74th Susso generation. As Jally puts it, "being a griot is a way of life". Homesickness can be a bitter feeling. But you can turn it around. That is exactly what Jally achieves with "Banjul", a cheerful, funky tribute to the Gambian capital, in which Jally grew up, learning words of wisdom from his elders.

Just one week after the outbreak of the First Intifada in 1987, Riad Awwad brought his sisters Hanan, Alia and Nariman together in their living room and began recording The Intifada album on equipment he had made himself. One of these was co-written with their friend, the acclaimed Palestinian writer Mahmoud Darwish. Riad printed 3000 copies of the cassettes which he began distributing in the Old City of Jerusalem and across the West Bank. The Israeli Army immediately confiscated all the copies they could find, the vast majority of which remain in the military archives to this day. Riad was arrested, interrogated and detained for several months. Straight after his release, he formed a band, Palestinian Union, and put out a new album. He then founded a school, offering kids in the West Bank an alternative musical education, teaching them how to create their own electronic equipment. In 2005, Riad was tragically killed in a car accident. His legacy lives on through his family, his timeless music and his powerful story, which continues to inspire to this day. Over several years, Mo’min Swaitat has amassed an archive of rare tapes and vinyl from Palestine and beyond. Many of these were acquired from a former record label in his hometown of Jenin, in the north of the West Bank. The Majazz Project is a research project and record label borne out of the archive, focused around sampling, remixing and reissuing vintage Palestinian and Arabic cassettes and LPs, shedding new light on the richness and diversity of Arabic musical heritage.

The award winning and genre bending Danish band Kalaha consists of the two electronic producers Rumpistol and Spejderrobot plus the live drummer Emil de Waal and guitarist Niclas Knudsen. On side A's ‘Dans Det Op’ they are joined by the Danish psych-rock legend Uffe Lorenzen aka Lorenzo Woodrose (Spids Nøgenhat/Baby Woodrose) on vocals. Roughly translated the chorus of the song goes: “If the trip isn't good, dance it up!” On Side B's ‘Eymen’ they are joined by Turkish singer Hilal Kaya on a track that pays tribute to the Turkish psych-funk of the seventies.

Born out of an impromptu post-pub jam session in Margate, the 5-piece group Pigeon swoops onto the scene with their blistering debut EP Yagana.

As the tracks cross effortlessly between Afro-disco, grunge, no wave and jazz, the cohesive symbiotic relationship of the band members is obvious from the start. The powerful vocals of Guinean singer Falle Nioke are complemented by a wealth of talent from Graham Godfrey on drums, Steve Pringle on keys, Tom Dream on guitar and Josh Ludlow on bass.

Having moved to the UK from West Africa in 2018, Falle Nioke has recently been in the spotlight with EPs heavily supported by indie radio and BBC 6 Music playlisters. On Yagana, he continues to sing in a multitude of languages, but this time shifts towards a more organic musical direction, showcasing his incredible versatility as a vocalist.

This new path can be attributed to the pedigree of the rest of the group – veteran musicians Steve Pringle and Graham Godfrey are key members of Michael Kiwanuka’s band, the latter also performing with Little Simz, Cleo Sol and Sault, among others.

Furthermore, Tom Dream and Josh Ludlow are electronic artists in their own right – with a number of artistic projects in the works, as well as having performed together as ambient duo Soma World. Both used to play in metal and grunge bands in earlier years, an influence which has made its way into Pigeon’s distinctive sound.

The Yagana EP is an emotionally-charged offering, exploring themes of lust, saudade, homesickness, and hope for peace. The title track ‘Yagana’ translates to “it’s been a while”, and though its up-tempo disco rhythm and wild synth solos lend a cheerful disposition, the lyrics describe a melancholic yearning for Africa. Nioke sings in Susu, Wolof and Malinke – as he describes the struggle of being separated from one’s family, as well as hustling to support them financially from afar.

As a teenager, Nioke would train his voice by the great river Rio Nunez in Boké, among the remnants of the slave trade, pathways and crumbling buildings being swallowed up by the forest. While most Western teenagers grew up with traditional pets, Nioke disclosed to his band members that his closest animal friend in West Africa was the pigeon – and so the name of the group was chosen.

Moving through the record, ‘Nothing Grows’ follows on from the Afro-disco opener, bringing down the tempo and intensity. The heavily swung jazz rhythm is driven by the drums, while soft guitar tremolo picking and synth pads produce a delicate atmosphere over which the singer mournfully longs for a lost love.

But having lured the listener into a meditative and pensive state in ‘Nothing Grows’, feathers are suddenly ruffled by the entrance of “It’s You” - a sultry story of burning desire. Channelling grunge and elements of no wave, the song is defined by a rumbling bass that pulses alongside the kick, while an atonal synth riff and fuzzy guitar licks provide the minimal melody. Piercing through it all is the hypnotic spoken word of Nioke, switching between French and English, as he beckons – and at times even demands - a lover to enter his room.

Finally, ‘War (Jam)’ returns the record to its 4x4 disco pace, featuring rapid-fire hats and high-pitched guitar riffs seemingly nodding to Mugithi, a genre often associated with political commentary. This concept is built upon with lyrics sung in Susu, as Nioke condemns wars around the world and their ongoing futility, pleading for people to unite and create a better place. Running just over 7 minutes, ‘War (Jam)’ is an improvised long take which continuously evolves, allowing each musician an opportunity to shine.

Recorded in a single weekend, Pigeon’s Yagana EP is a clear testament to each member’s skilfulness and varied experiences, creating a fully-fledged being that is greater than the sum of its parts. With an opening hand like this, we await with bated breath to see what more the humble Pigeon can bring to the world.

Florence Adooni shares a long history with Philophon. Being part of Guy One's group she is the voice on his radio hit "Estre". Furthermore, she is a member of Alogte Oho's Sounds of Joy and can be heard on his smasher "Mam Yinne Wa". Last but not least, Jimi Tenor chose her to sing on his instant club classic "Vocalize My Luv". In addition to all these cooperations, Florence has locally released a series of albums under her own name and with no doubt she can called the queen of Frafra-Gospel.

"Mam Pe'ela Su'ure" is a typical Frafra-Gospel Hymn, sung during Sunday services accompanied only with shakers and hand clapping. Our version here is backed up by Kumasi's finest High Life players, who transform the song into a massive wave of groove. "Naba Aferda" is a homage to the Chief of Zuarungu, Florence's home village, which was also the home village of the legendary Christy Azuma, who became the first international Frafra-Star in the 70s. Christy was always a big inspiration for Florence and makes her proud to be from a small village called Zuarungu.

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.

Double sider 12" including the bubblegum club track ''Let's Make a Deal'' by Linda "Babe” Majika, which was originally released on the rare 'Don’t Treat Me So Bad' lp in South-Africa, 1988. On the flip, you’ll find the deep late-night saxophone driven tune ''Step Out Of My Life'' which includes Don Laka on the keyboard and is produced by Ray Phiri, who also founded the popular South African group 'Stimela'. The song was originally released in 1989 and finally sees a reissue, pressed as a loud DJ-friendly 12-inch.

The way the blues was meant to be: LIVE! This four track EP is the first of many live efforts from GA-20 to come. These four tunes show the wide range of the group, ranging from mellow in the world of groups like The Wood Brothers to raw, electric blues more kin to early Black Keys LPs. These four covers should keep fans happy until their second LP is out in early 2021.

In 2015, Optimo’s Autonomous Africa label released Youth Stand Up!, a triangular recording project hatched at Glasgow’s Green Door Studio that brought together young musicians from Belize, Ghana and Glasgow for ten tracks of cross-cultural collaboration. The result was an infectious cocktail of traditional Caribbean and West African rhythms, hip hop, highlife and Glaswegian post-punk, featuring contributions from Optimo Music regulars Golden Teacher and Whilst, among others.

Lokalophon is the newly established sub-label of Philophon, which is designed to release local specialities from potentially all around the world. The first 7" is by Ghanaian Frafra-Gospel singer Chris De Wise Shepherd.

Born in Bolgatanga, he moved as a young man from the rural north of Ghana to its coastal capital Accra. Consequentially, his style became more urban. That you can clearly hear on his 2012 release Nera Wo'o Soke, which sounds in some ways as if Grandmaster Flash himself were operating the production knobs. Atune Anya'alima on the other hand is pure Frafra-Gospel as it is usually performed in Northern Ghana.

Frank Karikari is the son of legendary Highlife musician Ralph Karikari who played bass on countless classic albums such as "Sikyi Highlife" by Dr. K. Gyasi & His Noble Kings. So, Frank grew up surrounded 24/7 with high class Highlife music plus he has inherited the natural talent of his father. Now he teamed up with the Polyversal Souls to keep the spirit of Highlife alive.

"Siakwaa / Nana Agyei" are two songs taken from above mentioned album "Sikyi Highlife". Frank gets here some vocal support from the original court singers of the Ashanti king, which fits perfectly, as both songs are praise songs to the king.

"Odo Agye Gye Me" is composed by legendary Kumasi based singer Baffour Kyei, who sang for such groups like Kyeremateng Stars or B.B. Collins & His Powerful Believers. Besides creating this song, he is part of the choir on this future Highlife classic.

The Polyversal Souls are back with another collaboration with Ethopia's No. 1 soul singer Alemayehu Eshete. As they did on their first mutual release Alteleyeshegnem (PH45011), one more time the band presents a new interpretation of one of Alemayehu's classic songs. Feqer Feqer Nèw is heavy soul at his best, completed by Alemayehu's trade mark vocal style. On Portrait of Alemayehu (Daytime), the Polyversal Souls are admiringly painting a picture of the master's gentle aura which surrounded him during the session.

Rare and in High demand Afro digital Soul EP, recorded in Abidjan (Ivory Coast) in 1981.
Originally from Martinique, Clem Marise Voltine aka Mac Gregor moved to Abidjan in 1979 searching for, what she called, her “negritude quest”. She sang about her love for her adoptive city until her death in April 2004 at CHU of Abidjan, Trechville Hospital.
A visionary composer, poet and singer, mixing Creole, French and Nouchi, she made a brilliant musical bridge between the West-Indies and Ivory Coast, backed by a soulful group of top Ivorian musicians such as the great Houon Pierre.
This unique and must have record is a pure dancefloor killer and will definitely be the next Afro Tropical Hit of the next decade!
Fully Licensed in Abidjan, remastered at Carvery Studio on a 12inch vinyl (45 RPM).

In recent times Alex Pletnev has been making his mark on the musical stratosphere with an array of works from from cold wave edits, through gorgeous adaptations of african and world music to tribal techno originals.

Interviews from Kenya about an “Economic Partnership Agreement” (EPA) mark the core of ten compositions by Sven Kacirek and Daniel Mburu Muhuni. They have spoken to dozens of people who might be affected by the planned free trade agreement between the EU and the African Pacific Countries. While EPA is being negotiated mainly outside of the limelight of international attention, this album of musical oral histories is an approach to shed a critical light onto the complex circumstances and inhumane side effects of global trade.
The spoken words are the vocals of the tracks. The artists have left the rhythm and tonality of the voices untouched, and the statements have simply been collaged into subthemes. Subsequently, Kacirek and Muhuni have dubbed the voices with their instruments: mallets, piano, percussion, synthesizer, and many more. The result is nothing less than a mesmerizing stream of consciousness. It sometimes reminds of sound collages by The Books, of Steve Reich’s “Different Trains” or of Jan Jelinek’s repetitive soundscapes. “Economic Partnership Agreement” can be listened to as an audio play or musical documentary as a whole while individual tracks such as “The Weather Has Changed So Much” stand out as single hits. Sven Kacirek has played and collaborated with Shabaka Hutchings, John McEntire, Nils Frahm, Sofia Jernberg and Stefan Schneider among others. He has travelled to Kenya many times, always on the quest for musical inspiration and collaborations. The most famous result are his “Kenya Sessions” (Pingipung 2011) as well as “Mukunguni” and “Rang’ala” (Honest Jons 2013/14). Daniel Mburu Muhuni is a percussionist from Nairobi who took part in the BLNRB project conducted by the Teichmann Brothers in 2012.
With this new album, the two artists focus on an intercultural exchange which aims at more than beautiful music: Unveiling voices about global trade from a Kenyan perspective. Five music videos will be published ahead of the release date
in which the interviewed guests are featured. This album shall be available for free on Bandcamp. Additionally, a limited vinyl LP edition of 200 hand numbered copies will be released. It comes in a luxurious gatefold cover with a 30 page booklet with all lyrics and more information on the EPA process and the people involved in this record.

The Afro-Funk side of the Latin Soul maestro!
Born in Gao (Mali), Boncana Maïga is one of the most talented and popular producer of West-African music since the 60's. He studied flute and Latin arrangements in Cuba during the 60's and founded the famous “Les Maravillas du Mali” in 1968.
He became orchestra leader for the national Ivorian TV in Abidjan in the mid-seventies, and toured all over the world with the famous Africando band. During his recording sessions in NYC at the beginning of the 80's with a lot of “Latin musicians” from Puerto Rico, Venezuela or Colombia, Boncana Maïga also recorded few rare Funky tracks with heavy breaks!
With the artist, we decided to reissue four rare tracks from 1978 to 1982 dedicated to dancefloor, including a really rare soundtrack for the oil company of Ivory Coast called “Petroci”.
In 2018, he'll be back on tour with “Les Maravillas du Mali”, still have a weekly TV show on TV5 Monde and with this reissue will continue to warm your Afro-Funk parties!
Fully licensed, 12inch vinyl (45 RPM) including interview. Remastered by The Carvery!

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.

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.

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.

/ Diesler Remix

Hailing from the Voodoo backwoods of Benin, Oladele Franck Komolou, founded the band Frankosun And The Family in Helsinki 2013. Since then, the band has conquered peoples hearts with their amazing music, shows and energy. Heavily influenced by the rhythms and history of the Nago. The word “Nago” derives from the word “Anago”, a term Fon-speaking people use to describe Nago – Yoruba speaking people residing in Benin. The Nago–Yoruba community is characterized by the masked dance called Guèlèdè – a special dance rich in songs, music, epic and lyrical poems under the rhythms, and sounds of tam-tams. The band excellently combines 70’s and 80’s style beninese and nigerian afrobeat with afrofunk and afrorock. The awaited debut album “Frankosun And The Family” will be released in spring 2020 in vinyl and digital formats.

Label cover.

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

Commissioned for Fela Day in Amsterdam Paradiso Noord, Raul Monsalve y Los Forajidos celebrates the legacy of the father of Afrobeat, Fela Anikolapu Kuti, with this new 10’’ vinyl on Super Sonic Jazz Records, where Nigerians rhythms travel the Atlantic ocean to meet Venezuelan Calipso , sangueos, and more.

First in Venezuela, Monsalve played with a number of bands before forming the first incarnation of his Forajidos band. A move to Paris, via London, led to opportunities to share stages with a vast array of musical giants, not least of all the legendary Nigerian saxophonist Orlando Julius, as well as the Heliocentrics, Venezuelan master percussionist Orlando Poleo and members of Fela Kuti’s legendary bands, Afrika 70 and Egypt 80.

“Calipso Time” is none other than a cover of Fela’s Koola Lobitos’ “Highlife Time. Taking the original track to the region of El Callao in Venezuela, where the population from Trinidad & Tobago and other islands in the Caribbean settled themselves at the end of the 19th century when they started to work in mineral exploitation. As a result, this region of Venezuela has a particular language, mixing English and Spanish elements, and of course the celebration of the Carnival and the birth of Venezuelan calipso . Side B brings the Afrobeat madness of “Deo e’ Mono”, the very first track Monsalve did for the project back in the day. As Raul says “I just took the opportunity to celebrate Fela’s anniversary by recording this track as I dreamed it should sound when I was starting the project, learning Afrobeat only through records” . For this Monsalve called Chief Uduh Essiet, the original percussionist of the Egypt 80 and with the Forajidos’ Mario Orsinet on drums the rhythm section was without doubt cooking immediately. As on their last record, “Bichos” on Olindo Records, these two tracks are full of psychedelia, rough electronics, powerful vocals and tons of traditional Venezuelan percussion.

After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano's namesake studio on E. 23rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range; weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener's attention with a chugging drum lead by The African International's King Tuch, setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evil claims it's own space as a musical melting pot and reflects the excitement Boadi was learning to harness as a musician in his newfound home of Chicago.

After receiving regional praise for his 1976 debut Abrabo, Dan Boadi set his sights on leaving Ghana and bringing his highlife sensibilities to an American audience. Recorded at Paul Serrano's namesake studio on E. 23rd St. in Chicago, Boadi's U.S. debut showcased the true scope of his musical range; weaving in and out of funk, highlife, afrobeat, and reggae. The title track immediately demands the listener's attention with a chugging drum lead by The African International's King Tuch, setting the pace for Boadi's colorful orchestration to follow. Money Is The Root of Evil claims it's own space as a musical melting pot and reflects the excitement Boadi was learning to harness as a musician in his newfound home of Chicago.

David Walters is an explorer. Not just one of those who show off on the screen. Like his Grandfather, David has not hesitated to cross seas or oceans to fulfil his desires fit. His mother's father left the Caribbean island of St Kitts for New York and started a family in London with a woman he met on the boat. David, on the other hand, travelled from his home in Marseille to Sheffield, London and Manchester to record this EP and to give a new twist to his career by musically extending the link that binds him to his grandfather, and more generally to his ancestors. "In Africa and its diasporas, as in the world for those who know how to see them, the elders are always at our side", he says in a soft voice.
"Music comes first".

It was on Guts' advice that David Walters changed his working habits. He and the French producer/beatmaker and DJ know each other well. "He offered to accompany me artistically on my new album, to be my third eye, or my third ear," says David. "He is someone I respect for his work, his discretion and his questioning, his desire to never repeat himself" he explains. "We often exchange ideas. We don't necessarily always agree, but whatever we think of each other, it's the music that comes first.” So when Guts told him about Tom Excell, David went for it. He headed for Sheffield where Excell, the producer, guitarist and percussionist had his own studio. The contact was direct. "We took the instruments and played like children", remembers David, still under the spell of the encounter. "Tom is part of the new English scene that combines jazz, soul, hip-hop and world grooves. He’s associated, as a musician, producer and remixer with Nubiyan Twist, Onipa, K.O.G., Me & My Friends and so many others. He has the freshness of the English sound. I like his approach. Over there, people have grown up with The Beatles, The Specials, Depeche Mode, The Clash or Apache Indian playing in the background in supermarkets. They have a different musical culture, a different musical culture that is part of the décor regardless of the genre, and that's a game changer," David says excitedly. "If people like it, they make room for you right away. I'm a fan".

"More personal and more open"
In three sessions at Tom Excell and David built these 4 tracks. “No One” which opens this E.P., was the first to be finalised. As always with David, everything is played - the Rhodes as well as the percussion, the bass as well as the drums - before being sampled. Even the electronic rhythms are sampled on the hi-hat or cymbal. Hence this organic sound. ”No One is a word of advice, an incitement to trust yourself, to listen to no one but your own instinct. This is something the singer already defended more than fifteen years ago on “Awa” the song that gave its name to his first album. "No One” is now more peaceful and serene than “Awa” was," he says. “Bow Down”, initiated with the Lyon-based producer Patchworks, is reinvented here in a lighter version. ‘It's a nod to New Orleans and the Afro-descendants, those men and women who kept their heads up despite slavery and mistreatment," says David, who recorded and produced the Nola is Calling project (2019) in a colonial house in New Orleans he transformed into a studio. The expression "Bow Down" is both a tribute to the Amerindians who came to the aid of African slaves and an affirmation of strength and resilience. Hurricane Kathrina is still on everyone's mind. As David explains, “Yemaja is the Cuban goddess of the sea. In Africa, she is called Yemoja”. There is no doubt that the sea is David's element. “The sea acts on me like a sort of great "reset". It's a place where you can also lose yourself," he says. “Baby Love”, the last track, echoes “Baby Go” from the album
Nocturne (2021), an opus recorded with cellist Vincent Segal, kora master Ballaké Sissoko and percussionist Roger Raspail. "In the end, these four tracks (+ a disco edit of “No One” by the American producer Captain Planet) are put together like a rebus, to tell a story that makes sense to me: Nobody is going to fall apart, thanks to Yemaja", David sums up with a warmth and smile in his voice.
David Walters is a true explorer, and doesn't intend to stop there. Future sessions are already scheduled in Tom Excell's studio in order to finalise a full length album which is due to be released early in 2023.

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

Favorite Recordings proudly present its new series of 7" reissues with the following concept: each side dedicated to one Funky French track coming with its original artwork. You just have to flip it! On the first side, you'll get the amazing track "Funky Biguine" by West Indies band Crystal. Originally compiled by Charles Maurice on French Disco Boogie Sounds Vol. 2, the original eponymous album still goes for crazy prices. And there's a reason for that: "Funky Biguine" will bring the heat on the dancefloor with its enchanting synth bassline, its West Indies influences and melodious Funk arrangement. Don't miss the synth solo in the end! On the other side, you'll find a reissue of "Looking For You" by J.E.K.Y.S from the island of Réunion. The song has just started and you're already overwhelmed by the strong bassline and the sirens of this French boogie anthem - despite this one has English lyrics. Originally, you'll find it compiled by Charles Maurice on French Disco Boogie Sounds Vol. 3. Expect lovely harmonic progressions and perhaps a more spacey groove, as in these beautiful bridges leading to chorus where the lyrics blend perfectly with the synthesisers line and Fender Rhodes.

This compilation collects a number of 7" singles produced by Audio Productions Ltd. in Kenya's capital Nairobi in the first half of the 1980s and released on the Wendo, Lulus, Mlima and APL imprints. The bands featured on this release are the New Gatanga Boys, Ruwengo Bros Band, Banana Hill Band and Les Victoria 'C' Kings from Kenya, Les Moto Moto and Orch Les Volcano from Tanzania (the latter being led here by Charles Ray Kasembe after the death of the legendary Mbaraka Mwinshehe). The closing track is by Orch Zaituken Band, whose name is a contraction of the countries its members came from: Zaire (now Democratic Republic of the Congo), Tanzania, Uganda and Kenya. The group is emblematic of the Kenyan capital's role as a magnet for East African musicians seeking to earn a living by recording and playing live in the 1970s and 1980s.

No Wahala Sounds are proud to bring you this latest collection of rare 45s from the golden era of benga and rumba, which have never been released outside Kenya before.

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.

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

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

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

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

A.B. Crentsil is a heavyweight of Highlife music and the main vocalist of Sweet Talks, one of the most popular Ghanaian bands of the 1970’s. In 1992, musician Charles Amoah and producer Richie Osei Kuffour offered him the opportunity to explore a new popular sound: Bürger Highlife. Little did he know these studio sessions would give birth to the biggest song of his career. Charles Amoah, who had released his Sweet Vibrations LP in 1984 to great acclaim, extensively toured in Europe with bands such as Black Earth and Saraba, was eager to bring a new sound to Crentsil, an artist he had admired for years. Throughout the 1980’s, Highlife had been changing pretty radically, following the same evolution as Congolese Soukous, Caribbean Zouk and most popular black music genres of that era: Heavy use of drum machines, synths and digital technology was conveniently replacing big bands and expensive analog studios and equipments. Mostly recorded, produced or mixed in Germany, this new breed of electric Highlife dubbed ‘Bürger Highlife’ could be defined as a fusion of Disco, Jazz, Funk and Pop with the popular Highlife beats, rhythms and lyrics. According to A.B. Crentsil, the name was a reference to the ever present American cultural influence on Ghanaian musicians. Charles Amoah has his own take: “I initially called this particular kind of Highlife ‘Ethno Pop’. Bürger is the German word for citizen, and that’s how Ghanaian musicians living and working in Germany were calling each other”. The music for both “Obi Baa Wiase'' and “Sika Be Ba” was entirely composed and played by Charles Amoah, using minimal equipment: a DX7 synth, a Korg M1, a Yamaha RX5 drum machine, and an Akai 1000 sampler. A.B. Crentsil provided the lyrics for both tunes on the spot. Obi Ba Wiase’s message is one of gratitude and faith: it says we should appreciate our life way more and follow the example of people who have a lot less but still praise God all day. Charles remembers fondly Crentsil’s larger than life personality: "A.B. slept a lot, he really loved sleeping. His lack of punctuality was easily dismissed by his wonderful sense of humour and it wasn't uncommon to find musicians rolling with laughter on the studio floor." Charles also remembers vividly the "Obi Baa Wiase" session: he could feel the magic in the air while working on the soon to be hit, and knew something special was happening. A.B. asked for a break in the middle of the session, which Charles adamantly refused until the song was finished and the magic fully captured. Success was not immediate, and Charles was first a little concerned by the lack of buzz following the immediate release of the Gyae Me Life Ma Me album. But a few months down the line, the situation took a new turn. "Obi Baa Wiase" was making its way into radio playlists, weddings and festive celebrations. It was covered by local bands, and soon most of Ghana and its European and American diasporas were hooked. It became A.B. Crentsil’s most requested song at live events for the following decades. As producer Richie Moore wrote on the album back cover : "A perfect integration of two musical geniuses, the result of which are the scintillating tracks of music on this record… so all you party fans go onto the floor and dance the body music".

Vinyl with scuffs and hairlines

Welcome to the fascinating world of Terakaft, one of the most legendary bands from the acclaimed Desert Blues / Tuareg Rock scene that’s been nurturing in the Sahara desert for the last two decades. A world made of light, dust, goats, tree shadows, gas, tea and fire. A world where teenagers don’t dream of being footballers but guitarists like Ibrahim of Tinariwen, like Sanou of Terakaft, or like Ousmane of Tamikrest. A world made of constant stuggles, of war zones, where getting a visa to tour is nearly impossible, where covering your face and head with tuareg turbans to face the desert winds will turn you into a potential islamist when boarding an airplane. A world that Phillipe Brix knows damn well: he’s been managing those guitar heroes for the last two decades. Jagwar is his coming-of-age story, a tale of resilience, of doom, of family, of utmost tensions and unrivaled peace, the adventure of a life time. His journey will take you from the deepest deserts of Mali, Morocco and Mauritania to the biggest music festivals all across Europe and America. "In the desert, the dry air carries sound with clarity" Philippe Brix "A Kalashnikov has thirty bullets in a magazine; once you’ve emptied it, it’s over. A guitar has no limits." Diara, Terakaft

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

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

After his international debut #1 in 2018, the north Ghanaian Kologo (a two stringed proto-banjo) master Guy One is back with his brand new band, consisting of Kumasi's finest young talents, plus Florence Adooni and Tenni Akagam as his choir voices.
So La Ma La has a straight forward Highlife rhythm which melts together with some funky articulated afrobeat-a-like bass line. To Kale Na'nabala is instead in the traditional Kete rhythm, a bouncy poly-rhythm in 12/8. But both songs are mostly defined through Guy One's Kologo lines and his soulful interpretation of the typical north-ghanaian vocal style.

Ahemaa Nwomkro, which means queens of Nwomkro, are Victoria Osei and Theresa Owusuaa. Nwomkro is an old Ashanti musical style, which played an influential role in the origin of the typical more roots-like Highlife style of Kumasi, the cultural capital of Ghana in the middle of the jungle.
On this release the two singers have teamed up with the young generation of Highlife muicians of Kumasi. On guitar is Akule Pepe, who served for years in the group of Highlife legend Alex Konadu, the most on demand band in its time. The two songs are a rare example of how good pure Nwomkro gets together with typical Highlife.